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Architect’s creative process in the future is an implementation of visually convenient, semantically calibrated, cosy and co-dimensioned to a human being architectural environment. It must border on nature by its positive qualities, not demanding dramatic changes, as nature doesn’t, but allowing high-quality correction of the prevailing structure.

M.V. Makarova, T.A. Sarkisian

(Nizhny Novgorod State University of Architecture and Civil

Engineering)

FOLK CRAFTS AS A CULTURAL CODE OF RUSSIA

Traditional folk culture is the earliest type of culture. It appears at the same time with the appearance of the ethnic group itself. People begin to build homes, make utensils, sew clothes, decorate their homes – and all this is called folk culture. What differs one ethnic group from another is expressed in its culture. Each nation has a number of distinctive features such as language, territory, traditions, customs, religion, etc.

The objective of this research is traditional crafts as a significant part of the cultural code of Russia. So, the traditional culture reflects the world-view of the people in its symbols and signs.

Elements of folk culture make much sense. For example, images of solar symbols are referred to the light energy of the sun. We can meet such popular solar signs in different crafts. After analyzing it we can say, that the same symbols moved from one craft to another, from one region to another. Circular elements can be found in wood paintings (Khokhloma painting in the photo), wood carvings (a spinning wheel in the photo), ceramic products and embroidery.

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Pic. 1 Bowl with Khokhloma painting. Pic. 2 Three-sided notched carving on A spinning wheel.

Practical training is an important part of the cultural education. Culturology students of the direction "Artistic culture" do not only study folk crafts in theory, but they also do wood carving, pottery, lace making, they study Gorodetskaya and Khokhloma painting. To create a subject that complies with the canons, we need to study the craft itself, copy the works of the recognized masters. So, students create their own products in class that meet the special requirements. We can also see traditional solar symbols in these Khokhloma painting and pottery made by a student-culturologist:

Pic. 5 Khokhloma "Ryzhik" by student M.V. Makarova.

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Pic. 6, 7 The kashpo and the plate, pottery by student M.V. Makarova.

Among the most popular ornaments in the traditional culture, we can note the rhombus. The image of a rhombus is a symbol of fertility, a sown field. Repeating elements are the dynamics of movement. The image of a tree is a symbol of the family power, it connects several generations together. The division of the composition into three parts is often found in traditional crafts. And it is not accidental. In the view of the ancestors, according to Christian teaching, life was divided into heavenly, earthly and afterlife spheres. Colours in Russian folk crafts also had a special profound meaning. The white colour represented purity and innocence. The Red one meant beauty, it was the colour of vital energy. Yellow and gold are the colours of the sun. Black could mean dirt and death, as well as fertile soil. Blue symbolized the sky, the masculine principle [3].

And all traditional crafts are imbued with symbolism. People created not just beautiful functional things, but also put a special mystical meaning into them. They believed that these signs would become a kind of amulets in their life and work: the family would be wealthy, children would be healthy, and the fields would produce a good yield. In ancient times, it was possible to determine where a person came from by the ornament. After all, patterns and signs could differ among two or more ethnic groups.

This system of symbols united people of the same ethnic group and distinguished them from other peoples. A person felt connection with his community. This is called the cultural self-identification, when a person perceives himself as a culture bearer [2].

A culture code is a specific set of characteristics that allows us to "read" a particular culture. In a broad sense, it is the language of the culture [1]. It is the key to understanding the culture and its unique features. The cultural code of a nation helps to learn its way of development. It defines the ethnos's psychology.

Today, in the era of globalization, the borders between different peoples are often blurred. Global mass culture is understandable to anyone anywhere in the world. A person may not have a special sense to understand popular mass culture. Hollywood movies are watched in all countries. Websites on the Internet can be translated into any language. Western fashion, aimed at convenience and comfort, has spread far beyond Europe. People in many countries dress almost the same, listen to the same music, and watch the same films...

That is why the study of the uniqueness of the cultural code of the Russian culture is more relevant than ever before. Nowadays, the traditional culture acquires the status of a special high culture. From a simple "home" culture, it has become a culture that is unclear to most modern people. Not everyone has special apparatus which is necessary to feel the cultural code.

The role of the traditional culture is difficult to overrate. It is an important component that differs the Russian people from thousands of others. The history of our culture is unique. It is impossible to forget and abandon it. It contains the

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history of our people, the experience of our ancestors, religion, mythology, worldview, attitude to life, attitude to work and people, and much more. Russian folk culture is our roots. And the key to reading the cultural code of Russia lies in the most powerful material heritage of culture: traditional crafts.

References:

1.Букина, Н.В. Культурный код как язык культуры / Н.В. Букина. – URL: https://cyberleninka.ru/article/n/kulturnyy-kod-kak-yazyk-kultury (дата обращения: 29.09.2020).

2.Гуревич, П.С. Культурология: учебник для вузов / П.С. Гуревич. – 4-е изд., стереотипное. – Москва: Гардарики, 2007. – 280 с. – ISBN 5-8297-0048-

3.Лебедева, Г.Н. Символика цвета в русской традиционной культуре / Г.Н.

Лебедева. – URL: https://cyberleninka.ru/article/n/simvolika-tsveta-v-russkoy- traditsionnoy-kulture (дата обращения: 29.09.2020).

M.V. Makarova, E.A. Aleshugina

(Nizhny Novgorod State University of Architecture and Civil

Engineering)

THE UNIQUENESS OF RUSSIAN FOLK CULTURE BY THE EXAMPLE OF GORODETSKAYA PAINTING

The object of this research is the phenomenon of Gorodetsky painting as a unique craft in Russia. The Nizhny Novgorod region is rich in a variety of folk crafts. The main centers were formed in Semyonov, Kovernino, Gorodets, Balakhna, Pavlovo, Polkhovsky Maidan, Shakhunya and nearby settlements.

The tasks are to identify the main subjects of Gorodetsky painting, consider the features of its development, and study the continuity of traditions in Gorodetskaya painting.

Gorodetskaya painting was formed at the end of the XIX century on the basis of previously existing wood carvings. Gorodets painting practiced in the villages of modern Gorodets: Koskovo, Kurcevo, Hlebaiha, Repinovo, and several others. It is famous for its colorfulness, "smartness", a lot of bright colors and a variety of plant compositions. Also, this craft is characterized by images of animals: slender galloping or prancing horses, colorful birds (roosters, geese, pigeons, peacocks), domestic animals (cats and dogs), in earlier works there were images of lions. The main motives of the compositions are genre scenes from peasant and merchant life [Fig.1-3].

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Fig. 1 The example of plant composition of Gorodetskaya painting

Fig. 2 The examples of Gorodetskaya painting with birds

Fig. 3 The example of a genre scene of Gorodetskaya painting

Any craft All fishing is going through a transformation over time. Using the example of traditional paintings in Russia, we can say that the masters have always portraied what was relevant in their modern society. Costumes of their epoch, vehicles, genre scenes (typical situations that took place) are also reflected in the Gorodetskaya painting.

Comparing the works of masters of the early XX century and the painting of the last quarter of the same century, we can note a significant difference between them. The color palette became brighter and more diverse, new costumes appeared, besides horses with carts, modern steamboats were depicted, etc. Moreover, the range of products that meet social needs has expanded.

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However, the presence of similar features is undeniable. Canonicity can be traced in the method of depicting story compositions, in the ratio of proportions, in the method of painting some elements. Typical figures of Gorodetsky painting have a lot in common: people, horses, birds. That is, experiencing a second birth after the Great Patriotic war, this folk craft has acquired new features. But the compositions were created on the basis of those that have been preserved since the beginning of the XX century.

The continuity of long-standing traditions was also traced in the fact that novice craftswomen copied the works of other recognized masters. If the traditions of early Gorodetskaya painting were ignored, the reborned craft would be an artificially created parody of its pre-war painting. It is the transfer of traditions from generation to generation that does not allow the craft to fade away, and also allows you to wear the title of national, canonical, and hereditary [Fig.4- 5].

Fig. 4, 5 The composition «A trio of horses» in the tradition of masters of the older generation and the modern tradition of Gorodets (painted by M. Makarova)

The aspect of continuity of traditions in the narrow sense of the word is the way of changing the same story composition for almost a century. This theme was not previously touched upon by researchers, which gives the work novelty and relevance.

Thus, it is worth to say that the traditional folk culture of Russia is unique. It reflects the historical path of development of the ethnic group, the world-view of our ancestors, their way of life and much more. The crafts are unique too, they

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characterize a specific ethnic group and its features. Traditional crafts remain a mystery to foreign visitors. Immersed in the study of folk crafts they will be able to feel better the culture of Russia: understand how our ancestors lived, how our country developed over the centuries.

References:

1.Величко, Н.К. Русская роспись. Техника. Приемы. Изделия. Энциклопедия : Энциклопедия / Н.К. Величко. – Москва : АСТ-Пресс Книга, 2014. – 224 c. – ISBN 978-5-462-00954-9. – Текст : электронный.

2.Коновалов, А.Е. Городецкая роспись. Рассказы о народном искусстве / А. Е. Коновалов ; литературная обработка, предисловие В. М. Вишневской. – Горький, Волго-Вятское книжное издательство, 1988. – 234, [2] с. : ил. – Текст : непосредственный.

3.Супрун, Л.Я. Народные художественные промыслы Горьковской области : альбом / [Сост. Б. П. Широков]. – Горький : Волго-Вятское книжное издательство, 1986. – С. 45–74, ил. – Текст : непосредственный.

4.Супрун, Л.Я. Городецкая роспись. Истоки. Мастера. Школа / Л. Я. Супрун.

– Культура и традиции, 2006. – 148 с. – ISBN 5-86444-120-1. – Текст : непосредственный.

A.M. Markaryan, A.V. Shibaeva, E.A. Pushkareva

(Nizhny Novgorod State University of Architecture and Civil

Engineering)

PLANUNG UND AUSFÜHRUNG VON ABDICHTUNGEN ERDBERÜHRTER BAUTEILE NACH DIN 18533

Die Forschung ist dem Thema Planung und Ausführung von Abdichtungen erdberührter Bauteile nach DIN 18533 gewidmet, weil es bei Bauanwendungen wichtig ist. Ziel der Arbeit ist diese neue Norm DIN 18533 darzustellen.

Eine DIN-Norm ist eine Norm, die im Deutschen Institut für Normung (DIN) in Berlin erarbeitet worden ist und vereinheitlichte Standards für Produkte und Verfahren, wie z.B. Qualität, Mindestleistungen, -eigenschaften, Maße etc., festlegt. Deutsche Normen sind in den vergangenen Jahrzehnten zunehmend internationalisiert worden.

Die DIN 18533 Abdichtung von erdberührten Bauteilen ist im Juli 2017 neu erschienen. Sie ist als eigenständige, bauteilbezogene Einzelnorm Teil der Normenreihe für Abdichtungen. Zuverlässigkeitsanforderungen wurden erstmals explizit präzisiert und Regeln für die Instandhaltung von Abdichtungen festgelegt.

Da es in Russland keine derartigen Normen auf gesetzgeberischer Ebene gibt,

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verlassen sich Fachleute bei der Entwicklung von Technologien und Systemen für

Russland auf diese deutschen Vorschriften.

Die neue DIN 18533 gilt nicht für die Sanierung von Abdichtungen, sondern nur für neue Abdichtungen. Sie besteht aus drei Normteilen. In Teil 1 werden die grundlegenden Anwendungsregeln präzisiert, die alle

Abdichtungsstoffe und -verfahren betreffen. Die Teile 2 und 3 regeln stoffspezifische Planungsund Ausführungsbestimmungen.

Die DIN 18533 gilt für die Planung, Wahl und Ausführung der Abdichtung von nicht wasserdichten, erdberührten Bauteilen. Abzudichtende erdberührte

Bauteile sind vertikale, horizontale, geneigte Massivbauteile eines Bauwerks, wie z. B. erdberührte Außenwände, erdberührte Bodenplatten, erdüberschüttete Decken sowie erdberührte Querschnittsflächen von Außenund Innenwänden, wie z. B. Wandsockel.

Für die Wahl der passenden Abdichtungsbauart sind nach der neuen DIN

18533 die folgenden fünf Kriterien von Bedeutung: Wassereinwirkungsklasse, Rissklasse, Rissüberbrückungsklasse, Raumnutzungsklasse, Zuverlässigkeitsanforderungen. Die DIN 18533 enthält erstmalig Kriterien für die Zuverlässigkeit einer Abdichtung. Diese sollen dem Planer Hilfestellung bei der Wahl der richtigen Abdichtungsbauart auszuwählen. Die Norm klassifiziert in ihrem Teil 1 die Wassereinwirkung auf erdberührte Bauteile neu.

Zusammenfassend können wir sagen, dass der in dieser Arbeit aufgezeigte

Standard in der Bauindustrie eine wichtige Rolle spielt. Insbesondere die Klarstellung der Wasserbeanspruchung und die Zuordnung verschiedener Abdichtungsbauarten zu Rissklassen und Nutzungsklassen stellen eine gute

Hilfestellung bei der Planung und Ausführung von erdberührten

Bauwerksabdichtungen dar.

O.A.Markina, A.A. Flaksman

(Nizhny Novgorod State University of Architecture and

Civil Engineering)

DESIGN PROJECT OF THE NNGASU-LIBRARY

The main aim of the work is to develop a library plan, design the interior of the university library, making the space functional, comfortable, ergonomic for students and employees.

The following tasks were launched:

-to identify the features of the volume-planning structure of public structures.

-analyze the artistic image of interior design.

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- develop the design concept of the library planning solution by means of architectural, coloristic, lighting

One of the library's key missions is to give users the opportunity to experience something new or gain valuable experience through creativity and stories told in literature, film, music, games, events.

As an inspirational space, the library motivates and stimulates the imagination - it creates a context in knowledge and experiences are embedded, and forges connections between various sources of information. Thus, the library's inspirational space must be able to tell stories, change and be communicative.

The main idea of the library interior design is to create light, relaxed and simple environment, comfortable for work and pastime. The constructive style was chosen as a concept. This effect is achieved by using the design project of the basic principles and details characteristic of this style.

Constructivism is an elaborate style with clear and rigid shapes and open colors. Behind the seeming primitivism and asceticism of this style, a deep and thoughtful work of architects and designers lies.

All interior items are interconnected in a single integral image and serve one functional purpose - to maintain a working mood. A harmonious combination of simple lines, angles of geometric volumes creates a lively aesthetically pleasing image. Simplicity of shapes and clarity of lines will contribute to productive work. The style is quite strict, but all the details of the interior work as a whole.

The premises of the university library has: area - 330 m², ceiling height - 3000 mm, 18 load-bearing columns, 14 windows, 1 door.

The main purpose of the library interior design is to present materials clearly and easily. This is possible when the library is divided into zones. Functionally, the library is divided into the following zones: working area, area for designing, book storage area, negotiating room, hall.

Work desks are located along the perimeter of the windows and in the middle of the working area and area for designing. In the negotiating room there is a round table with eight seats.

Floor surface is divided into two parts, one side is covered with glossy polymer self-leveling floors, which is an ideal material for rooms with high traffic. It is a very durable and elastic material that perfectly resists temperature extremes and chemical attack. And another side is covered with imitation of concrete.

The graphics on the walls are made of plastic of various thicknesses. Colors are black, gray and orange.

To create a pattern of lines on the ceiling LED strips have been applied with an aluminum lining. To illuminate the room in the working area pendant spotlights, which are fixed on trusses, have been used.

In this project the accent colors orange and blue were used. They match the chosen style of constructivism, as well as these colors are the main colors in the university logo.

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Thus, the traditional roles of the library are being transformed at present, and the socially adaptive functions of the library are becoming more and more popular. In the digital age, the library's ability to be a cultural hub is of particular importance. For the library to continue to exist as an independent platform, an individual idea is needed that will create a visual and semantic unity and allow visitors to find their favorite places in accordance with personal needs.

The library is turning into a multifunctional socio-cultural center. The reader comes to the library today not only for a book, but also for communication, the realization and satisfaction of his abilities, talents and public ambitions.

M.V. Mitin, M.S. Khazov, I.V. Yukhtanov, E.A. Pushkareva

(Nizhny Novgorod State University of Architecture and Civil

Engineering)

ÖKOLOGISCHES BAUEN

Das ökologische Bauen in der modernen Welt wird immer relevanter. Daher müssen viele Strukturen bestimmte Standards erfüllen. Dies erfordert Geld und die Zeit. Wir werden erklären, wie Landschaftsbauaktivitäten organisiert sind, finanzielle Anreize für umweltfreundliches Bauen und die Gründe für die Stärkung der Ökologisierung im Wohnungsbau.

Meistens gibt es zwei Gründe, die zu dieser Entwicklung geführt haben und sie weiter verschlimmern. Zunächst einmal erregt ein solcher Bau immer mehr Aufmerksamkeit, wenn es darum geht, Häuser zu bauen, um die natürlichen Ressourcen zu erhalten. In vielen Fällen können Bauherren und Eigentümer Zuschüsse und Werbekredite erhalten, um finanzielle Vorteile zu erlangen.

Eine große Zahl von Gebäudeeigentümern und Mietern gibt ernsthaft zu, dass sie sich vor allem aufgrund finanzieller Anreize für nachhaltige

Baumaterialien entschieden haben. es heutzutage relativ einfach ist, subventionierte Darlehen oder Zuschüsse zu erhalten - immer mehr Banken gehen offen mit Finanzierungsvorschlägen an ihre Kunden heran und helfen ihnen, diese zu erhalten.

Subventionen und Zuschüsse sind jedoch nicht die einzigen finanziellen

Anreize, die Green Building so interessant machen. Es darf nicht vergessen werden, dass sich viele Maßnahmen langfristig auszahlen werden.

Doch nicht immer sind Bauherren allein aus finanziellen Gründen an ökologischem Bauen interessiert. Die Idee der Anreize kann auch ein Vorwand sein, umweltfreundliche Maßnahmen zu ergreifen. Es gibt zwei wichtige ideale Hauptgründe für ein starkes Wachstum des grünen Bauens.

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