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A.I. Polies, E.A. Aleshugina

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

USAGE OF GLUED LAMINATED TIMBER IN MULTISTOREY BUILDINGS AND LONG-SPAN CONSTRUCTIONS

In the modern world, where the ecology of the planet is taken care of, the construction of various structures made of wood is becoming more and more popular.

This is a consequence not only of environmental problems and threats, but also of technologies, which are being improved from year to year, and also become cheaper for the mass consumer.

The object of research is products made of glued laminated timber, such as massive panels, beams, columns, I-beams, domes and trusses.

The aim of the article is to introduce glued laminated timber to future engineers, consider advantages and flaws of the glued laminated timber and analyze prospects of material developing in Russia.

Nowadays LVL components and CLT-panels are very popular and perspective in the market of glued laminated timber. They are used in making multistorey buildings, long-span constructions, I-beam, columns, trusses, headers, floor girders and roof girders. Currently in the European Union wooden residential building is supported by the national and European level due to economical and ecological advantages.

The LVL products consist of long layers of lumber called laminations. Usually the thickness of the layers is 3mm. The technology of manufacturing LVL details serves to produce very strong material that is good at bending, compression and tension, likewise there is no negative effect of wood weaknesses and defects [Fig. 1].

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As for CLT-panels, they consist odd (from 3 to 9) number of layers and the thickness of each layer is about 30mm. Panels are made up of crisscross glued timber. The technology provides a strong product, and also its bearing capacity is not lower than that one of reinforced concrete. In spite of being made from timber CLT-panels are heavy structures, that is why they are used for construction multistorey buildings [Fig. 2].

In recent times LVL factories manufacture I-beams, columns, trusses, headers, floor and roof girders. By joining lumber end to end, edge to edge, and face to face, the size of a glued laminated timber is limited only by the capabilities of the manufacturing plant and the height and width restrictions imposed by the transportation method. Because of high strength for vertical loads, LVL timber is most often used in floor beams. Thanks to almost unlimited size, LVL structures are able to have big spans and height, so LVL timber has become popular in erection of supermarket’s flat roofs, malls and factories.

Also these products are found application in making equestrian complexes, aqua parks, warehouses, overhead pedestrian crossings, stocks, bridges, domes etc. Owing to lack of porosity, such structures can be used in buildings with an aggressive condition such as agricultural constructions, stocks of chemical reagents and also can be used in buildings with high humidity such as swimming pools. Besides trusses and arches are getting popular for long-span constructions (42 meters and more).

As for CLT-panels, they are used for multistorey residential, office and government buildings [Fig. 3]. With up to 3 meters width and up to 20 meters height the ones allow the architects to turn the most daring ideas into reality. CLT-panels are used as walls, floors and roofs. Especially this material might be applied in the construction of low-rise and mid-rise government buildings and structures (1-10 floors), such as schools, hospitals, shops and other buildings. Since most of the work is done in the factory, the process of making a building becomes safer. In the same factory, door and window openings, channels for engineering communications are cut out in the panels. Because the panels arrive at the site pre-numbered and delivered according to the building's erection plan, assembly takes place in record time. The process of erecting a building itself resembles the assembly of a LEGO-constructor.

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Figure 3. CLT − panel mounting

CLT and LVL materials can be combined with each other. For example, the frame of a building may be of LVL, while the walls and floors may be of CLT. There are also hybrid construction options, when the main frame elements are assembled from reinforced concrete, and the enclosing structures and secondary beams are made from glued laminated timber.

Let have a look at a couple of examples from world projects. “SporX” is a ten-story office building erected in Norway. The frame of the building is made of beams and columns, which are made of LVL components [Fig. 4].

The elevator and stair cores are made from massive CLT-panels. On the side facades, the walls are made of massive CLT-panels, which increase the overall rigidity of the building.

"Brock Commons" is a 53-meter dormitory, the building houses 404 students and comprises a mix of one-bedroom and studio units, study and social spaces, and a student lounge on the topmost floor.

The frame of the building is made of LVL timber with ceilings and enclosing structures of CLT-panels [Fig. 5]. The building has two elevator shafts made of reinforced concrete, mainly to comply with the accepted fire-safety codes. The roof is made of reinforced concrete, which increases the weight of the entire structure and gives the building additional rigidity.

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To conclude, it is necessary to emphasize that building materials made of glued laminated timber meet the basic requirements of environmentally friendly and energy-efficient construction. Since one of the most important wealth of our country is the forest, the state has a huge potential and can successfully use these resources for the construction industry, as well as to improve the welfare of the country.

References

1.Baitemirova I.N., Pautova E.P., Artamonova E.A., MULTISTOREY WOODEN CONSTRUCTION // Russia: development trends and prospects. 2021. [Electronic resource]. - URL access mode: https://cyberleninka.ru/article/n/mnogoetazhnoe-derevyannoe-stroitelstvo (Accessed on 7 August 2022).

2.Kosov I.I., Wooden CLT panels in the construction of public buildings

//International Journal of Applied Sciences and Technologies "Integral" №2. 2019. [Electronic resource]. - URL access mode: https://cyberleninka.ru/article/n/derevyannye-paneli-clt-v-stroitelstve- obschestvennyh-zdaniy/viewer (Accessed on 7 August 2022).

3.Mavlyuberdinov A.R., Khotsanyan D.I., Technological features of the

construction of multistorey residential buildings from CLT panels // Izvestiya KSUAU, No. 1 (43). 2018. [Electronic resource]. - URL access mode: https://cyberleninka.ru/article/n/tehnologicheskie-osobennosti- vozvedeniya-mnogoetazhnyh-zhilyh-zdaniy-iz-clt-paneley (Accessed on 7 August 2022).

4.Esaulenko I.V., Prospects for the development of high-rise wooden housing construction in Russia on foreign experience // Architecture, construction, transport №4(98). P.17-25. 2021. [Electronic resource]. - URL access mode: https://cyberleninka.ru/article/n/perspektivy-razvitiya-vysotnogo- derevyannogo-domostroeniya-v-rossii-na-primere-zarubezhnogo-opyta (Accessed on 7 August 2022).

5.Smulski, Stephen, ed., Engineered wood products-A guide for specifiers, designers and users. ISBN-096556736-0-X. Madison, WI: PFS Research Foundation: P. 1–39. Chapter 1. 1997.

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E.V. Katunova, E.A. Aleshugina

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

TRENDS IN PRIVATE TRANSPORT DEVELOPMENT FROM THE

19TH CENTURY TO THE TIME BEING

Automotive design consists of many different aspects affecting the final product. To create an innovative, cost-effective product, a designer needs to take into account not only the aesthetic factor, but also the functional, technological, environmental, etc. Many decisions are based on limited technology and finances. They are also related to the overall style and artistic vision of a designer. All of this influences the final shape of a vehicle.

Thus, the object of the study was a personal car. The relevance of this study lies in its predictive ability. Knowing previous trends in shaping and reasons behind it, it is possible to predict future shaping changes and use this in personal projects.

The study's main objectives are:

1.Explore how the appearance of personal cars has changed;

2.Find out the reasons for these changes;

3.Draw conclusions about the current state of car design and its possible

future.

Automobile design despite the relatively short history has undergone a number of significant changes. The first cars were almost indistinguishable from wagons. The rapidity of form evolution was surprisingly combined with conservatism of some structural solutions. For example, designers preferred to sacrifice good visibility and maneuverability in order to save the engine compartment the size of which indicated the engine power.

By the beginning of the twentieth century, car design had passed the revolutionary period and entered the evolutionary one. In the appearance of the car and its elements, a purely artistic beginning started to play an increasingly prominent role. Architects and stylists had to be attracted in the development of projects.

The Art Nouveau style shone in the art world and because of it was also noticeable in the design of cars, especially in the Italian body studios. They worked on individual orders of clients that was possible in large part because manufacturers were not yet as dependent on mass-production technology as they are today.

But gradually technologies developed. Ford's conveyor belt, a special technique for manufacturing sheet steel and so on appeared. The new production

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methods required a new style. The style of that epoch was defined by such structures as Eiffel Tower or Titanic liner. It was becoming obvious that the beauty of things would be increasingly defined by the connection between form and function. And a car was to express this ideology in lines, plasticity and form.

Automotive design in the 20s and 30s can be called a 'streamlined shape' design (Streamline style). Speed increasingly adjusted the configuration of the car. Masters tried to apply forms being in aviation to car design. For example, in Europe, automotive aerodynamics justified rigid laws of body shape, trying to justify unusual to the eye with expediency. Gradually stylists' arsenal was enhanced with set of aerodynamic and pseudo-aerodynamic forms. The concept of comfort was also changed. Ventilation, heating, noiseand dustinsulation are increasingly being included in this concept. In the late 30's open or combined versions with a complex mechanism for folding the roof are gone.

The first sign of the new style was coming with its unusual two-tone paint scheme and faux "aviation" air intake. In addition, some details of the automobiles were decked out in chrome or gold. Decorations became all the rage. But it didn't last long and style changed.

Car design of the 60s acquired a distinctive expressiveness. Through the efforts of many designers, the massive gracefulness of the dynamic forms became a capacious characteristic of the shape, which no longer needed foreign decoration. The form of the car became expressive by developing the intrinsic qualities of an individual vehicle, which, unlike rockets, had four wheels and constant contact with the road.

The second half of the 1960s saw the emergence of a new style - "Muscle cars". The main plastic feature of the style was the wide rear roof pillars combined with the sidewall of the rear wings. . It was evident that the basis of decor was fueled by an image of a racing car. So, by the mid-60s, aerospace styling had almost completely disappeared from automotive design.

In the next decade, the issue of vehicle safety became actively considered. Thus, the shape of the main body volume gradually became more rigid and constructive. Sharp angles, straight lines, and flat planes began to replace the curved and softly shaped lines. Roof pillars became thicker, panoramic windows disappeared, and massive bumpers turned into deliberately independent elements. Mass car styling became more utilitarian and rational.

At the end of the century the aerostyle was come back. Having softened the orthodoxy of the 30s and abandoned the decorative function of the 50s, the aerostyle of the end of the century becomes more rational and austere. Gradually the form becomes "cleaner", and a car more and more evidently aspires to laconism of ideal streamlining - a drop. The more so that the modern technology allows you to fit very tightly to each other painted parts of any texture. The

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glazing becomes larger and its surface exactly matches the surface of the body. All parts are generalised.

In its modern phase, automotive design is moving away from conciseness and perfect streamlining. Sharp lines, curves and shaped solutions are appearing on the bodies, which only prove that automotive design is moving in waves, back and forth towards aerodynamic forms.

Thus, based on trends in the automotive industry and analysis of the shape of cars, it is possible to make some predictions about how the shape of cars will evolve in the future.

In the near future, trends towards crushing a car's shape, introducing lines, breaks and decorative elements will be only increased. However, based on the concept of a wave-like development of car design, these elements will also become a thing of the past over time.

In addition to the obvious change in styles, at this stage we can already see the emergence of more dramatic, if not revolutionary, changes in form, primarily linked to the development of technology.

1.It is the development of electric vehicles meaning completely different shaping techniques. The most obvious example is the disappearance of the radiator grilles.

2.It is the appearance of autopilot and its development. If this technology performs well, we can expect to see an entirely new method to car design. With autopilot, there is no need to be driver-centred, and as a consequence the standards for the design of rear-view mirrors, front windows and the entire shape in general will change.

In this way, automotive design, which began as imitation, has come a long way to its present state. By studying the styling features of the past, future changes can be predicted, which is certainly relevant to all people associated with the industry, especially industrial designers and engineers.

References

1.Mendelecz, N. A. Faktory` formoobrazovaniya legkovogo avtomobilya: texnologicheskij aspekt : dis. ... kand. isk. nauk : 05.09.13 / Mendelecz Nikita Aleksandrovich ; nauch.ruk. Grashin A. A. ; RGXPU – Moskva, 2013. – 312 p.

2.Rozanov, N.E. Avtomobil` v poiskax individual`nosti // Avtomobili. - 1988. - №1. [Electronic resource]. – URL access mode: https://www.carstyling.ru/en/article/01_avtomobil_v_poiskah_individualnosti/ (Accessed on: 25.09.2022).

3.Rozanov, N.E. Pionery` massovoj avtomobilizacii // Avtomobili. - 1988. - №2. [Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/02_pionery_massovoy_avtomobilizacii/ (Accessed on: 25.09.2022).

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4.Rozanov, N.E. Arxitektura avtomobilya 20-x godov // Avtomobili. - 1988. №3. [Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/04_forma_sleduet_za_funkciey/ (Accessed on: 25.09.2022).

5.Rozanov, N.E. Forma sleduet za funkciej // Avtomobili. - 1988. - №4. [Electronic resource]. – URL access mode: https://www.carstyling.ru/en/article/01_avtomobil_v_poiskah_individualnosti/ (Accessed on: 25.09.2022).

6.Rozanov, N.E. Professionaly` i drugie // Avtomobili. - 1988. - №5. [Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/05_professionaly_i_drugie/ (Accessed on: 25.09.2022).

7.Rozanov, N.E. Novy`j plasticheskij klyuch // Avtomobili. - 1988. - №6. [Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/06_novyy_plasticheskiy_klyuch/ (data obrashheniya: 25.09.2022).

8.Rozanov, N.E. Mini i maksi, ili kakogo razmera dolzhen by`t` avtomobil` (1945-1960gg.) // Avtomobili. - 1988. - №7. - [Electronic resource].

–URL access mode: https://www.carstyling.ru/ru/article/07_ mini_i_maksi_ili_kakogo_razmera_dolzhen_byt_avtomobil_nobr_1945_1960gg _nobr/ (Accessed on: 25.09.2022).

9.Rozanov, N.E. Detrojtskoe barokko, ital`yanskij stil` i anglijskij mini // Avtomobili. - 1988. - №8. [Electronic resource]. – URL: https://www.carstyling.ru/ru/article/08_detroytskoe_barokko_italyanskiy_stil_i_ angliyskiy_mini/ (Accessed on: 25.09.2022).

10.Rozanov, N.E. Krepkie i muskulisty`e // Avtomobili. - 1988. - №9.

[Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/09_krepkie_i_muskulistye/ (Accessed on: 25.09.2022).

11. Rozanov, N.E. Kovarny`e ubijcy i moty`l`ki (Stil` 70-x) // Avtomobili. - 1988. - №11. [Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/10_kovarnye_ubiycy_i_motylki_stil_70_h/ (Accessed on: 25.09.2022).

12. Rozanov, N.E. Narisovanny`e vetrom // Avtomobili. - 1988. - №12. [Electronic resource]. – URL access mode: https://www.carstyling.ru/ru/article/11_narisovannye_vetrom/ (Accessed on: 25.09.2022).

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V. V. Barysheva, O. N. Chebereva, E. A. Aleshugina

Nizhny Novgorod State University of Architecture and Civil Engineering,

Nizhny Novgorod, Russia

POST-COVID MODULAR BUILDING

The pandemic has highlighted the importance of designing buildings that strengthen the connection with nature and where indoor and outdoor spaces merge with each other, while creating a healthy, well-ventilated environment, while still limited from crowds.

The object of the study is a modular post-COVID building.

This paper presents a model of a modular architectural object, which can include various functions, such as gazebos for eating and relaxing, a meeting place, a place for table tennis, a billiard room and much more. The modularity of the design allows future expansion of the site, different programs, different numbers of rooms, and can be adapted to create different functions such as cafes, temporary living units and temporary medical facilities.

COVID-19 has affected the understanding of the organization of public space. Architectural objects must be sustainable and at the same time able to withstand post-COVID requirements. These should be spaces open to nature, made from natural materials and using low-cost building techniques such as modular construction. It must be flexible and able to adapt to different functions and programs.

The pandemic has greatly increased our need for individual and simple space changes. In a room in which we spend a lot of time, we want to feel unfettered freedom, we want to be able to make changes. There is a growing demand for new ideas, such as the ability to quickly redevelop, intensive use of open space, cozy places of retreat, and antimicrobial furniture surfaces.

In the architectural form of functionalism, the formal composition takes the form of geometric constructions, geometric bodies and compositions based on them. Post-COVID modular sections are close to the “experimental aesthetics” of G.T. Fechner, especially to the principle of unity in the combination of the manifold.

The completeness of the architectural module is given by its simple geometric shape. The principle of mass balance is achieved with the help of symmetry in terms of the module. One of the most general approaches to form ordering is series, which can also be considered as a means of organizing elements into a single stable system based on a regular ordered alternation of form elements.

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Due to the modular design, there is variability in the layout of the sections. Thus, it is possible to create several curvilinear bodies in plan using a variety of modules. Module - a size or element that is repeated repeatedly in the whole and its parts. The use of modular grids helps to streamline the arrangement of form elements, and contributes to the creation of compositional unity. Modular design is based on a combination of intersecting lines that form a grid, dividing the whole into elements.

The object consists of links - hyperboloids of revolution, formed according to the toroid principle. According to the placement among themselves, the forms are adjacent to each other, forming a passive interaction of elements. The form, from the point of view of formal composition, in this case, becomes linear. A stand-alone module is a voluminous formal composition.

When solving compositional problems, the rearrangement of elements leads to a new semantic content. The method of "twisting" the original element is the translation of one part of it relative to another, fixed part, while moving in a circular direction. It is also possible that n is a lateral twisting of the original form relative to the “imaginary” form during circular unidirectional or multidirectional movement. The module is based on a radial-beam mesh.

In this project, it is proposed to put at the head the thesis of ensuring the conflict-free coexistence of architectural and spatial objects independent of each other, having the ability to interact and maintain self-isolation, depending on their internal needs and intentions. This is necessary to improve the quality of life and the level of its safety, including in the event of emergencies and pandemics.

There are many uses for this modular space. Modular design combines the advantages of mass production, called standardization. It follows from this fact that modular objects are assembled and disassembled quickly, which allows the structure to be located in different places: at school, for recreation and study, in a hospital, as additional rooms, in a park, as summer verandas, and even as pavilions for a cafe.

The project focuses on improving functionality and creating so-called "hybrid spaces" that combine the "incompatible" - and retail, and a place of rest, and a place of study, and cafes, etc. Parks, which will include these modules, can become one of the tools for psychological relief for the population.

Modern architecture and construction can also be seen as the result of a person's fear of disease. Thus, Le Corbusier or Adolf Loos developed their projects in such a way as to deprive the diseases common at that time. The bright, sun-drenched rooms, clean lines and open floor plan helped to prevent the spread of bacteria and parasites. In principle, one could even say that the very strict formal language of Bauhaus architecture resembles a hospital

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