Housing must be a transformable system, corresponding to the dynamics of the family's way of life itself. Such a system of planning organization of the apartment should be found, which would allow further transformation of internal spaces and obtain new options that also meet functional and aesthetic requirements. For example, in multi-room apartments of modern construction, a free layout of rooms is laid, which is implemented in agreement with the owner.

In general, the transformation of the internal space of an apartment can be divided into:

Daily (transformation of children's and bedrooms);

Short-term (transformation of common rooms when receiving guests, celebrations, etc.);

Seasonal (for example, the inclusion of summer premises in a residential or utility area);

Demographic (in connection with the entry of the family into a new period of formation).

At the same time, the planning decisions of reconstructed buildings are influenced by its constructive scheme, i.e. location in space of walls, pillars, columns. Moreover, the presence of an already existing skeleton makes it necessary to take, during reconstruction, a sequence of planning decisions that is reverse to the new construction, including the following steps:

Separation of the wall core into separate sections with existing or newly arranged staircases;

Distribution of sections into apartment cells (located on one or two levels);

The allocation of a residential and auxiliary zone in each apartment cell (with simultaneous linkage with the placement of engineering equipment and newly organized or existing sanitary and technical communications).

The possibility of choosing the layout of apartments (linear, two-sided, corner and end), the number, size and proportions of rooms, as well as providing ventilation and insolation are determined by the size and ratio of the width of the body and the distance between the staircases. special attention The decision of the kitchen and sanitary block deserves, which largely determines the level of comfort of the reconstructed housing.

1. For small-room apartments, it is convenient to place the kitchen and sanitary unit in a compact group at the entrance to the apartment. At the same time, a sufficient level of isolation of living rooms is ensured, and it is also possible to avoid the need for a corridor.

2. In case of high complexity or impossibility of transferring the existing sanitary and technical communications, the kitchen and sanitary block can be located in the back of the apartment. At the same time, communication with the hallway and rooms is carried out through the corridor.

3. In large multi-room apartments, the greatest convenience is provided by the separation of the kitchen and sanitary block (and, possibly, duplication of its elements). For example, a kitchen and a toilet with a sink are located at the entrance to the apartment, while a bathroom and a second toilet are located at the back of the apartment, next to the bedrooms.

E.I. Pankova

Leaders: NIRS - prof. Yu.S. Yankovskaya,
arch. project - Assoc. V.V. Gromada

TRANSFORMABLE MODULAR GRID IN ARCHITECTURE

The dynamics of modern life often require the creation of transformable, multifunctional architectural forms and spaces. To solve these problems, transformable modular grids can be used, which are easily superimposed on any surface, such as the facade, plan and other elements of buildings and structures.

The modern approach to architecture involves not only the creation of favorable conditions for human needs, but also the solution of environmental problems. Therefore, transformable modular grids can be based on the use of the idea of ​​reversible transformations of plants and their response to the impact of the external environment. The embodiment of the principles of natural expediency in architecture leads to convergence and unification of the natural and artificial environments.

Grids, like plants, respond to changes in various environmental factors, such as light, air temperature, humidity, etc. In architecture, this is the movement of structural elements: enclosing surfaces, roofs, blinds systems, which is used to maintain the microclimate of the room.

A.O. Shilkova

Leaders: NIRS - prof. Yu.S. Yankovskaya,
arch. project - Assoc. V.V. Gromada

TECHNIQUES OF TRANSFORMATION IN ARCHITECTURE

(on the example of the architecture of a multifunctional residential complex)

A distinctive feature of our time is the ever-increasing dynamism of society. The world around us is changing, and modern man, without noticing this, is faced daily with changes in the environment. Architecture must meet all the requirements of a person and also change dynamically with him.

Considering architecture as a living organism that is sensitive to the needs of people, an understanding of architecture is formed as a changing artificial environment, adapted to the dynamic processes of reality and meeting the requirements of society.

In this regard, there is a need to transform the space of human life.

The main idea of ​​the research work is the development of flexible, transformable, variable space-planning and structural systems for the structure of a multifunctional residential complex that can meet the needs of people.

Among the tasks and features of the application of transformation in the structure of residential buildings, the following can be distinguished:

1. Versatile use of space.With the help of mobile structures, the problem of optimizing static elements and parameters of buildings is solved, the transformable space creates an environment "without boundaries".Structures formed using transformation should combine the maximum number of functions: "home-rest", "home-communication", "home-work", "home-study", while simultaneously ensuring the dynamic development of the living cell itself;

2. Microclimate regulationdue to reversible movements of structural elements. Transformable facade systems are designed to regulate the parameters of the microclimate in the room, constantly changing under the influence of the environment: sun, wind, precipitation, etc.;

3. Changing the spatial characteristics of an object:openness / closeness in relation to the environment, a change in the level of natural light, etc., which contributes to the creation of a more comfortable environment for a person to stay.

4. Aesthetic aspect. And The idea of ​​a changing space, the complex conceptual structures of a mobile form, the possibility of its modification, depending on specific conditions, acquire unexpected effects and create expressive architectural solutions.

V.S. Berdnikov

Leaders: NIRS - prof. N.S. Akchurin,
arch. project - prof. N.S. Akchurin, prof. A.A. Raevsky

MOBILE ARCHITECTURE AS A METHOD OF ENVIRONMENTAL ADAPTATION AND THE PRINCIPLE OF INTERACTION WITH THE ENVIRONMENT

The state of the human habitat on the planet is determined by environmental indicators. And the influence of architecture, as one of the most important spheres of human life, is very significant in this area.

Everything is interconnected in the world, just like in nature. The abundance of opportunities and resources is inexhaustible, if used properly.

MOBILE architecture is a solution to the issue of the interaction of global elements - ARCHITECTURE and ENVIRONMENT.

Let us consider several principles for the implementation of nanotechnologies that ensure maximum interaction between architecture and the natural environment:

The principle of conservation of energy,

The principle of "cooperation" with the sun,

The principle of respect for the inhabitant,

The principle of respect for the place,

The principle of integrity.

I.S. Popova

Leaders: NIRS - Assoc. M.V. Vinnitsa,
arch. project - Assoc. M.V. Vinnitsa

TRANSFORMABLE FACADES AS A MEANS OF EXPRESSION OF ARCHITECTURE

Transformable architecture is the next step in the evolution of architecture. In the age of high technology and innovative materials, the notion of architecture as static, solid and heavy is beginning to fade into the background. The need of our environment for the ability to change, due to the fact that change is a constant process of our time, leads to the possibility of architecture to acquire the ability to physically adapt to human needs.

For a kinetic object, movement is the most essential part of the design. Even if a structure can exist in a static state, it is only in motion that the intention of its creator is fully revealed. When designing buildings with transformable facades, it is necessary to take into account the relationship between utilitarian and decorative functions in kinetic buildings, as well as the influence of transformable facades on the perception of architecture by a person, identifying the means of expressiveness of such facades. The technical elements of kinetic architecture need architectural rethinking and identification of their role in creating an artistic and figurative solution of architectural objects. Based on the materials studied, a number of criteria have been developed that allow structuring the problem of applying transformable architecture in local conditions. What matters is the urban planning aspect, the variability of setting up the building with elements of transformation (setting it as a dominant in the composition of the building or fitting it into the existing static building). In the artistic and imaginative solution of kinetic buildings, the degree of participation of the transformed element in the overall compositional solution, its independence or subordination to the general compositional structure is manifested. Structural arrangement types of building dynamics include transformation of façade systems, roof dynamics, floor rotation, and movement of the entire building. The most common goal of all types of transformation of an architectural structure is the need to create the necessary microclimatic characteristics inside the object, as well as the reasons for saving energy. In addition to the environmental aspect, the dynamics of buildings endow them with certain aesthetic properties. The type of building dynamics determines its space-planning structure, which manifests the complexity of the volume, the nature of the construction of the planning composition, as well as the functional content. The specificity of the constructive device of the building dynamics also determines its artistic and figurative solution.

Any transformation of a large object - whether it is the already mentioned drawing of bridges, or the opening of secret doors on the dial of a clock tower, or the transformation of a wall into a screen for video mapping - is always a spectacle, always an attraction. It is no coincidence that such techniques are most in demand in buildings that are themselves somehow connected with spectacles: theaters, museums, exhibition galleries, sports arenas.

For example, sliding roofs near stadiums have become almost a common place, starting with our Sochi with a fairly simple transformation mechanism and ending with the Olympic in Madrid Dominique Perrault, in which the roof, consisting of three movable "covers", can take up to 27 different configurations. It all depends on what you need this moment- let in more sun and air, or, conversely, protect the courts from wind and rain. The concrete slabs are lined with aluminum panels, driven by hydraulic mechanisms, and the largest "lid" weighs 1200 tons!

Aquatics Center in London during the 2012 Olympics. Zaha Hadid

Spatial tricks are also functionally justified in exhibition centers and galleries. If only because the organization of any exposition is associated with the need to create new scenery - just like in the theater. For example, in New York's Sperone Westwater Gallery, Sir Norman Foster, solving the problem of doubling the exhibition space within a limited building spot, came up with the idea of ​​making an elevator gallery. The 3.6 x 6 meter parallelepiped moves inside the "shaft" - an elongated glassed-in vertical volume - and is perfectly visible from the street due to its bright red color. This elevator can be used as a separate small hall, through which visitors will be "teleported" to other levels of the building, or "parked" on one of the floors and use its area as a continuation of another exposition.

Rem Koolhaas (OMA) showed an even bolder approach to the transformation of the museum space in his project for Prada in Seoul. The pavilion was named so - Prada-transformer. It is a complex spatial figure - a steel frame covered with fabric, the same one used for the covers of aircraft, yachts and other large objects. He put the figure on one side - and at the base there was a cross, and the rest of the walls acquired one configuration. I put it on the other one - and now the floor became round, and the space changed dramatically. At the same time, the shape is thought out so that at each turn the entrance to the pavilion (on the usual Velcro, which is used in sports jackets or tents) remains within reach.

However, designers often experience a craving for spectacles - together with customers - residential buildings. Not so long ago, archspeech with David Fisher (Dynamic Architecture) - the author of the world's first rotating skyscraper. His idea is to place wind turbines on each floor, which will not only rotate the floor modules, opening up new views for the residents of the apartments, but also generate enough energy to power the building itself. So far, the implementation of the project is in doubt, but in a conversation, Fisher hinted that the first such skyscraper could appear in Miami, and its owner will be able to control the movement of the penthouse located at the very top with his voice.

In the meantime, the ideas of dynamic architecture in residential construction implemented on a small scale. The summer home of the young filmmaker's Caja Obscura in Paraguay, not far from Asuncion, when closed, looks more like a garage: a sandstone plinth is topped with a concrete slab on which a "box" of galvanized steel sheets rests. In fact, the "box" turns out to be a lid, which, rising from one end, opens the second floor with a terrace, a living room and a kitchen in the back. According to the project of the architect Xavier Colan (Xavier Colan), the mechanism is driven by a conventional winch. For some, this process may resemble the raising of a flag, but for the owner of the house, it is more like turning the knob of an old movie camera. Moreover, the winch is located on the second floor, at the front edge of the overlapping slab, and as the roof is raised, the landscape unfolds right before your eyes, as if on a giant screen.

But the owners of a house in Suffolk, East England, have to use an electric drive - because they have to move a module with a roof, walls and windows 28 meters long and weighing 50 tons along specially designed rails. London-based dRMM architects have embarked on a bold experiment code-named Sliding House. Deftly and almost silently moving between the main house, guest house and garage, the module either protects the outdoor pool from bad weather, then darkens the panoramic windows of the glass living room (and then it becomes possible to watch movies in it even during the day), or hides the roof terrace from prying eyes with bathroom installed on it. Or it can turn into an additional carport (although the owner prefers motorcycles) or a canopy over the entrance to the house. Moving on the longest section takes only 6 minutes!

Serebrennikova Tatyana Andreevna ,
master's student at Ural State Academy of Arts
Scientific supervisors:
Candidate of Architecture, Professor A.A. Raevsky
Doctor of Architecture, Professor Yu.S. Yankovskaya
Ural State Academy of Architecture and Art
Yekaterinburg, Russia

PRINCIPLES OF SHAPING IN ARCHITECTURE DURING THE AGE OF INFORMATION EXPLOSION

In the era of the information explosion, architecture requires new approaches, methods and principles of shaping, focused on the system of scientific knowledge, changing the existential space. Architecture of the XX-XXI centuries. is an information space, which, depending on environmental factors, is constantly in motion and is a reflection of the picture of the world. In ultramodern architecture, there are three main principles of shaping and dynamics of I-space: mutual translatability, adaptation and presentation. The principles are interconnected, systematized and subject to structural analysis.

Keywords: information explosion, environmentalism, information space, mutual translatability, adaptation, presentation.

We are currently at a turning point in history that has dramatically transformed historical development and at the same time acquired a destructive character to some extent, breaking the thread of history “past-future”. This is the age of the information explosion, with all the ensuing consequences.

hallmark of this era is the increasing dynamics of society and the oversaturation of the information field. The high rates of development of new technologies focused on expanding the scope of people's activities, the stratification of life priorities, the mobility of the population, the fuzziness and vagueness of social boundaries, the fragmentation of cultures and traditions largely determine the essence of such aspects as science, economics, engineering, art, etc.

We are witnessing a period of globalization, when the role of external factors is rapidly increasing, the needs of society in modern conditions are constantly changing. In this regard, new methods of design and construction are becoming relevant, where the search for an architectural form, first of all, takes into account changes in the requirements of society and allows for change and adaptation depending on the functional significance of the object and the environment.

In the era of the XX-XXI centuries. information largely determines the path of development of science (physics, mathematics, biology, chemistry, etc.). Everything in the environment and in science is digitized and encrypted by systems of codes, symbols, signs. Information is perceived by us at the level of an organized system of codes, each of which has its own designation and content. In mathematics, each formula encodes the meaning of the expression itself, physics appears to us as expressed symbolic elements of certain concepts and quantities, in chemistry each atom and molecule has its own code designation. Each such system of signs, codes has its own organized structure, it is systematized and has a general universality. Similarly, the architecture of the technogenic period should be systematized, substantiated and subject to a single algorithm of shaping, where an important factor is the principles of creating space from the point of view of ultramodernity.

In the era of the information explosion and environmentalism (the dictates of the priority of the environment), architecture requires a new approach, focused primarily on reflecting the aspects that form the existential space. The factors inherent in the technogenic era dictate the methods of shaping themselves, which are systematized and add up to a common sign-symbolic picture. Thus, the architecture is a kind of information space (infospace, i-space), which is a way of transferring the state of the environment - the existential space.

Based on the foregoing, interrelated semantic chains follow:

Scheme1

In the definition of the concept of information space, the following can be distinguished:
- the determining factor, the meaning-forming phenomenon in it is information;
- the subject of activity within its boundaries is a person;
- there are specific information carriers;
- its regulation, density, mobility, measure of accessibility are determined by social need.

It is spatial representations that create a general worldview, on the basis of which a general picture of the world arises.

The environment as an event is an episodic phenomenon, it occurs within the boundaries of the spatial situations of the environment of any purpose when the time parameter changes. The continuous unfolding of events is structured into a single historical process, which is directly related to factors of anthropogenic, natural, cultural, social, and other nature.

Scheme 2

Architecture is the essence of the space itself - the code of the environment. The environment, in turn, reflects the existential space and picture of the world. Thus, architecture in the era of the information explosion should be a reflection of the picture of the world in the modern cultural space, depending on the events taking place within a certain time frame.

To date, the basic principles for creating architecture as an i-space have been outlined:
- the principle of interoperability
- the principle of adaptation
- principle of presentation

Scheme 3

Scheme 4

As you know, today's phenomenon of modern architecture is the lack of a specific style base. The search and invention of new metaphors are "in the state of becoming", capable of surprising and delighting, but at the same time not tied to any particular ideology. Characteristically expressed directions have been outlined, which contain informational significance and unique patterns of design. Thus, we can observe a trend in the development of digital architecture, where the fundamental criterion is the orientation towards computer technology. The connection with latent energy and tectonics of geological formations largely determined such a direction as landform architecture. The problem of ecologization, which in many respects became more acute precisely at the end of the 20th and the beginning of the 21st centuries, and the natural factor itself revealed a “green” architecture, where the natural component is the starting point. Considering such currents of the information period, we can conclude that information, science and the environment as a whole predetermined the development of i-spaces of directions.

Thus, highlighting the main or minor elements of any possible i-spaces, systematizing them and combining them into a common dynamic structure according to the logic of thinking, we get new methods of shaping. Let's designate this principle as the principle of mutual translatability, where each element of the i-space has the ability to interchange, translate, project, thus forming a completely different architecture.

The sciences of complex systems, including fractal geometry, nonlinear dynamics, neocosmology, the theory of self-organization, etc., brought with them a change in the worldview perspective that influenced both the consciousness of people and the architectural space. We can talk about the birth of new directions based on new scientific knowledge. Principle of adaptation

Scheme 5

By the beginning of the twentieth century. for the first time, a new attitude was formulated towards architecture, which must adapt to the constant changes and updates brought by technical development in all areas of life. The unique principle of architectural systems is dynamism, variability, adaptation of the compositional structure. The emergence of the concept of "adaptation" in architecture is due to the need to address factors that are constantly in motion throughout the development of civilization, such as population growth, its social mobility and migration associated with rapid growth cities and active development of areas. The concept of "adaptation" is very multifaceted and can be interpreted from different angles in relation to each specific situation.

The architectural system is in a permanent structural organization, which has the ability to change, adapt and transform. These ongoing processes can be represented as a matrix grid filled with modules that change depending on certain factors. Each module contains a symbolic code that characterizes historical era, time, society. The invariance of the transformation of modules leads to a change in the entire matrix structure, as a result of which global changes occur in the architectural space as a whole.

Building light and mobile is more important than building rigid and immovable.

Mobility
The dynamic sign of the mobility of an architectural object is reflected both in internal processes and in external ones. Mobility is expressed in the transformation of the internal space and mobility of an architectural object due to changes in the needs and lifestyle of people, functional purpose and adaptation to environmental conditions.

Modularity
Modularity in architecture is considered as the organization of the spatial environment on a "global" scale, applied both to the entire architectural structure, and in a single version, applicable to a specific object.

An architectural object is a matrix model consisting of residential and public modules. Modules are interchangeable, change their functional significance, are replicated along the coordinate axes. The choice of the necessary solution is associated with the provision of certain criteria, which may be implicit, hidden and related to aesthetic, climatic, insolation requirements, as well as the requirements of lighting, air exchange, etc.

Transformation
The dynamics of modern life often requires the creation and corresponding transformable architectural forms. In modern architecture, transformation is used to solve functional problems:
- temporary, reversible transformations of the architectural space in case of its multifunctional use;
- regulation of the microclimate of the room due to reversible movements of structural elements (enclosing surfaces, roofs, blinds);
- transportation of structures or their elements in folded form to the place of their erection; installation of other building structures.

Environmental friendliness
The energy and environmental crises largely dictated to the architect new ways of development in design. The further evolution of the artificial habitat is aimed, first of all, at overcoming the contradictions in establishing the connection between "man and nature". So the emerging directions "Organi-tech", "Eco-tech" demonstrate an increasing interest in the problem of ecology; biotectonic flow is focused on the use of renewable energy sources. The use of modern power plants is an integral factor in architectural design in many countries.

Through the application of adaptation principles such as mobility, modularity, transformation and environmental friendliness, it becomes possible to trace the stylistic features of shaping in architecture. The style of shaping is formulated in terms of limited options for using the morphological parameters of the form elements and strictly defined modular structures that determine the features of the interaction of the form elements. Presentation principle

architecture renders big influence on people: this determines its ideological significance, which is taken into account when creating a certain purpose of space and manifests itself in its socio-utilitarian, artistic, aesthetic and compositional qualities. Proceeding from this, the connection of established facts follows, but with a new designation and content. What role does the expression i-space play, by what means and compositional techniques is it expressed (if any), and what elements of scientific systems are used to construct this space?

Architecture co-interprets the system of codes, thus it opens up to interpretive reading, expanding its informational capabilities. The codification of i-space forms can be temporary, its functional certainty can be changeable, while re-profiling, reconstruction can radically change the image of the i-space itself and the environment as a whole.

The principle of presentation implies an emotional-sensory characteristic of i-space. In the process of working on a project, the emotional meaning of the future object is first guessed, then, as it develops, it matures, is refined, and at the end of the work it appears to the author’s inner gaze as a complex flowing system of various kinds of impressions, meanings, signs, thus presenting itself. The emotional structure and degree of impact of i-space, first of all, depends on time, place, environment and functional purpose.

Architecture at this time stage “presents” itself, and a person “accepts” and “perceives” it. The feeling that the architecture of an object conveys, the feeling that it evokes, are part of the meaning that this object carries as a whole.

The emotional reaction is holistic and reflects not only the external, but also the "internal" environment of a person, his well-being, mood and much that does not depend on the appearance of the architectural structure that is currently in sight. From a cultural and semiotic point of view, a person's reaction to an architectural object depends not only on the property of the object, but also on the ability to understand the subject, his culture and experience. Space and its environment influence each other mutually. Space and man are mutually dependent on each other.

It is obvious that today we cannot precisely formulate the definition of cutting-edge architecture. In our time, architecture requires new concepts, new methods, approaches, directions and goals, which should not be limited to narrow formal studies, but be considered as a complex discipline that is constantly in contact with scientific knowledge. Our sense of space has expanded with the advent of modern means and messages to the limits of our planet.

Architecture faced the problem, which has no precedent in its history, to turn to the methods of thinking of modern science: semiotics, new philosophy, microphysics, biochemistry, psychology, anthropology, synergetics, mathematics. In other words, today we are dealing with a fundamentally different architecture - architecture as an i-space.

Consideration of the directions in architecture in the era of the information explosion and the parameters of the existential space that form these directions makes it possible to trace the relationship between environmental factors (economic, natural, social, etc.) and architecture. The study of architectural trends in this era makes it possible to identify the main methods and patterns of the practical and theoretical component of the development of architectural form (the parameters by which the principles function) and, based on their comparison, create a model of invariants of the principles of shaping.

This research hypothesis will make it possible to predetermine the formative principles of architecture by generating parameters, codes, signs and symbols of the main matrix structure of already known directions. Techniques and means of shaping formulated on the basis of factors contemporary painting world, are an alternative to established design methods.

With the development of civilization, the emergence of new cultures and trends, society and the environment will be increasingly saturated with information and communication fields that appear before us in the form of numbers, graphs, ciphers, codes, signs and symbols. This entails a significant change in the surrounding space and its component of the natural environment - architecture. We are talking not only about changes in the world order itself, but also about a new consciousness of a person, a new person, his attitude and worldview. In this regard, there is a need to identify in advance the fundamental parametric model of architectural shaping and, based on a single universality, create new design principles and methods.

In the era of information technology, a new space is being created in which the “natural environment”, dependent and relative, must be recreated on a fundamentally new basis.

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