DSpace Собрание:http://dspace.tnpu.edu.ua/handle/123456789/183322024-03-28T12:07:26Z2024-03-28T12:07:26ZСучасні прилади для підсвічування об’єктів просторового середовища: типологія і характеристикиМаркович, Марія ЙосипівнаВільгушинський, Роман КазимировичКузів, Михайло Петровичhttp://dspace.tnpu.edu.ua/handle/123456789/183632021-06-10T13:05:40Z2016-01-01T00:00:00ZНазвание: Сучасні прилади для підсвічування об’єктів просторового середовища: типологія і характеристики
Авторы: Маркович, Марія Йосипівна; Вільгушинський, Роман Казимирович; Кузів, Михайло Петрович
Краткий осмотр (реферат): У статті досліджено способи освітлення і типи освітлювальної апаратури. Зроблено
класифікацію освітлювальної апаратури, способів та методів освітлення. Запропоновано
поєднання різноманітних типів освітлювальної апаратури при вирішенні ряду інженерних,
архітектурних та художніх завдань. Обґрунтовано, що всі згадані світильники завдяки своїм
характеристикам дають змогу надати зовнішності будівлі вишуканого або незвичайного
вигляду, повністю перетворивши її.; В статье исследовано способы освещения и типы осветительной аппаратуры.
Сделано классификацию осветительной аппаратуры, способов и методов освещения.
Предложено сочетание различных типов осветительной аппаратуры при решении ряда
инженерных, архитектурных и художественных задач. Обосновано, что все вышеназванные
светильники, благодаря своим характеристикам дают возможность придать облику здания
изысканный или необычный вид, полностью преобразить его.; Relevance of the research on types of lighting of spatial environment is caused by rising of
requirements to the quality of urban and architectural-object environment, including light-colored. It
is possible to provide every city space with originality and novelty in the evening and night time with
the help of artificial lighting. Lighting of entrances to the city, highlighting of monuments, obelisks,
facades of buildings and sacred buildings is the part of complex city-planning and lighting solutions
and solves the problem of architectural and decorative expression and comfort of space.
Light-colored city environment has become a new branch of creative activity that combines
collaboration of architects, engineers and designers.
Due to the latest technologies in the area of lighting and new types of lighting equipment,
modern methods of static and dynamic highlighting and a higher level of requirements to comfort, it is
possible to state that this theme requires a detailed study. The aim of our work is to study lighting and
lighting equipment as the subject of design and creative activity of designer of space environment.
Today most economical light source LED lights are considered that are powered by solar
panels complete with battery. The high cost of fixtures offset the lack of spending on electricity. This
system operates offline. The only downside is that on cloudy days the battery may not charge enough.
The familiar street poles with lamps allow the use of LEDs, halogen and conventional
incandescent lamps. These lamps as lighting suspended type well to styling and widely used in the
design of old buildings.
Lighting used for architectural lighting design can be both traditional forms and quite
specialized, designed for a specific application. However, even traditional lamps can be used outside
the box. Implementation of large lighting architectural projects typically associated with the use of
energy-saving devices: metal-halogen and LED light sources.
Taking into consideration the current possibilities of lighting technology and tendencies of
development of the world design, it is necessary to explore ways of lighting and types of lighting
equipment. Only the combination of methods and ways of lighting, various types of lighting equipment
would solve a number of engineering, architectural and artistic problems.
Consequently, various lamps, due to its characteristics, make it possible to completely
transform the appearance of building, making living house as imperial palace or alien spacecraft by
changing these pictures “on the fly”. In this case, for example, even the use of conventional roadside
lamps not as lighting equipment, as well as independent elements of created image, can work on
holistic perception of the overall artistic idea. And the lighting of paths and sidewalks will be made by
other lamps, hidden from view by drawing, for example, pavement or forest trail on ordinary asphalt.
The wealth of opportunities, offered by modern technology, allows to implement the flight of the
boldest imagination.2016-01-01T00:00:00ZЯпонізм у мистецтві України кінця ХХ – початку ХХІ століть: творчість Олексія ЄсюнінаОжога-Масловська, Аллаhttp://dspace.tnpu.edu.ua/handle/123456789/183622021-04-09T07:11:00Z2021-01-01T00:00:00ZНазвание: Японізм у мистецтві України кінця ХХ – початку ХХІ століть: творчість Олексія Єсюніна
Авторы: Ожога-Масловська, Алла
Краткий осмотр (реферат): У статті досліджено прояви японізму в сучасному художньому просторі України на
прикладі творчості харківського художника Олексія Єсюніна. Розглянуто живописні,
пластичні та поетичні твори митця в контексті японських мистецьких традицій. Визначено
засоби використання японських технік складання паперу, принципів побудови пейзажу,
віршування. Стаття базована на матеріалах приватних і галерейних колекцій.; В статье исследованы проявления японизма в современном художественном
пространстве Украины на примере творчества харьковского художника Алексея Есюнина.
Рассмотрены живописные, пластические и поэтические произведения художника в контексте
японских художественных традиций. Определены способы использования японских техник
складывания бумаги, принципов построения пейзажних композиций, стихосложения. Статья
построена на материалах частных и галерейных коллекций.; The emergence of various artistic trends, directions and styles has been brought about by
Japanese culture being embedded in the entirety of national artistic traditions. Borrowing particular
Japanese artistic techniques, devices, images, motives was defined as Japanisme, its traces being
observed in a number of national cultures world wide.
New upsurge of interest in Eastern art and Japan in particular, was stirred up in 1991, when
Ukraine gained its independence. O. Yesunin is one of those artists who vividly reveals the East–West
artistic experience merge. Thus, addressing the Ukrainian artistic practice, in terms of Japanese
influence, with the account taken of the artistic experience of the most prominent Ukrainian masters,
in particular, seems both timely and topical.
The study of O. Yesunin’s creative activity has brought to light various links with art culture
of Japan. The artist, upon getting interested in the possibilities of transforming the plane into various
forms, began studying the essentials of the ancient Japanese art – origami. As a result, he worked out
a set of plastic objects under the umbrella title “The Zoo”. Starting with classical forms, worked out
by the famous Japanese masters, he gradually turned to devising genuine models. In search of
additional formation means O. Yesunin began experimenting not only with form itself but also with
different materials.
The application of iron, metal grid, copper, brass, aluminum has made his sculpture object
more stable, on the one hand, while on the other hand, this process called for schemes simplification.
In time, the original form – the square to be used by the artist for further transformations, underwent
certain changes which made his author’s models, performed under the influence of ancient Japanese
art, by far more stylized and modern.
Striving to renew his artistic language stock and artistic expressive means O. Yesunin turns to
landscape painting. The artist entitled his plein air series, performed in the Crimea, in the
neighborhood of state Kara-Dag national park (2002–2008), “A Stroll with Mi-Fu”. His 120 video
picture series is accompanied by a Japanese bamboo flute – shakuhachi. Thus, the author openly
explicates the link with the Eastern country’s late historical experience, prompting the viewer that his
landscapes are not simple replicas of well-known sights: his pictures inspire reflection.
A definite connection with a Japanese art tradition can be traced in O. Yesunin’s poetic
works, too. The artist’s poems, both structurally and semantically, follow the Japanese haiku. But,
even in this case, the master is reconsidering the established tradition and, not in keeping with the
accepted form (syllables number), provides a purely Eastern philosophical desire to concentrate the
readers’ attention on small, at first glance, insignificant, ordinary things.
Thus, it is quite evident that O. Yesunin employs Japanese – Chinese artistic experience in his
work. In origami, he experiments with various materials, synthesizing different techniques; while in
his fine arts series and in his poetic works the artist concentrates his attention on the poetics proper as
well as on some unique life moments, helping him comprehend his own self-identification.
Further research options comprise the study of other effects of Japanisme on modern
Ukrainian art. Of particular interest, is the analysis of the outcomes of teaching traditional Japanese
arts, the influence of the exhibition process on diversifying holistic views on Japanese artistic heritage
as well as the study of the impact of Japanese art culture on contemporary visual practices.2021-01-01T00:00:00ZВітражні компоненти у формуванні інтер’єрів Івано-Франківщини початку XXІ століття: світильникиГілязова, Наталіяhttp://dspace.tnpu.edu.ua/handle/123456789/183612021-04-09T06:42:47Z2016-01-01T00:00:00ZНазвание: Вітражні компоненти у формуванні інтер’єрів Івано-Франківщини початку XXІ століття: світильники
Авторы: Гілязова, Наталія
Краткий осмотр (реферат): У статті досліджено вітражні освітлювальні прилади Івано-Франківщини початку
XXІ століття як компонент формування сучасного інтер’єру. Розглянуто основні художні та
стилістичні особливості їх творення. Проаналізовано колористичні відмінності композиційних
схем.; В статье исследовано витражные осветительные приборы Ивано-Франковщины
начала XXІ века как компонент формирования интерьера. Рассмотрено основные
художественные и стилистические особенности их создания. Проанализировано
колористические различия композиционных схем.; Stained-glass lighting appliances in Ivano-Frankivsk region at the beginning of the XXI
century as a component of modern interior formation are examined in the article. The main artistic
and stylistic peculiarities of their creation are determined. Analyzed the differences colorful composite
schemes.
At the beginning of the XXI century stained-glass in Ukraine, specifically in Ivano-Frankivsk
region, acquired new features − the use of electric light, which greatly expanded the implementation
of stained-glass components in living spaces and public areas. Owing to L. Tiffany’s innovations,
mounting of glass into copper foil, it was possible to create volumetric shapes for lighting appliances.
Shades of colored glass are used in decoration of variety of lamps including table lamps, sconces,
chandeliers and so on.
The theme of research of stained-glass lamps in Ivano-Frankivsk region at the beginning of
the XXI century was not elucidated in art publications. This fact determines the topicality of the
proposed research work.
The purpose of the article is to determine artistic and stylistic features of creation of stainedglass
lamps in Ivano-Frankivsk region at the beginning of the XXI century.
Due to the functionality of the lighting unit and stylistic direction of the interior artist creates
shape and stained with various color and compositional variations.
One type is stained-glass lamp – ceiling. It is shaped like a hemisphere fastened to the ceiling.
Such ceiling creates Valerian Fedoryak. Stained-glass ceiling randomly filled with hundreds of small
pieces of glass that formed on the ratio of nuance. Color – also barely noticeable difference of shades
of yellow. Ends composition wreath of flowers is placed on top of the lampshade.
Zinovy Savin made a series of stained-glass fixtures for private homes, where shade is dome
shape and attached to the ceiling on forged chain. Following the style of the interior, the author used
in the composition of the motifs of floral ornament in bright saturated colors. Taking into account the compositional methods and manner of performance can be argued that the creation of fixtures author
had based stained-glass ceiling American master Louis Tiffany. So are called lamps in the style of
“Tiffany”.
Another type of fixture is stained-glass lampshade is shaped like a bowl. She forged mounted
in the base and hung on chains from the ceiling. One of these samples – lamp for private housing set
Valerian Fedoryak. Stained-glass bowl formed of small pieces of glass of different configurations –
triangles and rectangles. This method of stacking is quite extraordinary and resembles a mosaic.
A common view is stained-glass lamp is sconces. For example, consider a wall lamp indoors
coffee “Galka”. The author used for laying yellowish translucent textural glass that transmits light
well and brightens the room. Oval track set up with items that are symbolic form of coffee grains. The
middle candle remained free, decorated with multiple glass beads of the same color as the
background. Elongated and not loaded decor composition is also a positive factor in the creation of
stained glass wall lamp.
An interesting view, in our opinion, is a stained-glass lamps cubic form. They have a metal
frame in the form of a cube, which are fixed stained glass inserts. Enhances the simple form colored
stained-glass. So when incorporated in the interior lighting appear shimmering colored reflections,
providing living room of elegance and tranquility.
Extraordinary kind of stained-glass lamps are plane, which is mounted in a frame and forged
metal hung from the ceiling on chains created by Olga Revchuk the interior bedroom. Plane fixture
has an oval shape with sharp edges. Abstract composition composed of stained yellow, blue, purple
and orange colors of textured glass that gave the room a playful shimmer and increased the contrast
of the composition.
Stained-glass lamps are considered to be an important component in modern interior
creation. It refers to lamps, sconces, table lamps etc. Stained-glass lampshades have different shapes:
spherical, dome, flat, cube, cone and so on.
Authors and customers pay special attention to floral motifs with secessionist elements.
Geometric and abstract compositions are also common.
Stained-glass lamps do not only functionality, but also solve the important tasks of spatial and
aesthetic environment and creating color atmosphere.2016-01-01T00:00:00ZВіденські газосховища (“Gasometer City”) як знакові об’єкти рефункціоналізації промислової архітектуриСтепаненко, Олександраhttp://dspace.tnpu.edu.ua/handle/123456789/183602021-04-09T06:35:33Z2016-01-01T00:00:00ZНазвание: Віденські газосховища (“Gasometer City”) як знакові об’єкти рефункціоналізації промислової архітектури
Авторы: Степаненко, Олександра
Краткий осмотр (реферат): У статті на прикладі реновації віденських газосховищ досліджено особливості
реорганізації промислових об’єктів та розглянуто варіанти наповнення їх внутрішніх
просторів новими архітектурними елементами. В статті виявлено композиційні прийоми
організації внутрішнього простору при рефункціоналізації газосховищ з об’єктів промислового
спрямування в об’єкти житлового та громадського призначення. Встановлено, що, залежно
від проектної ідеї автора, ідентичне предметно-просторове середовище може бути
реорганізовано у різний спосіб.
.; В статье на примере реновации венских газохранилищ исследовано особенности
реорганизации промышленных объектов и рассмотрено варианты наполнения их внутренних
пространств новыми архитектурными элементами. В статье выявлено композиционные
приёмы организации внутреннего пространства при рефункционализации газохранилищ из
объектов промышленного направления в объекты жилого и общественного назначения.
Установлено, что, в зависимости от проектной идеи автора, идентичная предметно-
пространственная среда может быть решена по-разному.; An intensive industrial construction in Western Europe at the end of the nineteenth-early
twentieth century took place. Nowadays there are a lot of industrial facilities that are no longer used
as intended. Some of these buildings and facilities are included into the UNESCO’s World Heritage List or enrolled into the list of outstanding examples of industrial architecture. In this aspect, a
problem of the further existence of these objects and possible forms of their exploitation arises.
One of the possible ways of solving this issue is a conversion – reconstruction and adaptation
of these objects for other purposes – non-industrial ones. The abovementioned concepts can be
implemented through the conversion of industrial facilities into residential areas (commonly called
lofts) or public premises (cultural purpose mostly).
One of the best examples of such a conversion is “Gasometеr city” in Vienna.
The purpose of the article is to identify the main compositional techniques of the industrial
complex reorganization (on the example of Vienna gas holders).
In 1892, an international tender for the construction of new storage facilities in the industrial
district Simmering was announced in Vienna. The construction of the gas plant Gasometer started
on October 27, 1896. The facility was opened on October 31, 1899. Four large gas holders were built,
each accommodate about 90 000 cubic meters of gas. At the time they were built, Vienna gas holders
were the largest industrial buildings of this type in Europe. In 1981, they were acknowledged as
outstanding examples of industrial architecture by the country’s heritage ministry.
In 1995 it was decided to use these architectural structures for housing purposes. Work on the
design project was completed between 1999 and 2001: Jean Nouvel designed the Gasometer A, office
Coop Himmelb(l)au – Gasometer B, Manfred Veydorn – Gasometer C and Wilhelm Holzbauer –
Gasometer D. The outer shell of gas holders ought to stay untouched due to the fact that the monumental
brick cylinders are under protection as monuments of history and for their classical design.
Each gas holder was divided into several functional areas: 1) living environment; 2) working
area and 3) zone for entertainment and shopping. The shopping floors of each gas tanks are connected
with each other by outer bridges between buildings. Four gas holders contain 615 modern apartments,
an event hall for 3,500 people, a cinema complex, a shopping mall, Vienna municipal archives, offices
of telecommunication companies, a kindergarten, a school, medical offices, and other service spaces.
There are nine trapezoidal segments located along the inner perimeter of the brick cylinder
with an interval from the existing walls in the Gasometer A. The end-faces of these segments are
decorated with polished metal panels. This technique helps to increase the space visually. Apartments
occupy eight top floors and offices occupy three lower floors. There is a shopping center and
underground parking below the residential and office floors. This gasholder has a direct access to U3
subway.
The project for the Gasometer B was developed by the architectural bureau Coop
Himmelb(l)au. Architect Wolf Prix added three new volumes to the existing construction: the cylinder
inside the Gasometer, the vivid new shield-like building outside and the multifunctional event hall
“Die Bank Austria Gasometer Halle” located in the basement of the Gasometer.
The project of conversion for the Gasometer C was developed by the architectural bureau
Wehdorn Architect. Manfred Wehdorn created an eco-friendly designed terraced structure, which
consists of six vertical sectors and four spaces with stairs; also it has two apertures for the
penetration of natural light. The Gasometеr C also has an indoor garden. In order to improve an
insolation of the apartments small patios and terraces near the window apertures of external wall
were created on the top floors.
The space-planning design for the Gasometer D, which was developed by Wilhelm
Holzbauer, provided placing a new shamrock shaped structure into the existing gas tank. There are
elevators and stairs in a vertical shaft in the center along with three trapezoid shape volumes around
it inside the redbrick cylinder, so this gas holder has three small atriums instead of one large
courtyard.
The research of facilities of “Gasometer City” makes it possible to conclude that all the
architects tried to do their best using the architectural features of buildings – their cylindrical shape.
Residential and office spaces in the Gasometer A, B and C situated along the inner perimeter of
existing walls of historic buildings, all three have cylindrical courtyards inside.
The design of internal space of the Gasometer D is absolutely different. It has a shamrock
shaped vertical volume in the center, so it makes most of the historical walls still visible from the
inside. The design of inner spaces of gas tanks was dictated by the original form of architectural
structures. It allows to determine the approach to industrial space renovation – the preservation of a
primary shell, which is closely connected with inner volumes.
In the past, four gas containers were a kind of culmination of Vienna industrial area, entirely
closed, self-sufficient structure, which was an architectural dominant over storehouses and plants.
Nowadays, after the reconstruction it is still the culmination of the entire area of the 11th district of
Vienna – Simmering. These objects are not the abandoned buildings, but the attractive, luxury offices,
apartments and shops now. The reconstruction aroused interest to this area of both the city residents
and tourists.2016-01-01T00:00:00Z