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dc.contributor.authorШнайдер, Андрій-
dc.identifier.citationШнайдер, А. Конструктивні особливості об'єктів об'ємно-просторового текстилю / Андрій Шнайдер // Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка. Сер. Мистецтвознавство. – 2017. – № 1 (Вип. 36). – С. 190–197. – Бібліогр. наприкінці ст.uk_UA
dc.description.abstractУ статті розглянуто види конструктивного вирішення об’ємно-просторових текстильних арт- та дизайн-об’єктів. На основі проведеного дослідження встановлено наявність трьох основних видів кострукцій вказаних об’єктів та їх підвиди, які застосовують для створення текстильних творів. Охарактеризовано властивості й значення конструктивного рішення для сприйняття завершеного твору. Досліджено залежність способів експонування об’єктів об’ємно-просторового текстилю від видів конструкцій.uk_UA
dc.description.abstractВ статье рассмотрены виды конструктивного решения объемно-пространственных арт- и дизайн-объектов. На основании проведенного исследования установлено наличие трех основных видов конструкций и их подвиды, которые применяются при создании текстильных произведений. Охарактеризованы свойства и значение конструктивного решения для восприятия завершенного произведения. Исследовано зависимость способов экспонирования объектов пространственного текстиля от видов конструкций.uk_UA
dc.description.abstractAn interest towards art works of spatial textile has greatly increased during the last decades. It is possible to mark their big variety, which cause the necessity of analysis and determination of constructive peculiarities of such art works. Constructive aspects of textile art and design objects are closely connected with materials and technologies of their production, they also influence at plastiс qualities and ways of exposition of such art works. The aim of this article is systematization and finding out the main types of constructive structure of textile spatial objects, advantages and disadvantages of different types of constructions, principles of their usage and connection with methods of exposition. Researching the objects of spatial textile, it is possible to notice, that their constructive and plastic qualities are closely connected with materials, techniques of execution and the general concept of an artwork. Stability and hardness of structure, stability or on the contrary possibility of it’s movement, play of form under the influence of external factors depends upon the chosen material. These factors are not only technical problems, they influence on plastic of form, artistic and aesthetic qualities of art work in whole. It is determined, that all these constructions can be divided into three main groups: carcass, non-carcass and combined constructions. Art and design objects with carcass construction are not numerous among the general amount of textile spatial art works. They have different ways of installation, which cannot depend from constructive peculiarities of an artwork. Carcass constructions can be divided into: hard, which have a hidden carcass, hard, which are installed with the method of stretching on a carcass. To objects with hard hidden carcass belong art works, in which a carcass is hidden and does not fulfill any other functions, besides hardness and keeping of a necessary form. Nonintegrated carcass were used for placing of monumental installations, which were made with the help of weaving technique and relief structures. For giving them the form nonintegrated to the structure of work carcass were used and were hidden inside the main parts, which carry the main loading and give stability to the objects. Integrated carcass are those, which cannot be separated from an art work themselves, without it’s damage. Hard textile constructions with open carcass, which are installed due to stretching of material on carcass, can be considered the objects in which carcass is a part of an artwork. Objects without carcass can be considered those in which there is no carcass at all. Art works of such type do not need any special elements, which give them hardness and stability. Constructions without carcass can be divided into: hard and soft. Hard constructions without carcass are divided into: those, which are installed due to stretching without carcass and are covered with special materials to give them strength, hardness or created from materials, which themselves keep the form. Hard constructions without carcass are art works, which do not have their own carcass and are installed due to stretching among other surrounding objects: among elements of interior, exterior or between architectural buildings or objects of nature. To objects with soft without carcass construction belong art works in which there is no carcass at all, without additional covering, which makes them hard, without usage of hard materials, which help to keep the form. Soft costructions without carcass can be divided into: those, which are placed on a basement and those, which are installed due to hanging. To the objects with combined constructions belong the works, which combine in themselves two or more types of constructions. Art works, with combination of hard carcass constructions and without carcass are the most interesting. The research gave the possibility to determine three main types of constructions of objects of spatial textile. It is determined, that each type of constructions has it’s own peculiarities of form, which are connected with presence or absence of carcass.uk_UA
dc.publisherТернопільський національний педагогічний університет імені Володимира Гнатюкаuk_UA
dc.subjectкаркасні конструкціїuk_UA
dc.subjectбезкаркасні конструкціїuk_UA
dc.subjectкомбіновані конструкціїuk_UA
dc.subjectтехнології виконанняuk_UA
dc.titleКонструктивні особливості об'єктів об'ємно-просторового текстилюuk_UA
dc.title.alternativeКонструктивные особенности объектов объемно-пространственного текстиляuk_UA
dc.title.alternativeConstructive features of spatial textile objectsuk_UA
Appears in Collections:Наукові записки Тернопільського національного педагогічного університету ім. В. Гнатюка. Сер. Мистецтвознавство. 2017. № 1

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