Prepare your message with the help of additional materials. Use additional materials to learn about the architectural monuments in Samarkand, built under Timur
Early age
Educational tasks:
Introduce materials for construction (natural, waste, construction and paper);
With volumetric geometric shapes (brick, ball, cube, cylinder, cone, pyramid), which are part of building kits or constructors;
Learn to place various geometrically bodies in space;
Highlight geometric shapes in familiar objects;
To acquaint with the techniques used in construction;
Experiment with paper, natural, waste materials in the process of creating elementary crafts;
Connect parts with additional materials(plasticine, clay);
Highlight familiar images in buildings and crafts.
Developmental tasks.
To form a sense of form when creating elementary buildings and crafts;
Develop visual-effective and visual-figurative thinking;
Promote the development of attention, memory;
Form the ability to attach the details of the craft to each other.
Educational tasks:
Generate interest in constructive experimentation
To educate the ability to hear the teacher's verbal instructions, his instructions, characteristics;
To cultivate the ability to see beauty in structures and crafts.
Features of training. The design of young children resembles an experimenting game in which the properties and characteristics of geometric shapes and various materials are studied. The three-dimensional volume of design products makes it possible to more thoroughly examine all the parts from which it is planned to create a structure.
In the learning process, where the leading method is play, it is advisable not only to demonstrate various figures, but also to name them as often as possible, to give them a figurative characteristic that helps children to quickly include the materials under study in their own design. It is important to activate all analyzers in order to gain a more complete understanding of the design.
V early age children, starting from the first year, are able to identify geometric shapes without naming them, but distinguishing the given shape from many others. This fact indicates that volumetric geometric bodies can not only be objects of manipulation and play of children at this age, but also an object of study.
The ability to highlight the form, and later to name it, facilitates the process of teaching design at later stages, where the teacher will not need to acquaint with the forms and form the ability to create from them various buildings... In this case, the teacher can use verbal instruction, indicating the necessary forms, and not a detailed display, explaining the meaning of choosing certain forms for a particular building. After all, children are already prepared to work with these forms, because they know their properties and signs.
More time is left for the creative design process itself. Don't make it easy on something that is already so simple. In play, children acquire multiple skills that we, adults, do not always use wisely for their creative development. We are always afraid that the children will not understand, will not be able to, will not cope. But sometimes we don't even try to give them what they need so much. Often, in order to meet the time allotted for the lesson, we try to minimize the child's activities, and this is a fundamentally wrong approach.
You should not sacrifice the opportunity to form some kind of skill for the sake of the showiness of the craft. Let the construction (hand-made article) initially have a form that does not resemble, perhaps, a real object, but on the other hand, it will testify to the path that the child has traveled. And here it is important to emphasize his achievements, pointing out the prospect of further movement.
Liza (1 year 4 months) made the "Joyful caterpillar" from crumpled pieces of paper, which had to be placed one after another, fastening them together. At first, it was difficult for her to crumple the paper into a lump (the sheet of paper was straightened all the time, and it was not possible to get a uniform shape). The teacher suggested that she slightly wet her hands and only then roll the lumps out of paper, as is done with plasticine. As a result of Liza's efforts, the parts for the caterpillar were ready. When the lumps were connected, another problem arose: Liza glued her eyes in different places(on the first link and on the last). Lisa's mother immediately rushed to help her daughter: to stick it on her so that everything was neat. But after explaining to the mother the inexpediency of such an act, the teacher, together with the girl, found a way out by gluing one more eye to each link and dividing the caterpillar into two parts. Thus, we got two small caterpillars. Lisa was so glad that she had not one large caterpillar, but two small ones, which she made herself. After class, she ran to show her handicraft to her mother, proudly clapping herself on the chest, as if showing that she could do it herself.
When the child himself achieves the desired result with the indirect guidance of the teacher, the skill acquired by the child in the classroom becomes part of the constructive-visual experience. Even if the lesson is held with a subgroup of children, you need to strive not to minimize their activity, but to think over its organization so that the children, performing actions that are simple in nature, create a simple structure (craft). It is important to put emphasis on techniques and techniques, variations of which expand the content and technical aspects of children's design products.
Younger preschool age
Educational tasks:
Continue to acquaint with materials for construction (natural, waste, construction and paper), their properties and expressive capabilities;
Introduce three-dimensional geometric bodies and architectural forms (domes, roofs, arches, columns, bridges, doors, stairs, windows) that are part of building kits or constructors;
Continue to learn to place various geometrically bodies in space, creating a specific structure;
Learn to highlight, compare geometric shapes with each other;
Continue to acquaint with the techniques and techniques used in constructive activities;
Learn to create constructive images in the process of experimenting with different materials and transforming a variety of blanks;
connect the parts using additional materials (plasticine, clay, double-sided tape, glue, matches).
Developmental tasks:
To develop visual-effective and visual-figurative thinking, imagination, attention, memory;
Promote the mastery of constructive skills: position parts in different directions on different planes, connect parts, correlate buildings with diagrams, select adequate connection methods;
Expand the child's vocabulary with special concepts: "construction", "architecture", "scheme".
Educational tasks:
Arouse interest in design;
To cultivate the ability to see beauty in structures and crafts;
To educate accuracy when working with various materials and tools;
Ability to do teamwork.
Features of training... In the process of teaching children of younger preschool age, it is advisable to use, in addition to the reproductive method based on the repetition of the instrumental actions of the teacher by children, but also partially search, heuristic methods that allow children to independently transform the experience gained into new situations. Of course, younger preschoolers are not yet able to fully realize their own ideas without help, because, firstly, their plans are not stable, Secondly, constructive and visual experience is not great. However, the ability to choose the material, technique, content of a constructive image forms in children a creative approach, which manifests itself at the initial stages in the ability to give their building an individual character.
When creating a garage for a car from a building kit, you can show kids how different garages for each car are obtained from the same parts. To do this, you must use parts from self-adhesive paper as a decoration: bricks, stones, slabs, eyes (surveillance cameras), etc., buttons, corks from plastic bottles for the construction of additional structural elements: locks, handles, cornices, etc.
In the younger group, children try not only to create their own buildings, but to actively include them in the game.
Design refers to those types of activity that, in terms of content, create the most favorable conditions for the development of collective creativity. For example, when preparing decorations, gifts for the holidays, attributes for story games, performances, aids for studying mathematics, getting to know the outside world, buildings in a corner of nature, etc. Thus, children, starting with the youngest age group, learn to participate in organizing the environment in which they live while they are in preschool... This has a huge impact on them, therefore, in the content plan of design classes, it is necessary to take into account this moment, in order to implement such directions in the development of creativity, as the satisfaction of personal and social needs.
At the age of three, children have a desire to show their "self". This also needs to be taken into account, it is not necessary to impose a specific, planned type of construction only in order to solve a specific problem of the formation of any skill. Constructive skill and building content are interrelated, but not static in nature. This allows you to use the principle of variability in the learning process, which gives some freedom to both the child and the teacher. It makes no difference, on the example of which building, the baby learns the desired technique. The main thing is that he will master it in order to further use it independently.
As part of teaching paper construction, children master the techniques of folding paper in various directions (vertically, horizontally, diagonally, double fold). This makes it possible to expand the content of children's constructive images.
Middle preschool age
Educational tasks:
To consolidate the ability to work with various materials for design (natural, waste, construction and paper), taking into account their properties and expressive capabilities in the design process;
Strengthen the ability to select, name, classify different volumetric geometric bodies (bar, ball, cube, cylinder, cone, pyramid, prism, tetrahedron, octahedron, polyhedron) and architectural forms(domes, roofs, arches, columns, doors, stairs, windows, balconies, bay windows) included in building kits or constructors;
Continue to learn to place various geometric bodies in space, using various compositions that reveal the essence of constructive images;
Learn to create plot compositions in the design process;
Continue to teach how to compare geometric shapes with each other and with the objects of the surrounding life;
See the image in geometric shapes;
use various techniques and techniques in the process of constructive activity;
Create constructive images while experimenting with different materials and transforming a variety of blanks;
Connect the parts using additional materials (plasticine, clay, double-sided tape, glue, matches).
Developmental tasks:
Continue to build a sense of form when creating buildings and crafts;
Contribute to the mastery of compositional laws: scale, proportion, plastic volumes, texture, dynamics (statics);
Reinforce constructive skills: position parts in different directions on different planes, connect them, correlate buildings with diagrams, select adequate connection techniques;
Expand the child's vocabulary with special concepts: "proportion", "scale", "texture", "plastic", "proportion".
Educational tasks:
Arouse interest in design and constructive creativity;
To cultivate the ability to be guided by the teacher's verbal instructions in the exercise process;
Aesthetic attitude to works of architecture, design, products of their constructive activities and crafts of others;
Accuracy when working with various materials and tools;
Ability to work together with children and a teacher in the process of creating a common work.
Features of training... V middle group children consolidate their constructive skills, on the basis of which they form new ones. So, the ability to make a certain composition of the elements of the constructor, contributes to the development of the ability to plan work. At this age, children learn not only to act according to the plan proposed by the teacher, but also to independently determine the stages of the future construction. it important factor when forming learning activities... Children, constructing a building or craft, mentally imagine what they will be, and plan in advance how they will be performed and in what sequence.
In the process of working with paper and cardboard, children learn to fold paper in different directions, using both simple and complex folds. In the middle group, this type of design, like paper plastic, is becoming more and more relevant. Along with building sets, paper, thanks to its expressive and plastic capabilities, allows you to create interesting designs and crafts that have both realistic and decorative base... Paper, or rather its transformation, develops the imagination of children, forms the ability to see new images in familiar forms. For example, a cone made of paper can, with appropriate modifications, turn into any animal, flower, vase, boat, completion for a tower, become part of a costume for a fairy-tale character, etc.
There are many options for using the cone. But in order for children to be able to transform it, it is necessary to show the possibilities of transformation on diagrams, pedagogical sketches.
The same wonderful transformations are obtained in the origami technique, which is based on the techniques of working with paper by bending it in different directions. The origami technique only in exceptional cases allows the use of scissors and glue. This allows us to classify it as a rather complex technique that requires tremendous attention, patience and accuracy. Unevenly folded corners will prevent desired result... The initial stage of learning the origami technique in the middle group is mastering the simplest initial forms, by varying which you can get different images.
Another type of paper plastic is the use of scissors, glue, in addition to techniques for working with paper, allowing you to create volumetric designs and crafts with the involvement of experience in working with applique patterns. It also requires the ability to work with scissors in order to obtain the necessary part for the structure. In the middle group, children learn only simple ways cutting. They cut, cut paper, and cut out basic shapes from blanks. Along with cutting in the middle group, plucking (to convey the texture of the building) and clipping (to convey a certain character of the image, display the style of construction) can be used to create a constructive image. Application techniques in this case can be both basic and additional.
The joint constructive activity of children (collective buildings, crafts) plays a large role in fostering the initial skills of working in a team - the ability to pre-agree (distribute responsibilities, select the material necessary to complete a building or craft, plan the process of their manufacture, etc.) and work amicably, without interfering with each other.
Children making various crafts and toys for a gift to their mother, grandmother, sister, younger friend or peer fosters a caring and attentive attitude towards loved ones, the desire to do something pleasant for them. It is this desire that often stimulates the child to work with special zeal and diligence, which makes his activity even more emotionally intense and brings him great satisfaction.
Constructive activity, due to its capabilities, allows you to practically introduce children to such an art form as architecture. In the middle group, children not only study individual architectural forms, but also get acquainted with different styles, which has a positive effect on other types of fine art. It is the knowledge of the features of different forms of architecture that contributes to the enrichment of the content of drawings, application images of children. In this case, constructive activity is also of great importance for the education of aesthetic feelings. When children get acquainted with architecture, they develop an artistic taste, the ability to admire architectural forms and understand that the value of any structure lies not only in its functional purpose, but also in its design.
Senior Preschool Age
Educational tasks:
Improve the ability to work with various materials for design (natural, waste, construction and paper), taking into account their properties and expressive capabilities in the design process;
To consolidate the ability to select, name, classify different volumetric geometric bodies (bar, ball, cube, cylinder, cone, pyramid, prism, tetrahedron, octahedron, polyhedron) and architectural forms (domes, roofs, arches, columns, doors, stairs, windows, balconies, bay windows) included in building kits or constructors;
Use Various types compositions for creating volumetric structures;
Create plot constructive images;
Compare geometric shapes with each other and with the objects of the surrounding life;
Highlight an image in various geometric bodies;
Improve the ability to use various techniques and techniques in the process of creating a constructive image;
Continue to learn to draw up a structure according to verbal instructions, descriptions, conditions, diagrams;
Learn to independently transform materials in order to study their properties in the process of creating constructive images;
To consolidate the ability to select adequate ways of connecting parts of a constructive image, making them strong and stable;
Find replacement of some parts with others;
Improve the ability to fold paper of different weights in different directions;
Learn to work with ready-made patterns, drawings.
Developmental tasks:
Continue to form a sense of form, plastics when creating buildings and crafts;
To consolidate the ability to use compositional laws: scale, proportion, plastic volumes, texture, dynamics (statics) in the design process;
Continue to develop visual-effective and visual-figurative thinking, imagination, attention, memory;
Improve the ability to plan your activities;
To consolidate and expand the child's vocabulary with the special concepts of "substitute", "structure", "tectonics".
Educational tasks:
Arouse interest in design and constructive creativity;
To foster an aesthetic attitude to works of architecture, design, products of their constructive activities and crafts of others;
Accuracy when working with various materials and tools; improve the skills of working with scissors;
Develop the ability to work collectively.
Features of training. The constructive creativity of older preschool children is distinguished by a substantial and technical variety of buildings and crafts, due to the presence of a certain degree of pictorial freedom.
Making handicrafts from natural material forms in children not only technical skills and abilities, but also an aesthetic attitude to nature, art, and their own creativity. However, this becomes possible only with an integrated and systematic approach to the learning process. It is important that the knowledge, skills and abilities obtained in the course of one type of construction, children are able to use in others.
As an activation of the constructive creativity of children, it is advisable to use a variety of stimulating material: photographs, pictures, diagrams that guide their search activity. As for the materials used in the creation of a constructive image, then there should be more of it than is required for separate building(both by elements and by quantity). This is done in order to teach children to select only the necessary details that correspond to their intention. If the child is not able to make a choice and uses all the material provided to him in class, without seeking to objectively assess its significance for the implementation of the plan, then this indicates a rather low level creative development... It is important to teach children to analyze the material, to correlate its properties with the nature of the constructive images being created. Children of older preschool age, creating structures, do not build in general, but for a specific purpose, i.e. in order to apply the construction (craft) in practice. This gives meaning and purpose to the design.
Given the variety of materials used in the design, you should consider a storage system. It is most convenient to arrange the materials in boxes, depending on the type, while making it accessible to children. It is advisable to classify the material together with children. Firstly, this will allow you to quickly remember its location, secondly, the joint work on disassembling the material teaches children to order, accuracy, and thirdly, in the course of such activity, preschoolers indirectly consolidate knowledge about the properties of different types of material.
At the senior preschool age, under the guidance of a teacher, children master new ways of connecting them, learn to create a variety of movable structures from pictures, drawings. Special attention applies for a special practice in children of the ability to connect parts with nuts and wrenches, since this requires the participation of small muscles of the hand, which are still imperfect in a preschooler.
Building material kits and construction sets are not given all at once, but gradually, as the children master them. After the children, under the guidance of a teacher, master this or that constructor, it can be placed in the corner of creativity so that the children can independently use it in their free activities.
Paper is also widely used in older groups in the process of doing paper plastic, which is used as an independent form of creativity, and in combination with others, for the manufacture of various crafts and toys. Children are given different varieties paper: thick desktop, writing, glossy, semi-wattman, and different types cardboard.
The variety of natural material and ease of processing allow its versatile use in work with preschoolers. The teacher, together with the children, prepares natural material. Its stocks are replenished throughout the year. To create a complete craft or structure from natural material, you need to choose an adequate method of fastening. In that age group as additional funds can already be used such as an awl, needle, wire, which, due to their unsafeness, are not recommended for use in younger groups. However, even older preschoolers need instruction on the features of working with these tools, as well as control over the work.
Natural material makes it possible to create structures of both small and large sizes, and then the work will already be of a collective nature. For example, sand or snow structures on the site. In this case, the children will develop the ability to work together, where they need to negotiate, find a common solution.
Artistic manual labor
This is an artistic and labor activity, consisting in the production of artistic and aesthetic useful crafts necessary in various areas of the life of preschoolers.
The practical orientation of artistic manual labor contributes to the formation of labor skills in preschoolers. Children learn not only to create by inventing interesting crafts, but also to organize the space of their life, create beautiful things that fill it. To do this, they need to master the necessary skills and abilities to transform materials, achieving the intended results - the implementation of creative ideas.
Own crafts, which preschoolers subsequently use not only in play, but also in the process of educational and work activities, acquire a certain value for them. For example, having made a stand for a brush, children are much more careful with it than with the one bought in the store. Hence, we can conclude that artistic manual labor - important remedy development of personal qualities of a preschooler: striving for hard work, attentiveness towards others, accuracy, patience, etc.
Techniques and techniques are used the same as in the design and application process. The tasks have the same focus. The main difference is that children learn to purposefully create useful things necessary in their practical activities.
Control questions
1. Give a definition of children's constructive creativity.
2. What types of constructive creativity can be conditionally distinguished? What is the essence of each type of constructive creativity?
3. What materials are most often used in the work on the applique?
4. What is the difference and what is the similarity between applique, construction and artistic manual labor?
5. At what age is it more expedient to teach working with scissors? Why?
6. For what purpose are sketches used in the applique training process?
7. What is the importance of circuits in the process of teaching design?
8. What constructive techniques do children of primary preschool age master?
1. Market square.
How was the center of a medieval city different from a modern city?
The center of the medieval city, as well as the modern one, was the square. Only in the case of a medieval city, the whole life of the city proceeded on the square: auctions were held there, people exchanged news, punished criminals, theatrical performances and performances took place on the square.
Unlike the modern city, the medieval city had no running water or sewerage system.
2. Town Hall.
1. What items and documents were kept in the town hall? What did they mean for the city?
The town hall kept the city banner, the keys to the city gates, and the city seal. There, in strong chests behind many locks, they kept the treasury and archive. Archival documents were especially carefully guarded, as they contained letters in which the rights, freedoms and privileges of the city were recorded.
2. Which of the three listed ways of forming a city government seems to you more democratic? What groups of the urban population were in any case excluded from the city government?
The most democratic way to form a city council was to elect its members at a narrow meeting of "respected" citizens.
In any case, the poor and even many wealthy artisans were not allowed to the city government.
3. City Cathedral.
Why did the townspeople spend so much money, effort and time on the construction of cathedrals?
The townspeople spent so much money, effort and time on the construction of cathedrals in order to show the greatness, beauty and wealth of their city, to be proud of it. In addition, cathedrals were built in honor of the saints who were supposed to help and protect the city.
4. Romanesque and Gothic cathedrals.
1. Why do you think Romanesque temples resembled fortresses? Why are they called Romanesque? How do they resemble the architectural monuments of Ancient Rome?
Because the period when the cathedrals were built - the 9th - 12th centuries - was a period of internecine wars and constant attacks by neighboring tribes (Normans, Hungarians, etc.), so they had thick walls so that in case of an attack the inhabitants of the city could hide behind them.
These cathedrals are called Romanesque because the architects who built them used the techniques of the ancient Roman builders. The architecture of ancient Rome, these cathedrals resembled the use of columns, arches and vaults.
2. What mood did the architecture of the Gothic cathedral create among believers?
The architecture of the Gothic cathedral gave the impression of lightness and weightlessness, as if the cathedral was stretching upward.
Questions at the end of the paragraph.
1. Imagine that you are a traveler arriving in a medieval city. Describe what you saw in the city. What seemed unusual to you?
The appearance of medieval cities was different from modern ones. The city was surrounded by high walls with towers and deep moats filled with water to protect against attacks, the city gates were locked at night. The walls that surrounded the city limited its territory; as the population flowed from the villages and the number of inhabitants increased, it did not accommodate all the living, and it had to be expanded by building new walls. This is how the suburbs arose, in which mainly artisans settled.
Due to the limited urban area, the streets were very narrow. Houses were built in several floors, with each upper floor hanging over the lower, so that the street was always twilight. The architecture of the houses was simple and monotonous, the main building materials served as wood, stone and straw. The exceptions were the houses of feudal lords and wealthy merchants. Two buildings in the city square stood out sharply - the cathedral and the town hall. It was the center of the city and at the same time the market square. The streets were inhabited by artisans of one specialty. The windows of each workshop usually faced the street: during the day the shutters were opened, the upper one turned into a canopy, and the lower one became a counter. In addition, through the open window, it was possible to see how the products were made. Street lighting long time did not exist. There were no sidewalks either, the streets were unpaved, so it was very dusty in the heat in summer, and dirty in spring and autumn. Waste was thrown directly into the streets. It was difficult to walk and drive along the streets of the medieval city, the puddles were so deep that it was impossible even to ride a horse through them. The overcrowding of the population, unsanitary conditions, and the lack of hospitals turned the city into a breeding ground for all diseases and epidemics, from which sometimes 1/2 to 1/3 of the population of cities died, especially during the plague, which was called the Black Death. Cities with their wooden buildings and thatched roofs were often subjected to devastating fires, so it was a rule to extinguish the lights in houses at nightfall.
2. Prepare a report on one of the famous medieval cathedrals with the help of additional materials.
Chartres Cathedral is a Catholic cathedral located in the city of Chartres in the prefecture of the Ayr-et-Loire department. It is located 90 km south-west of Paris and is one of the masterpieces of Gothic architecture. In 1979, the cathedral was declared a UNESCO World Heritage Site.
Churches have long stood on the site of the modern Chartres Cathedral. Since 876, the Holy Shroud of the Virgin Mary has been kept in Chartres. Instead of the first cathedral, which burned down in 1020, a Romanesque cathedral with a huge crypt was erected. He survived the fire of 1134, which destroyed almost the entire city, but was badly damaged in a fire on June 10, 1194. From this fire, which started from a lightning strike, only the towers with the western façade and the crypt survived. Miraculous salvation from the fire of the sacred shroud was considered a sign from above and was the reason for the construction of a new, even more grandiose building.
The construction of a new cathedral began in the same year 1194 with donations that flowed to Chartres from all over France. City dwellers voluntarily delivered stone from the surrounding quarries. The design of the previous building was taken as a basis, into which the surviving parts of the old building were inscribed. Major work, which included the construction of the main nave, was completed in 1220, and the cathedral was consecrated on 24 October 1260 in the presence of King Louis IX and members of the royal family.
Chartres Cathedral has been preserved from the end of the 13th century to the present day almost intact. It escaped destruction and robbery, was not restored or rebuilt.
The three-nave building in the plan is a Latin cross with a short three-nave transept. The eastern part of the temple has several semicircular radial chapels. At the time of construction, the vaults of Chartres Cathedral were the highest in France, which was achieved through the use of flying buttresses based on buttresses. Additional flying buttresses supporting the apse appeared in the 14th century. Chartres Cathedral was the first to use this architectural element, which gave it completely unprecedented external outlines, made it possible to increase the size window openings and the height of the nave (36 meters).
Feature appearance of the cathedral are its two very different towers. The 105-meter spire of the south tower, built in 1140, is shaped like a simple Romanesque pyramid. The 113-meter-high north tower has a base left over from a Romanesque cathedral, and the tower's spire appeared at the beginning of the 16th century and is made in the style of fiery Gothic.
Chartres Cathedral has nine portals, three of which have survived from the old Romanesque cathedral. The north portal dates back to 1230 and contains sculptures of Old Testament characters. The southern portal, created between 1224 and 1250, uses New Testament plots with a central composition dedicated to To the Last Judgment... The Western Portal of Christ and the Virgin Mary, better known as the Royal Portal, dates from 1150 and is famous for the 12th century depiction of Christ in Glory.
The entrances to the north and south transepts are decorated with sculptures from the 13th century. In total, the decoration of the cathedral has about 10,000 sculptural images of stone and glass.
The 16th century astronomical clock is located on the south side of the cathedral. Before the breakdown of the clockwork in 1793, they showed not only the time, but also the day of the week, month, times of sunrise and sunset, the phases of the moon, and the current sign of the zodiac.
The interior of the cathedral is no less remarkable. The spacious nave, unparalleled in all of France, rushes towards the splendid apse located on the east side of the cathedral. Between the arcades and the upper rows of windows in the central nave, there is a triforium, the massive columns of the cathedral are surrounded by four powerful pilasters. The cathedral is famous for its colored stained-glass windows, the total area of which is about 2000 m2. The Chartres collection of medieval stained glass is absolutely unique: more than 150 windows, the oldest of which were created in the 12th century. In addition to the large stained glass roses on the western façade, the southern and northern transepts, the most famous are the 1150 stained glass window "Our Lady of Beautiful Glass" and the composition "The Tree of Ieseevo".
A distinctive feature of the stained glass windows of Chartres Cathedral is the extraordinary richness and purity of colors, the secret of obtaining which has been lost. The images are characterized by an extraordinary breadth of subject matter: scenes from the Old and New Testaments, scenes from the lives of prophets, kings, knights, artisans and even peasants.
The floor of the cathedral is decorated with an ancient labyrinth from 1205. It symbolizes the believer's path to God and is still used by pilgrims for meditation. There is only one way through this labyrinth of the cathedral. The size of the labyrinth practically coincides with the size of the window rose of the western facade (but does not repeat it exactly, as many mistakenly believe), and the distance from the western entrance to the labyrinth is exactly equal to the height of the window. The maze has eleven concentric circles total length path through the labyrinth - about 260 meters. In its center is a flower with six petals, the outlines of which are reminiscent of cathedral roses.
According to the mock documentary Distant Blue Heights, the drawings on the floor of Chartres Cathedral helped mathematicians to discover "gravity tunnels."
The medieval stained glass windows, including the rose window, are well preserved in Chartres Cathedral. The total area of glazing in the cathedral is 2044 sq. M. Stained-glass windows from this period are dominated by deep blues and reds, and light shades are rare.
Questions for additional materials.
What was the significance of the activity of money changers in medieval society?
Thanks to the activities of the money changers, trade developed, as this made it possible to buy / sell goods of another state, which contributed to the development of the turnover of goods.
1. What do you think architectural style was the tower erected?
I think that in gothic style, it is characterized by a striving upward.
2. How to explain that the craftsmen made such serious mistakes during the construction and, moreover, did not pay attention to the warnings?
It is possible that the masters have lost the knowledge of architecture and architecture that was known during the Roman Empire.
The base of the construction site is an array of soil that lies under the foundation, steadily takes the entire load of the structure on itself. Soils serving as the basis are divided into two types: natural, or natural and artificial.
thirdly, the soils should be without heaving qualities, when freezing, all such soils expand, while thawing, they decrease, which leads to a violation of the correct shrinkage of the structure and the formation of deformative cracks, gaps;
fourthly, soils must have the ability to withstand all kinds of influences groundwater, liquids.
They have the following building classification:
- rocky- actually not compressible, not heaving at all, very waterproof (the best base). For example, Manhattan in New York.
- coarse, that is, pieces of a rock type (about 50 percent with a volume of over two millimeters): gravel and crushed stone (a fairly good base);
- sands- and the larger the particles, the greater their possibilities for construction. The sand is gravelly (large particles) under loads are significantly compacted, they do not show heaving (a fairly good base). And small, almost dusty particles, when moisture gets in, begin to heave;
- clayey take on significant loads in dry form, however, in the process of moistening, their carrying capacity is significantly reduced, they become heaving;
- loesslike, that is, macroporous, usually have good strength, however, in the process of moistening, they often give significant subsidence, they can be used provided they are strengthened;
- bulk- are formed when filling pits, garbage dumps, canals. Have a disproportionate compressibility (require hardening);
- alluvial- are formed as a result of the purification of a dried-up river or lake. Quite good soil base;
- quicksand- formed by small particles of sand with silty mixtures. They are not suitable for natural substrates.
Strengthening methods:
At first, seal... Ordinary pneumatic ramming or ramming with special plates, in some cases crushed stone is added. On large areas, rollers are used;
Secondly, pillow device... In cases where it is difficult to strengthen the soil, the layer of unreliable soil is removed and replaced with a more stable one (for example, sand or gravel). The thickness of such a pillow is usually 10 centimeters or more;
third, silicatization- used for fine dusty sand. In such cases, mixtures should be injected into the soil liquid glass with various chemical additives. After the soil hardens, it will acquire a good bearing capacity;
fourthly, cementation, that is, feed under the base cement mix in liquid form or a liquid mixture of cement and sand;
fifth, burning, that is thermal method, burning of various combustible materials in the depths of wells. Used for loess soil types. Thus, the foundation of the soil will be reliable if all these requirements and conditions are observed during construction.
The density of the bearing soil underneath and is critical to their safe and long lasting. In our country, cases when buildings, structures and roads are erected on dense continental soils that do not require additional strengthening are relatively rare, most often it is necessary to carry out a number of measures to strengthen the soil, and most of them have a volume and final cost comparable to all subsequent construction.
There are only three ways to strengthen the soil, both natural and artificially poured. It:
- Complete replacement of natural soil with low bearing capacity.
- Physical seal natural soils.
- Strengthening with additional materials
Complete replacement of natural soil with low bearing capacity can be carried out in two ways.
First: excavation (usually fine-grained, dusty sands, water-saturated gley soils in the place of former swamps) to the mainland base (usually gravel), followed by backfilling the excavation with gravel, crushed stone or continuous filling concrete slab... Gravel and crushed stone are compacted with vibratory rammers or heavy equipment, for example, road rollers weighing 10-15 tons.
Second: frequent piling in upper layer fragile soil to the mainland. Currently, they are used exclusively, although history knows other examples, for example, oak piles were used in the construction of St. Petersburg.
Strengthening the soil with the help of additional materials became possible in last years when geotextiles, better known as nonwovens, appeared synthetic material... It combines several useful properties and forms a solid, non-decaying, water-permeable base on the soil surface. With its help, you can strengthen the slopes of embankments or canals, make the foundation for footpaths and even highways. It is used both independently and as topcoat gravel or crushed stone bedding.
Physical compaction of bulk and natural soils is carried out in any case to form a denser "cushion". For such a process, only materials with a structure of medium discreteness are suitable - gravel, crushed stone (sand with natural stones), in rare cases used. Depending on the volume of work and the size of the material fractions, they are used as light tool(vibratory rammers) and heavy equipment.
Samarkand is a contemporary of Ancient Rome: the age of its cultural lower layers dates back to the 1st millennium BC.
At the turn of the XIV-XV centuries, a new heyday of Samarkand began. This happened during the reign of the great conqueror Timur (Tamerlane), who decided to make Samarkand the capital of his empire. Timur wanted to make his capital unattainably beautiful and grandiose, surpassing all other cities in the world. Therefore, the villages around Samarkand received new names and henceforth were called like this: Baghdad, Damascus, Cairo - the greatest cities in the world should have seemed like villages in comparison with the new capital of Timur. Thirteen gardens were rustling around Samarkand, the largest of them was so vast that once (as the ancient chronicles tell) the architect's horse got lost there and they were looking for it for a whole month.
The architectural ensemble of Samarkand, stretching from Iron gate to the east in the form of a street, it was built on the sides with ceremonial tombs and religious buildings. On the outskirts of Samarkand, on the slope of the Afrasiab hill, there are the Shakhi-Zinda mausoleums. Nobody planned or designed this magical street, the ensemble arose by itself, and it was built for hundreds of years - one mausoleum after another. "Shahi-Zinda" means "living king", whose cult existed long before Islam came here.
Timur had many wives, but only one favorite - the beautiful Bibi-khanym. The great ruler was on a long campaign when she gathered the best architects of Samarkand, who, at the hour indicated by the stars, began to build a mosque.
The mosque was built by a young architect who, captivated by the beauty of Bibi-khanim, became a victim of insane and unrequited love. The slender walls of the mosque are already shining with beautiful glaze, its dome already competes with the vault of heaven, it remains only to close the portal arch. But the loving architect hesitates, because the completion of the work means separation from Bibi-khanim.
Timur himself is buried in the Gur-Emir mausoleum, which is located near a small pond in Registan Square. At first, Gur-Emir was intended for the burial of Mohamed Sultan, Timur's beloved grandson, but now Timur himself, his sons and another grandson, the great medieval scientist Ulugbek, are buried here, under whom the mausoleum turned into the family tomb of the Timurids. The blue ribbed dome of the mausoleum rises to a height of 40 meters, wooden doors inlaid with ivory lead to the ceremonial hall ... The sun's rays, breaking through the marble lattices, fall in stripes on eight tombstones, the graves themselves are below - in the underground.
The central square of old Samarkand is Registan; streets are approaching from all sides, radially crossing the territory of the Old City. In ancient times, a powerful canal flowed through the area, leaving a mass of sandy deposits. Sandy sediments probably gave the name to this place, since "Registan" literally means "place of sand", "sandy field".
Until the 15th century, the Registan was a large trade and craft area, but then its importance as a marketplace receded into the background. Under Khan Ulugbek, who was the ruler of Samarkand from 1409 to 1447, Registan became the official square: solemn reviews of troops began to be held here, khan's decrees were announced, etc.
During the time of Ulugbek, Samarkand was the center scientific life Central Asia, famous mathematicians, astronomers, historians came here ... In the madrasah, for which Ulugbek personally selected teachers, and in his observatory, scientists touched the secrets of science. Merchants and artisans, pilgrims and poets, wanderers and diplomats - all aspired here, all roads led to the "precious pearl of the world" - the sparkling city of Samarkand.
