The base of the construction site is an array of soil that lies under the foundation, steadily perceives the entire load of the structure on itself. Soils that serve as the basis are divided into two types: natural, or natural and artificial.
thirdly, the soils must be without heaving qualities, when freezing, all such soils expand, when 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 from groundwater and liquids.
They have the following building classification:
- rocky- virtually non-compressible, not heaving at all, highly water-resistant (the best base). For example, Manhattan in New York.
- coarse-grained, that is, pieces of rocky type (about 50 percent with a volume of more than two millimeters): gravel and gravel (a fairly good base);
- sands- and the larger the particles, the greater their potential for construction. Gravel sand (large particles) under loads is significantly compacted, they do not show heaving (a fairly good base). And small, almost dust-like particles, when moisture enters, begin to swell;
- clayey they take on significant loads in dry form, however, in the process of moistening, their bearing capacity is significantly reduced, they become heaving;
- loesslike, that is, macroporous, usually have good strength, but in the process of moistening they often give significant subsidence, they can be used provided they are strengthened;
- bulk- are formed when falling asleep pits, garbage dumps, channels. Have disproportionate compressibility (require hardening);
- alluvial- are formed as a result of the purification of a dried-up river or lake. A good base from the ground;
- quicksand- are formed by small particles of sand having silty mixtures. They are not suitable for natural substrates.
Strengthening methods:
First of all, seal. Conventional pneumatic tamping or tamping 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, silicification- used for fine dusty sand. In such cases, mixtures of liquid glass with various chemical additives should be injected into the soil. After the soil hardens, it will acquire a good bearing capacity;
fourth, cementation, that is, the supply of a cement mixture in liquid form or a liquid mixture of cement with sand under the base;
fifth, burning, that is, the thermal method, the combustion of various combustible materials in the depths of wells. Used for loess-like soil types. Thus, the foundation of the soil will be reliable if all these requirements and conditions are met during construction.
The density of the bearing ground underneath and is critical to their safe and long lasting. In our country, cases when buildings, structures and roads are built on dense mainland soils that do not require additional strengthening are relatively rare, most often it is necessary to carry out a series of measures to strengthen the soil, most of which 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. This is:
- Complete replacement of natural soil with low bearing capacity.
- Physical compaction of natural soils.
- Strengthening with additional materials
Complete replacement of natural soil with low bearing capacity can be carried out in two ways.
First: excavation of soil (usually fine-grained, dusty sands, water-saturated gley soils in the place of former swamps) to the mainland base (usually it is either gravel), followed by backfilling the pit with gravel, crushed stone or pouring a solid concrete slab. Gravel and crushed stone are compacted with vibrorammers or heavy equipment, for example, road rollers weighing 10-15 tons.
Second: frequent driving of piles into the top layer of fragile soil to the continental base. Currently, they are used exclusively, although history knows other examples, for example, oak piles were used in the construction of St. Petersburg.
Strengthening soils with additional materials has become possible in recent years with the advent of geotextiles, better known as non-woven synthetic material. It combines several useful properties and forms a solid, non-rotting, permeable base on the soil surface. With it, you can strengthen the slopes of embankments or canals, make the foundation for footpaths and even highways. It is used both independently and as a finishing coating for 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 it is used. Depending on the scope of work and the size of the material fractions, both light tools (vibratory rammers) and heavy equipment are used.
1. Market Square.
How did the center of a medieval city differ 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 flowed 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 did not have running water or sewerage.
2. Town Hall.
1. What items and documents were kept in the town hall? What significance did they have for the city?
The town hall kept the city banner, the keys to the city gates, and the city seal. In the same place, in strong chests behind many locks, they saved the treasury and the archive. Archival documents were guarded especially carefully, as they contained charters in which the rights, liberties and privileges of the city were recorded.
2. Which of the three ways of forming city government seems more democratic to you? What groups of the urban population were in any case excluded from city government?
The most democratic way to form a city council was to elect its members at a narrow meeting of "respectable" citizens.
In any case, the poor and even many wealthy artisans were not allowed to govern the city.
3. City Cathedral.
Why did the townspeople spend so much money, effort and time on the construction of cathedrals?
Citizens 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 the city and protect it.
4. Romanesque and Gothic cathedrals.
1. Why do you think the Romanesque temples looked like fortresses? Why are they called Romanesque? How do they resemble the architectural monuments of Ancient Rome?
Because the period when the cathedrals were built - 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 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 created the impression of lightness and weightlessness, as if the cathedral was stretching upwards.
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 did you find unusual?
The appearance of medieval cities was different from modern ones. The city was surrounded by high walls with towers and deep ditches filled with water to protect against attacks, the city gates were locked at night. The walls surrounding the city limited its territory; with the influx of people from the villages and the increase in the number of inhabitants, it did not accommodate all the living, and it had to be expanded by building new walls. Thus, suburbs arose, in which artisans settled mainly.
Due to the limited urban area, the streets were very narrow. The houses were built on several floors, with each upper floor hanging over the lower one, so that the street was always in twilight. The architecture of the houses was uncomplicated and monotonous, the main building materials were wood, stone and straw. The exception was the houses of feudal lords and wealthy merchants. Two buildings stood out sharply in the town square - 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 the same 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 one could see how the products are made. Street lighting did not exist for a long time. There were no sidewalks either, the streets were unpaved, so it was very dusty during 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 one could not even ride a horse through them. Overcrowding, unsanitary conditions, lack of hospitals turned the city into a hotbed of 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 subject to devastating fires, so it was a rule to put out the lights in the houses after dark.
2. With the help of additional materials, prepare a report about one of the famous medieval cathedrals.
Chartres Cathedral is a Catholic cathedral located in the city of Chartres in the prefecture of the department of Eure et Loire. It is located 90 km southwest of Paris and is one of the masterpieces of Gothic architecture. In 1979, the cathedral was included in the list of UNESCO World Heritage Sites.
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 during the fire on June 10, 1194. From this fire, started by a lightning strike, only the towers with the western facade and the crypt survived. The miraculous salvation from the fire of the sacred shroud was considered a sign from above and served as a pretext for the construction of a new, even more grandiose building.
The construction of a new cathedral began in the same 1194 with donations that flocked to Chartres from all over France. City residents voluntarily delivered stone from the surrounding quarries. The project of the previous structure was taken as a basis, into which the remaining parts of the old building were inscribed. The main work, which included the construction of the main nave, was completed in 1220, the consecration of the cathedral took place on October 24, 1260 in the presence of King Louis IX and members of the royal family.
Chartres Cathedral has survived from the end of the 13th century to the present day almost untouched. It escaped destruction and robbery, was not restored or rebuilt.
The three-aisled building has a Latin cross plan with a short three-aisled 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 in its construction, which gave it a completely unprecedented external outline, increased the size of the window openings and the height of the nave (36 meters).
A feature of the appearance of the cathedral are its two very different towers. The 105-meter spire of the southern tower, built in 1140, is made in the form of a simple Romanesque pyramid. The north tower, 113 meters high, has a base left over from a Romanesque cathedral, and the spire of the tower appeared at the beginning of the 16th century and is made in the flamboyant Gothic style.
Chartres Cathedral has nine portals, three of which have been preserved from the old Romanesque cathedral. The northern portal dates from 1230 and contains sculptures of Old Testament characters. The southern portal, created between 1224 and 1250, uses New Testament scenes with a central composition dedicated to the Last Judgment. The West Portal of Christ and the Virgin Mary, better known as the Royal Portal, dates from 1150 and is famous for its depiction of Christ in Glory, created in the 12th century.
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 made of stone and glass.
On the south side of the cathedral there is an astronomical clock of the 16th century. Until the clockwork broke in 1793, they showed not only the time, but also the day of the week, month, sunrise and sunset times, the phases of the moon, and the current sign of the zodiac.
No less remarkable is the interior of the cathedral. The spacious nave, which has no equal in all of France, rushes to the magnificent apse located in the eastern part of the cathedral. Between the arcades and the upper rows of windows of 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 colorful 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 large stained-glass roses on the western facade, south and north transepts, the most famous are the stained-glass window of 1150 "The Virgin of Beautiful Glass" and the composition "The Tree of Jesse".
A distinctive feature of the stained-glass windows of Chartres Cathedral is the extreme saturation and purity of colors, the secret of which has been lost. The images are characterized by an unusual 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 labyrinth has eleven concentric circles, the total length of the path through the labyrinth is approximately 260 meters. In its center is a six-petaled flower whose contours are reminiscent of cathedral roses.
According to the mockumentary film Far Blue Heights, drawings on the floor of Chartres Cathedral helped mathematicians 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 from this period is dominated by deep blues and reds, while lighter shades are rare.
Questions for additional materials.
What was the significance of the activity of changers in medieval society?
Thanks to the activities of the money changers, trade developed, as it made it possible to buy / sell goods of another state, which contributed to the development of the circulation of goods.
1. What architectural style do you think the tower was built in?
I think that in the Gothic style, it is characterized by aspiration to the sky.
2. How to explain that the craftsmen made such serious mistakes during construction and, moreover, did not pay attention to warnings?
It is possible that the masters lost the knowledge of architecture and architecture that was known during the Roman Empire.
Early age
Educational tasks:
Introduce materials for construction (natural, waste, construction and paper);
With three-dimensional geometric shapes (brick, ball, cube, cylinder, cone, pyramid), which are part of building kits or designers;
Learn to place various geometric bodies in space;
Highlight geometric shapes in familiar objects;
Familiarize yourself with the techniques used in design;
Experiment with paper, natural, waste materials in the process of creating elementary crafts;
Connect parts using additional materials (plasticine, clay);
Highlight familiar images in buildings and crafts.
Development 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;
To form the ability to attach the details of crafts to each other.
Educational tasks:
Generate interest in constructive experimentation
To cultivate the ability to hear the verbal instructions of the teacher, his instructions, characteristics;
To cultivate the ability to see beauty in designs and crafts.
Features of learning. The design of young children is reminiscent of an experimental game in which the properties and features of geometric shapes and various materials are studied. The three-dimensional volume of design products makes it possible to more carefully examine all the details from which it is planned to create a structure.
In the learning process, where the leading method is the game, it is advisable not only to demonstrate various figures, but also to name them as often as possible, to give them a figurative description that helps children quickly include the materials being examined in their own design. It is important to activate all analyzers in order to form a more complete understanding of the design.
At an early age, children, starting from the first year, are able to identify geometric shapes without naming them, but highlighting the given shape from many others. This fact indicates that three-dimensional geometric bodies can not only be objects of manipulation and play by children at this age, but also an object of study.
The ability to single out a form, and subsequently name it, facilitates the process of learning to design at later stages, where the teacher will not need to familiarize himself with the forms and form the ability to create various buildings from them. In this case, the teacher can use verbal instruction, indicating the necessary forms, rather than a detailed demonstration, 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 for something that's so easy. In the game, children acquire multiple skills that we, adults, do not always use wisely for their creative development. We are always afraid that children will not understand, they will not be able to, they will not cope. But sometimes we don't even try to give them what they need. Often, in order to meet the time allotted for the lesson, we try to minimize the activity of the child, and this is a fundamentally wrong approach.
You should not sacrifice the opportunity to form some kind of skill for the sake of spectacular crafts. Let the construction (handicraft) initially have a look that is not much reminiscent, perhaps, of a real object, but it will testify to the path that the child has traveled. And here it is important to emphasize its achievements, pointing to the prospect of further movement.
Liza (1 year, 4 months old) made the "Joyful Caterpillar" from crumpled pieces of paper, which had to be placed one after another, fastening them together. At first, it was hard for her to crumple the paper into a ball (the sheet of paper was straightened all the time, and it was not possible to get a single shape). The teacher suggested that she slightly wet her hands and only then roll the wads of paper, as is done with plasticine. As a result of Liza's efforts, the details for the caterpillar were ready. When the lumps were connected, another problem arose: Lisa glued the eyes in different places (on the first link and on the last). Lisa's mother immediately rushed to help her daughter: glue it for her so that everything was neat. But having explained 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, two small caterpillars turned out. Lisa was so happy that she got not one big caterpillar, but two small ones that she made herself. After class, she ran to show her craft to her mother, proudly slapping her chest, as if showing that she herself could do it.
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 and visual experience. Even if the lesson takes place with a subgroup of children, one should 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 design (craft). It is important to put emphasis on techniques and techniques, the variations of which expand the content and technical side of children's design products.
Junior preschool age
Educational tasks:
Continue to introduce materials for construction (natural, waste, construction and paper), their properties and expressive possibilities;
Introduce volumetric geometric bodies and architectural forms (domes, roofs, arches, columns, bridges, doors, stairs, windows) that are part of building sets or designers;
Continue to learn to place various geometric bodies in space, creating a certain design;
Learn to distinguish, 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 various materials and transforming various blanks;
connect parts using additional materials (plasticine, clay, double-sided tape, glue, matches).
Development tasks:
To develop visual-effective and visual-figurative thinking, imagination, attention, memory;
Contribute to the mastery of constructive skills: arrange 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 designs and crafts;
To cultivate accuracy when working with various materials and tools;
Ability to perform teamwork.
Learning Features. 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 teacher's instrumental actions by children, but also partially exploratory, 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 ideas are not stable, and secondly, their constructive and visual experience is small. However, the possibility of choosing the material, reception, content of a constructive image forms a creative approach in children, which manifests itself at the initial stages in the ability to give their construction an individual character.
When creating a garage for a car from a building kit, you can show the kids how different garages for each car are obtained from the same parts. To do this, it is necessary to use parts made of self-adhesive paper as 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 buildings on their own, but to actively include them in the game.
Design refers to those activities 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, manuals for math classes, familiarization with the outside world, buildings in a corner of nature, etc. Thus, children, starting from the younger age group, learn to participate in the organization of the environment in which they live while they are in preschool. This has a huge impact on them, therefore, in the meaningful plan of design classes, it is necessary to take this moment into account in order to implement such areas 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 worth imposing a specific, planned type of construction only in order to solve a specific task of forming some kind of skill. The constructive skill and the content of the building are interconnected, 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. There is no difference on the example of which building the baby will learn the desired technique. The main thing is that he will master it in order to continue to use it independently.
As part of learning to design from paper, children master the techniques of folding paper in various directions (vertically, horizontally, diagonally, double folding). This makes it possible to expand the content side of children's constructive images.
Middle preschool age
Educational tasks:
To consolidate the ability to work with various materials for construction (natural, waste, construction and paper), taking into account their properties and expressive possibilities in the design process;
To consolidate the ability to identify, 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), which are part of building kits or constructors;
Continue to teach how 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 learn to compare geometric shapes with each other and objects of the surrounding life;
See the image in geometric forms;
use various techniques and techniques in the process of constructive activity;
Create constructive images in the process of experimenting with various materials and transforming various blanks;
Connect parts using additional materials (plasticine, clay, double-sided tape, glue, matches).
Development tasks:
Continue to develop a sense of form when creating buildings and crafts;
Contribute to the mastery of compositional patterns: scale, proportion, plasticity of volumes, texture, dynamics (statics);
To consolidate constructive skills: to place parts in different directions on different planes, to connect them, to correlate buildings with diagrams, to select adequate connection methods;
Expand the child's vocabulary with special concepts: "proportion", "scale", "texture", "plasticity", "proportion".
Educational tasks:
Arouse interest in design and constructive creativity;
To cultivate the ability to be guided by the verbal instructions of the teacher in the process of exercises;
Aesthetic attitude to works of architecture, design, products of one's constructive activity and handicrafts of others;
Accuracy when working with various materials and tools;
The ability to work together with children and the teacher in the process of creating a common work.
Learning Features. In the middle group, children consolidate their constructive skills, on the basis of which they form new ones. So, the ability to compose a certain composition of the elements of the designer, 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. This is an important factor in the formation of educational activities. Children, constructing a building or craft, mentally imagine what they will be like, and plan in advance how they will be performed and in what sequence.
In the process of working with paper and cardboard, children learn how to fold paper in various directions, using both simple and complex types of fold. In the middle group, this type of design, like paper-plastic, is becoming more and more relevant. Along with building kits, paper, thanks to its expressive and plastic possibilities, allows you to create interesting designs and crafts that have both a realistic and a decorative basis. 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 ways to use 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 various directions. Origami technique only in exceptional cases allows the use of scissors and glue. This allows us to attribute it to rather complex techniques that require great attention, patience and accuracy. Unevenly folded corners will not allow you to get the desired result. The initial stage of learning the origami technique in the middle group is mastering the simplest initial forms, varying which you can get different images.
Another type of paper plastic is the use of scissors, glue, in addition to working with paper, allowing you to create three-dimensional structures and crafts using experience with applique images. It also requires the ability to work with scissors to get the necessary detail for the design. In the middle group, children learn only simple cutting methods. They cut, cut paper and cut out elementary shapes from blanks. Along with cutting out in the middle group, plucking (to convey the texture of the building) and cutting (to convey a certain character of the image, display the style of the building) 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 big role in educating the initial skills of working in a team - the ability to pre-negotiate (distribute responsibilities, select the material necessary to complete the construction or crafts, plan the process of their manufacture, etc.) and work together without interfering with each other.
Making various crafts and toys for children to give to their mother, grandmother, sister, younger friend or peer brings up a caring and attentive attitude towards loved ones, a desire to do something pleasant for them. It is this desire that often stimulates the child to work with special diligence and diligence, which makes his activity even more emotionally saturated and brings him great satisfaction.
Constructive activity, due to its capabilities, makes it possible to practically acquaint children with 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, appliqué images of children. In this case, constructive activity is of great importance for the education of aesthetic feelings. When children get acquainted with architecture, artistic taste develops, 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 construction (natural, waste, construction and paper), taking into account their properties and expressive possibilities in the design process;
To consolidate the ability to identify, name, classify different three-dimensional 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), which are part of building kits or constructors;
Use different types of composition to create three-dimensional structures;
Create plot constructive images;
Compare geometric shapes with each other and 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 how to draw up a structure according to verbal instructions, descriptions, conditions, diagrams;
To learn how 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 to connect the details of a constructive image, making them strong and stable;
Find a replacement for some parts with others;
Improve the ability to bend paper of different density in different directions;
Learn to work according to ready-made patterns, drawings.
Development tasks:
Continue to form a sense of form, plasticity when creating buildings and crafts;
To consolidate the ability to use compositional patterns: scale, proportion, plasticity of volumes, texture, dynamics (statics) in the design process;
Continue to develop visual-effective and visual-figurative thinking, imagination, attention, memory;
Improve your 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 cultivate an aesthetic attitude to works of architecture, design, products of their constructive activity and crafts of others;
Accuracy when working with various materials and tools; improve scissor skills;
Develop the ability to work in a team.
Features of learning. 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 visual freedom.
Making crafts from natural material forms in children not only technical skills and abilities, but also an aesthetic attitude to nature, art, and their 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 acquired in the course of one type of construction, children can 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 activities. As for the materials used in the course of creating a constructive image, it should be more than required for a separate building (both in terms of elements and in quantity). This is done in order to teach children to select only the necessary parts that correspond to their plan. If a child is not able to make a choice and uses all the material provided to him in the lesson, not trying to objectively assess its significance for the implementation of the plan, then this indicates a rather low level of creative development. It is important to teach children to analyze the material, to correlate its properties with the nature of the created constructive images. Children of senior preschool age, when creating structures, do not build in general, but with a specific purpose, i.e. in order to apply the construction (handicraft) in practical activities. This gives the design meaning and purpose.
Given the variety of materials used in the design, it is necessary to consider a system for its storage. 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 the 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 activities, preschoolers indirectly consolidate knowledge about the properties of different types of material.
At senior preschool age, under the guidance of a teacher, children learn new ways of connecting for them, learn to create a variety of movable structures from pictures, drawings. Particular attention is paid to the special development in children of the ability to connect parts with the help of nuts and wrenches, since this requires the participation of the small muscles of the hand, which is still imperfect in a preschooler.
Sets of building material and designers are not given all at once, but gradually, as they are mastered by children. After the children under the guidance of the educator have mastered one or another constructor, it can be placed in the corner of creativity so that the children have the opportunity to independently use it in free activities.
Paper is also widely used in older groups in the process of paper-plasticity, which is used as an independent type of creativity, and in combination with others, for the manufacture of various crafts and toys. Children are given different types of paper: thick desktop paper, writing paper, glossy paper, paper paper, and various types of cardboard.
The variety of natural material and ease of processing allow it to be used in many ways in working with preschoolers. The teacher, together with the children, prepares natural material. Replenishment of its stocks occurs throughout the year. To create a complete craft or design from natural material, you need to choose an adequate method of fastening. In that age group, such as an awl, needle, wire, which, due to their unsafety, are not recommended for use in younger groups, can already be used as an additional tool. However, even for older preschoolers, instruction on the features of working with these tools is necessary, as well as control over the work.
Natural material allows you to create structures of both small and large sizes, and then the work will have a collective character. For example, the construction of buildings made of sand or snow on the site. In this case, children will develop the ability to work together, where you need to negotiate, find a common solution.
Artistic manual labor
This is an artistic and labor activity, consisting in the manufacture by children 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, 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 that allow them to transform materials, achieving the intended results - the implementation of creative ideas.
Own crafts, which preschoolers subsequently use not only in the game, but also in the process of educational, labor activity, acquire a certain value for them. For example, having made a stand for a brush, children treat it much more carefully than they buy it in a store. From this we can conclude that artistic manual labor is an important means of developing the personal qualities of a preschooler: the desire for diligence, attentiveness towards others, accuracy, patience, etc.
The techniques and techniques used are the same as in the design and application process. The tasks are in the same direction. The main difference is that children learn to purposefully create useful things that are necessary in their practical activities.
test questions
1. Define children's constructive creativity.
2. What types of constructive creativity can be conditionally identified? What is the essence of each type of constructive creativity?
3. What materials are most often used in the work on the application?
4. What are the differences and similarities between appliqué, design and artistic handicraft?
5. From what age is it more expedient to teach how to work with scissors? Why?
6. For what purpose are sketches used in the process of learning the application?
7. What is the importance of diagrams in the process of learning to design?
8. What constructive techniques do children of primary preschool age master?
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 flourishing 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 had to seem like villages compared to the new capital of Timur. There were 13 gardens around Samarkand, the largest of them was so vast that one day (as the ancient chronicles say) the architect's horse got lost there and they were looking for it for a whole month.
The architectural ensemble of Samarkand, stretching from the Iron Gates to the east in the form of a street, was lined on the sides with ceremonial tombs and religious buildings. On the outskirts of Samarkand, on the slope of the Afrasiab hill, the mausoleums of Shakhi-Zinda are located. No one planned or designed this magical street, the ensemble arose on its own, and it was built for hundreds of years - one mausoleum after another. "Shakhi Zinda" means "living king", whose cult existed long before the arrival of Islam.
Timur had many wives, but only one beloved - the beautiful Bibi-Khanym. The great ruler was on a long journey when she gathered the best architects of Samarkand, who, at the hour indicated by the stars, began the construction of the mosque.
The mosque was built by a young architect, who, captivated by the beauty of Bibi Khanum, became a victim of crazy and unrequited love. The slender walls of the mosque already shine with beautiful glaze, its dome already competes with the vault of heaven, it remains only to close the arch of the portal. But the enamored architect hesitates, because the completion of the work means separation from Bibi Khanym.
Timur himself is buried in the Gur-Emir mausoleum, which is located near a small pond on Registan Square. At first, Gur-Emir was intended for the burial of Mukhamed Sultan, Timur's beloved grandson, but now Timur himself, his sons and another grandson, the great medieval scholar Ulugbek, are buried here, under whom the mausoleum turned into the family burial vault of the Timurids. The blue ribbed dome of the mausoleum rises to a height of 40 meters, wooden doors with ivory inlay lead to the front hall... The rays of the sun, breaking through the marble bars, fall in stripes on eight tombstones, the graves themselves are below - in the dungeon.
The Registan is the central square of old Samarkand; streets approach it from all sides, radially crossing the territory of the Old City. In ancient times, a powerful channel flowed through the area, leaving a mass of sandy deposits. Sand deposits, probably, gave the name to this place, since "Registan" literally means "place of sand", "sandy field".
Until the 15th century, 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, the Registan became a parade-official square: solemn reviews of the troops began to take place here, khan's decrees were proclaimed, etc.
During the time of Ulugbek, Samarkand was the center of scientific life in Central Asia, famous mathematicians, astronomers, historians came here ... In the madrasah, for which Ulugbek personally selected teachers, and in its 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.
