THE GREATNESS OF THE GREAT PALACE

This article is to scientifically enlighten the history of construction and to architecturaly re-create the original appearance of the Ak-Saray palace, which was built in the late 14th - early 15th centuries in Shakhrisabz by Amir Temur. The Ak-Saray palace is the largest in Central Asia ensemble of national architecture and national heritage of the epoch of Amir Temur. The article is based on the latest archaeological excavations conducted by Kh.T. Sultanov on the territory of the Ak-Saray palace.

ARCHITECTURAL LANDSCAPE IN THE WORKS OF VADIM KONSTANTINOVICH SKUGAREV

The article considers the work of architect Vadim Konstantinovich Skugarev, whose work is inextricably linked with Dagestan. The object of the study was a number of graphic works in the genre of architectural landscape, made by the artist in the technique of watercolor painting during a trip to the villages of Dagestan, in the 1970s – 1990s. The author substantiates the conclusion that the architectural landscapes of the artist are an important part of his work. The artist, carefully studying the Dagestan architecture, noted the originality and peculiarity of the national architecture.

The binary star

Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.

FROM THE HISTORY OF THE ATTITUDE TO THE STUDY OF ARCHITECTURAL MONUMENTS OF UZBEKISTAN IN THE LATE XIX AND EARLY XXI CENTURIES

This article is devoted to the history of the study of architectural monuments of Uzbekistan. It focuses on the attitude of the Uzbek people to the study of the national architectural heritage of the late XIX -early XXI centuries. In other words, the article reflects the views expressed as a result of a comparative study of approaches to the study of architectural monuments of Uzbekistan in the colonial period of the Russian Empire, the Soviet regime and the years of independence.Index Terms:Architectural heritage of Uzbekistan, national architecture, historical monuments, colonialism of the Russian Empire, the Soviet government, the years of independence, attitudes, approaches, research methods

THE ROLE OF FREDERICK KIZLER'S CREATIVE ACHIEVEMENT IN THE DEVELOPMENT OF NATIONAL ARCHITECTURE OF LANDSCAPE THEATERS

The article is devoted to the study on the influence of the work of the outstanding architect-scenographer of Ukrainian origin Frederic Kizler on the formation of authentic features in the architecture of landscape theatres in Ukraine and the establishment of characteristic features present in modern national cultural and entertainment institutions. The author explores how the creative work in scenography and design of theatrical objects by F.Kizler forms the main trends in the development of the concept of the idea of correalism as the main philosophy of architecture in the future. The role of charisma and functionality in the scenography of Frederick Kizler on the solution of the architectural environment as a symbiosis of sound, light and colour of the theatre building on the perception of the average spectator is analyzed. The publication reveals the novelty of the ideas of the architect-designer F.Kizler for all theatrical architecture and the creation of futuristic buildings that connected the past and the present as a bridge created the architecture of the future with their buildings. The author pays special attention to the influence of F.Kizler's work on the formation of modern architecture of landscape theatres and the main trends in the development of cultural and entertainment institutions of this type in the XXI century in Ukraine and the world. The presented publication solves the problems associated with the formation of the basic principles of the typology of landscape theatres using the innovative ideas of the futurist architect Frederic Kizler.

A TOOL OF INTERIOR ANALYSIS IN THE FRAMEWORK OF ANALYTICAL APPROACHES AND MERSIN TRAIN STATION BUILDING SAMPLE

Thinking is a skill that involves complex mental actions and shows individual differences. Thinking ability is the most important feature that makes humankind superior to other living things. Individual differences cause thinking to evolve into different types. Analytical thinking can also be defined as an act of thinking and understanding all parts of a whole. According to the philosophy of analytical thinking, all parts of the whole must be understood in order to understand the whole. There is a flow from piece to whole in the analytical thinking approach. In other words, it is an inductive approach. When considered in this context, the understanding of an interior space can be achieved by understanding all the parts of the interior one by one and establishing the relationship with the whole. A limited number of studies related to an analytical interior analysis tool were reached in the literature. For this reason, the aim of the research is to develop an analytical interior analysis tool and to evaluate this method developed within the scope of an example. For this purpose, an interior analysis tool has been developedin the light of the information obtained from the literature review. For an exemplary evaluation, Mersin Train Station Building, one of the works of the Second National Architecture Period, was chosen and was evaluated within the scope of this tool. As a result, it has been found that the use of an interior analysis tool in interior studies allows the examination of all elements of the entire interior, and enables the detection of erroneous and uncontrolled applications carried out in the process, especially in historical places without ignoring.

FEATURES OF THE NATIONAL ARCHITECTURAL SCHOOLS OF CHINA

The article is devoted to the peculiarities of the national architectural Chinese schools. The numerous studies’ results indicate the necessary number’s lack of theoretical achievements in the analysis of national architectural schools. And their inseparable connection with the specifics of certain Chinese territories. A thorough analysis of national religious and artistic works allows us to predict stylistic national trends. Architectural and artistic processes are presented, which are inclined to study by many scientists. The purpose of this article is to identify the architectural schools` features in China through the relationship between the uses of individual stylistic elements. These elements are correlated with the geographical location of the territory and religious beliefs. The article describes the problem of artistic architectural schools` trends and the regions in which they are located. The concept of style in relation to Chinese arts has been clarified. The main differences between the style of the northern and southern architectural school are described. Their manifestation both in planning, and in a decorative and finishing look of buildings and constructions. It is indicated that buildings, even in adjacent regions, may be denoted by different terms. The preconditions for this phenomenon are the historical feature of the development of China's national architecture and urban planning. It has also had a significant impact on the development of East and South-East Asia. The steady tendency of interrelation between a philosophical and architectural component of a cultural heritage is described. The Chinese tendency to create eastern analogues of European ideal cities due to the work of philosophical and religious currents and their synthesis has been revealed. This approach allowed us to interpret the provisions of Confucianism, Taoism and the Feng Shui system in the formation of historical canons, which became the basis of the entire Chinese tradition architectural schools. In this case, the main elements complement and interdependent on each other. The basic Chinese architects’ rules, which are interrelated with the laws of natural harmony, are indicated. A number of materials used in the buildings’ design and structures in China have been identified. The article provides an example of globalization’s impact on the development of the Chinese architectural school and its gradual return to its origins. The conclusion of the article states that throughout history, the unity of man and nature in religious architecture has been a fundamental philosophical thought of the National Chinese Architecture`s School. And the use of traditional Chinese architectural schools` ideas will allow in modern construction of the XXI century to achieve the unity of the architectural object with the natural landscape.

FEATURES OF THE CONSTRUCTION OF THE NEBELIVKA TEMPLE: MONUMENTAL ELEMENTS, STRUCTURE AND THEIR RITUAL AND RELIGIOUS MEANING

In this article, we will focus on the cult building of the Eneolithic world, which was opened in 2012 near the village Nebelivka, Novoarkhangelsk district, Kirovohrad region. Today it is a recognized Temple of Trypillia civilization. Based on the results of excavations, the main features of the structure and layout of the building were restored. In the course of the study, it was analyzed that the preparation, technology and sequence of the construction of the sacred structure could have a special cosmogonic status. It is also determined that the construction had an archaeoastronomic interpretation. The design features of the Nebelivka Temple revealed its ritual capabilities, and the internal structure of the ritual hall was probably adjusted to the functioning of the main temple symbol. It is noted that the main features of the design of the Nebeliv Temple are repeated in the visual arts of the Cucuteni-Trypillia group. The following main features of construction and planning of the building have been restored: 1. Outdoor yard; 2. Sanctuary before the entrance to the ritual hall; 3. The main ritual hall with a circular balcony around the perimeter of the second floor. It was established that the main ritual hall of the Temple had a structure with a partially open roof or a structure that provided the opening of part of the roof during the rituals. One of the main design features of the Temple was also the "solar corridor" on the east side of the building, which provided the light passage of solar energy on the days of the annual equinoxes. The whole ensemble of the building was complemented by a symbolic image of bull horns, which is a stable element of the structures of the Trypillia Temples. The main purpose of the article is to comprehend the problem of the origin and sacred purpose of the Nebelivka Temple. Factors such as location, position and structure of the structure are investigated. With this, the Trypillia shrine acquires the significance of a monument of national architecture and enters the arena of world culture under the symbol of cosmological religion (for Toporov V. N.). For the first time in religious studies, the features of the construction of the Nebelivka Temple of the Trypillia civilization are highlighted. Also, for the first time, key issues related to the temple ritual practice of the Trypillia ethnic group are revealed.

The architecture of spectacular buildings in the city of Kazan in the context of national and regional traditions

The specificity of the formation of facade and spatial solutions of large spectacular buildings in Kazan is considered in the context of national and regional traditions. Ornamental and decorative systems, adapted to the architectural and artistic styles that existed in this period were identified. The main approaches to the design of large spectacular buildings in the context of national and regional traditions in the architectural practice of Kazan in the middle and the end of the XX century were identified as follows: - based on the use of the dominant styles in the considered periods (classics with the ideological concept of socialism, modernism, postmodernism), adapted to the architectural traditions of the decorative system of the Middle Volga region; - based on the use of modern finishing materials – ceramics, majolica, natural stone, which has references to the traditions of facing the facades of Bulgar buildings with limestone and glazed tiles. The architects of the middle and the end of the XX century laid the foundations of modern regional-national architecture and the methodology for the formation of a decorative-artistic system that combines the stylistic techniques of classicism, modernism, postmodernism with techniques which had references to the Bulgar-Tatar traditions.

INFLUENCE OF BAROQUE STYLE ON THE ARCHITECTURE OF WOODEN TEMPLES OF POHORYNYA

In the complex process of formation, flourishing and decline of various artistic and stylistic trends in the centuries-old history of national architecture, a special place belongs to the Baroque, which has left a noticeable mark in most historical regions of Ukraine. Despite more than a century of research into this unique phenomenon, there are still many gaps in the identification of its impact on the architecture of various localities and historical types of buildings. These include, for example, the absence in the literature of any mention of Pohorynya - a kind of historical area in northwestern Ukraine, which was formed in the early Middle Ages on the basis of several separate principalities along the ancient Pohoryn path. The significance of this unique union of medieval city-states grows even more in view of the fact that in subsequent historical periods it also played an important role in the trade, economic and cultural life of Ukraine and the surrounding areas of Belarus. Nevertheless, any purposeful studies of the peculiar building culture of Pohorin and, in particular, the identification of its inherent manifestations of the Baroque style are still missing. Based on this, as well as the special role of traditional temple building in ensuring the historical integrity and originality of national architecture, the study of this phenomenon should be limited to a comparative analysis of wooden temples of the eighteenth century in the region. The main difficulty of such research is the significant influence on the formation of building art. The burning of artistic and stylistic ideas and compositional techniques of the European Renaissance, which inevitably affected the architecture of the most common in the traditional cult construction of this region Volyn type of wooden temples. Nevertheless, it was in the architecture of these Renaissance buildings that, according to their original artistic and stylistic features, the influence of the Baroque style differed by perhaps the most consistent character and variety of forms. Particularly significant in this regard was the gradual formation on the basis of older temples with one centrally located top, much more complex in its compositional and structural solution of three-story buildings of the Volyn type. No less important in strengthening the Baroque features in the architecture of wooden temples Pohorynya was also the arrangement of additional folds in the structure of their chopped tops, which combined with increasing their height and increasing vertical proportions gave these buildings inherent in this style harmony and plastic expressiveness. And, finally, the last, perhaps the brightest, touch of the studied artistic and stylistic tendencies in the development of the Pohorin school of domestic temple building became characteristic of the monuments of the XVIII century baroque orientation of all, without exception, elements of interior and exterior decor from the complex shape and location of window openings to exquisite carved iconostasis. Summarizing the observations presented in the article, it can be noted that the appeal to the historical Pohorin in the context of studying the features of the Baroque style in the architecture of different regions of Ukraine allows to obtain a much broader and more holistic picture of the successive evolution of this extraordinary phenomenon.