ERGONOMIC FACTORS THAT PROMOTE THE FORMATION OF REHABILITATION CENTERS FOR CHILDREN WITH DISABILITIES

The article presents the main ergonomic factors that contribute to the formation of archi- tecture. The use of ergonomic requirements in the field of architectural design is due to the prob- lems of architectural ergonomics, which are associated with the formation of an environment that allows the child to use his abilities and respond to his individual requests. Based on the studies, 4 main ergonomic factors are identified and their detailed characteristics are given. One of the most important subsystems of the social sphere of any state is nurturing, treat- ment and education of children with various types of disabilities and limitations, which determines the potential of social, economic and cultural development. In our country we are actively searching for the solutions that allow flexible use of the building, taking into account emerging changes in the forms and methods of rehabilitation and training. The solution of this problem is to create open internal, transformed space for children’s rehabilitation centers. In fact the features and specifics of the rehabilitation is a research institution in which there is a research part and it carries out the work in each individual situation, and in the activity of the specialist as a whole, and without focusing on this aspect, this work becomes a simple formality. The application of ergonomic requirements in the field of environmental architectural de- sign highlights the problems of architectural ergonomics, associated with the formation of our im- mediate surrounding, in accordance with individual requests of the person, taking into account the facilitation of the fulfillment of human life functions. Against this background, it is necessary to be very responsive to creating of the architectural environment for children with disabilities. Ergo- nomic factors are the most important forming factors for particular architecture that will affect the treatment and rehabilitation of such children. Thus, the ergonomic factors, that affect the formation of rehabilitation centers for the chil- dren with disabilities, can be divided into 4 groups: • spatial and anthropometric requirements (dimension and size of the equipment and furniture, geometric parameters of space, spatial human behavior, human anthropomet- ric characteristics); • determination of number of storeys; • barrier-free architecture; • psycho-physiological environment. Correcting the architectural environment would reduce the problem of children with disa- bilities. It should be noted that equipping the environment with stationary supporting devices does not solve the problem of physical defect compensation. The environment ―obstacles‖ for such children are: long way, difficult route, irrational movement, interaction with furniture, etc. According to the research, the children and the teachers are forced to walk up to a 40-floor height every day. Of course, this has a negative effect on children’s health. It is established that as a result of 5-floor rising, the pulse rate and blood pressure indicators change significantly, and the recovery occurs only in 10-20 minutes. Most of the existing centers are located in four-, five-storey buildings. Although the hy- gienists in special children’s rehabilitation centers have not performed similar studies, it is correct to assume that the negative impact of these factors on them will increase taking into account the peculiarities of physical growth and development of children with disabilities. The issue of identi- fying the optimum number of stories in a building is closely connected with the organization of connection between the classrooms and the school site. When organizing the environment during the design it is necessary to foresee and ensure: the shortest accessibility to the rooms, actively used by the children; reduction of movement routes, exclusion of difficult routes; obstacle clearing on the path; the use of specially designed furniture, effective trauma protection of the children. It should be noted that the use of such elements as paintings, reproductions, photos, music, color, can significantly improve the mental health of patients and affect the working efficiency of the staff. However, when choosing colors for walls, doors, furniture, for the purpose of special marking, it is necessary to take into account the difficulties in their discrimination for many peo- ple, in particular, for elderly patients, patients with mental disorders and those who have color dis- crimination [6, p. 14]. Medical equipment, that is easy to transform and takes into account the different levels of users’ mobility, will help to create comfortable, safe conditions and lighten the work of the staff. For example, a height-adjustable specialist seating is accessible for the children with muscle- skeleton disorder and, at the same time, reduces staff efforts. Creating barrier-free architecture is one of the topical problems in building an accessible architectural environment for children with disabilities. This factor should take into account the needs of those children who require specific conditions, who have trouble in self-care and mobility. The first and most important requirement for creating a barrier-free environment is the concept of ―universal design‖. The second most important requirement is acting according to a continuity principle of the barrier-free architectural environment. No barriers, the elements, that make impossible or signifi-cantly complicated movement and self-care, should be encountered in all the spheres of human activity, and first of all in the path of movement. It is especially important to follow the continuity principle in the areas where the child is most often. State building codes and design guides help the architects and designers make space for the children with disabilities as accessible, comfortable, and understandable as possible. Nowadays, universal design in our country is at the level of development, but this is the first steps towards improving the architectural environment for children with disabilities.

ART IN THE ERA OF CHANGE AND CHANGE IN ART

The article examines and analyzes the changes in the world of culture and art that have involved the postmodernism era, which arose during a period of rapidly changing moods in society, which accept the appearance of culture, but are absolutely alien and ugly, bearing the decline and destruction. Art, which is a kind of mark of the epoch and a reflection of morality, established stereotypes, and lifestyle, has experienced many revolutionary trends caused by the demand of a particular time period. In modernculture, there is a negative trend in the development of artistic, literary, and cinematic production, everything is oriented to the market needs. Canons are being collapsed, content is being simplified, and technologies are being violated. Culture and art began to meet individual human needs, acquired a commercial character and became subject to the influence of the customer and the consumer.What is a "mass" culture? How much does the understanding of art depend on a person's wealth and education? For whom is culture now intelligible? How does the society standard of living influence culture and art in general?

MODERN TRENDS IN THE PLANETARIAN ARCHITECTURE

In the last decades of the twentieth century - the beginning of the twenty-first in the various countries of the world, the active construction of planetariums has continued. Modern planetariums are becoming multifunctional objects, where not only lectures and training sessions with a picture of the starry sky are held, but various social and scientific events, conferences, exhibitions, circle-studio classes, etc. can be held. Planetariums are often included in scientific, educational, museum -exhibition or entertainment complexes, while providing maximum comfort and a variety of additional services for visitors. The projection technique used in stellar halls has changed significantly - from optical-mechanical devices, the planetarium is moving to the use of optical-electronic devices, which opens up new possibilities for a more detailed and effective demonstration of the phenomena and processes occurring in the Universe. In this regard, the requirements for architectural and planning decisions have been changing; innovations in volumet-ric-compositional and constructive solutions of planetariums appear. Since recommendations on the design of this type of building were issued more than thirty years ago, it is necessary, based on an analysis of modern experience in the design, construction and operation of planetariums, to develop recommendations for improving the architectural and planning decisions of these objects for further use in modern design practice and educational design.

ARCHITECTURAL DESIGN METHODS OF RENOVATION OF INTERIORS OF HISTORICAL BUILDINGS

In this article specific examples of historical interiors are identified and characterized, environment-forming factors determining the individuality of the historic interior and its renovation strategy are highlighted; shows the methods of renovation andreprofiling of historical interiors, their selection and testing in real environmental conditions.The historical buildings that make up the golden fund for the development of old cities often carry a bunch of contradictions: their interiors do not alwaysmeet today's requirements for the geometry of interior spaces, their hygiene, lighting, acoustics; the structural basis does not allow to increase the load; they are not designed for new functions, modes of operation, flows of people, etc.; the existing aesthetic system contradicts modern materials and stylistic priorities. Incorrect adaptation of historical interiors to a foreign function leads to irreplaceable cultural and artistic losses. Therefore, it is relevant to identify techniques for the renovation of historical interiors, architectural and design tools to ensure consistent interaction of the historical foundation and modern equipment.The study allowed to clarify the concept of “interior of a historic building”; to reveal the factors that determine the design approaches to the renovation of the interior: initial geometry, hue-color certainty and potential, artistic and stylistic integrity, scenographic potential, sanitary-hygienic and ergonomic, safety, human factor, compositional reality and potential. The identified factors made it possible to formulate the tasks and means of renovating aspecific historical interior. The methods of renovation are: the introduction of a contrasting accent; creation of alternative environmental and stylistic scenarios, points and perspectives of perception; use of environmentalinstallations from equipment; the formation of a single visual field of the interior and exterior through the use of font, elements of historical style.The article “Architectural and design techniques for renovating the interiors of historical buildings” clarifies the concept of “interior of a historical building”. The features of such interiors were identified and characterized, environment-forming factors determining the individuality of the historical interior and the strategy for its renovation, as well as design approaches to interior renovation: initial geometry, light-color certainty and potential, artistic and stylistic integrity, scenographic potential, sanitary-hygienic and ergonomic, were identified, security, human factor, compositional givenness and potential. The methods of renovation and reprofiling of historical interiors are shown, they are selected and tested in real environmental conditions. The identified factors made it possible to formulate the tasks and means of renovating aspecific historical interior. The methods of renovation are: the introduction of a contrasting accent; creation of alternative environmental and stylistic scenarios, points and perspectives of perception; use of environmental installations from equipment; the formation of a single visual field of the interior and exterior through the use of font, elements of historical style. The article is illustrated with graphic materials from the course student work (Art. Yulia Shtyrbu).

TRANSFORMATION OF THE HIERARCHICAL STRUCTURE OF COMPOSITION MEANS IN ARCHITECTURAL FORM MAKING ON THE XX AND XXI CENTURIES

The article provides an analysis of the characteristics of the artistic means of composition used in the architectural form making at the turn of the 21st century, helps to determine their role in the hierarchical structure by the degree of significancefor modern evolutionary processes in architecture. An overall decrease in the influence and effectiveness of the composition means for this period was noted. A significant redistribution of their influence over the basic hierarchical structure was revealed.One of the major problems in the evolution of architecture at the turn of the 21st century is the discrepancy between provisions of the compositional theory of architecture -a traditional means of shaping and findings the of worldwide experimental construction practices. Here, science was facing the new phenomena based on radical changes in the nature of the architectural form and its plasticity, when the clear, unambiguous rules for constructing the form of the basic theory of composition no longer fully carry out their organizing functions. The collision of science with unrecognized processes that appeared in original architectural forms that have no analogue in everything that existed in architecture in the past, created using modern digital technologies, has not yet become the subject of a serious study by modern theory.It should be noted that for almost entire 20th century, architecture relied on the traditional compositional base in the formation of the figurative characteristics of objects (regardless of their stylistic affiliation), considered it universal and did not respond to emerging new trends that had a significant impact on the volume and plastic properties of architectural forms. As the analysis confirms, during this period the foundations ofa new architecture with non-standard form-forming characteristics were laid.Characteristic in the development of architecture at the turn of the century was the desire of individual innovative authors (Kalatrava S., Hadid Z., Libeskind D., Gehri F. O., Maine T., Moss E.O., Koolhaas R. and creative teams: Coop Himelblau, MAD, Snochetta, etc.) create original objects using digital technology, complex geometry and the inclined position of the object or its parts in space. Here, traditional compositional means did not become the basis for the construction of innovative forms. This transformation took place fairly quickly in the late 80-90s of the XX century, which did not allow architectural science to simultaneously comprehend and formulate the corresponding theory, as well as to adjust traditional approaches that can cover the whole variety of emerging ideas and methods of shaping in architecture.In connection with these radical changes in architectural shaping on the cusp of the twentieth and twenty-first centuries, a need arose both to rethink the general theory and to clarify the role and place of each means of composition in the hierarchical structure.Among the literary sources that consider the basic principles of the theory of architectural composition, the most important are textbooks and manuals for preparing architects at universities, since they primarily affect the formation of professional thinking. What is the information on the theory of composition in this literature and how much the recommendations contained in them correspond to modern trends and the requirements of architectural shaping?In connection with the task, a number of published in the twentieth -early twenty-first centuries. textbooks and manuals on the theory of composition, intended for the preparation of architects in higher educational institutions of the USSR and countries that formed after its collapse, by such authors: Arauho I., Idak Yu. V., Ikonnikov A. V., Klimenyuk T. M., Krinsky V.F., LamtsovI.V., Lyaskovsky O.I., Malgin V.I., Melodinsky D.L., Mikhailenko V. Є., Stepanov A.V., Tits A.A., Turkus M. A., Chin F. D. K., Shapoval N.G., Yakovlev N.I. et al. [1-14] have been analyzed. These sources present the traditional classical ideas about the construction of forms, highlighting composition as the main means: proportions, rhythm, scale, symmetry, asymmetry, statics, dynamics, contrast, nuance, identity, etc. But if in the XX century their significance was not in, doubt, then in the XXI century -symptoms appeared of a decrease in the influence of the compositional apparatus on the processes of shaping and the role of each of them in the hierarchical structure [21].Considering the importance of composition in the historical and newest period of the development of architecture, we can make sure that despite the fact that in classical architecture all means of composition were necessary for building the form and were applied comprehensively (in modern times only selectively), the order of their significance fixed the priority of proportions and proportionality ( the first group), identified by the ancient Roman architect Vitruvius [16], and did not change throughout the development of European architecture. They are given more attention in treatises and textbooks [1-19]). The rhythm, meter, scale, symmetry, tectonics, statics, contrast, nuance, and identity performed the basic organizing functions (second group). Dynamics, asymmetry, geometric center, center of composition, emphasis, dominant (third group), although they were used in practice, but without special theoretical justification, occupying secondary places and being additional tools (they practically did not receive attention in treatises and textbooks [.. .])

ARCHITECTURAL LIGHTING OF THE INTERIOR SPACES OF RESIDENTIAL AND PUBLIC BUILDINGS (LIGHT COMFORT)

The paper identified the main aspects of the natural lighting of interior spaces of residential and public buildings, affecting the light forms of education, the quality of light, visual comfort, visual discomfort, uneven illumination, and so on. The quality of architecture as a visual art is mainly evaluated because of visual impressionsthat are possible only in the presence of light. The modern period of development of society is characterized by objective civilized processes of global urbanization, as a result of which architecture itself becomes a cause of a disturbance in the state of balance of the environment for human life and the cause of the ecological crisis. It is known that under the influence of such anthropogenic factors as a decrease in the transparency of the atmosphere due to the growth of cities and industry, insolation resources are changing in residential areas. In the framework of the concept of an urban-ecological approach in the formation of the human environment, the problems of creating a comfortable bioclimatic architecture or ecological buildings that allow the multilateral use of the energy of the Sun are highlighted.Among the factors determining the quality of the environment, an important place is occupied by the natural light environment, which largely depends on the nature of the light climate. Sunlight has a comprehensive impact on all major categories of architecture, including light comfort, durability, expressiveness, and economy. The appropriate level and quality of lighting in rooms and urban areas is an important prerequisite for creating light comfortable living conditions for a person, contributes to his creative activity, increase labor productivity and improve leisure conditions. The parameters of the light environment are one of the main elements that form the microclimate of the premises.In many developed countries, in connection with the expansion of megacities, the issue of not only functional, but also visual aesthetic comfort of the environment is becoming relevant. Creating a light environment that meets the practical, psychological andaesthetic requirements of the people who live in it is one of the most important tasks of an architect. Knowledge of the basic compositional properties of lighting, the ways of its rational use in architecture, and the possession of methodological skillsin architectural design contribute to the successful solution of this problem. Lighting conditions determine the correct perception of the compositional rhythm, the proportions and depth of the premises, plastics and color finishes of the surface.The concept of a light environment includes the integral coordination of the components of natural and artificial lighting, considered in unity and interaction. The progressive reception of integrated (combined) lighting is dictated by social need and is reflected in improving the quality of lighting and in saving resources for the design and construction of buildings and structures.Modern advances in the field of fundamental and natural sciences allow us to improve the methods and means of research and forecasting in the knowledge of the complex interaction of man and the environment. The main task is to optimize the light environment in architecture with the rational use of energy and natural resources.The analysis of scientific works and design practice of architectural firms of Ukraine allowed us to identify a number of unresolved issues (in the aspect of accounting and solving the problem of the comfort of the lighting environment in architecture): 1) black-and-white shaping as a specific tool for architectural composition to achieve plastic expressiveness and as a tool for the architect’s creativity; 2) in the process of developing the facades of buildings for various purposes, the relation to the functional and formative function of light is traced; 3) theeffect of sunlight on interior spaces; 4) the effect of sunlight on residents in high-rise residential buildings. The problem of creating a comfortable lighting environment in European architecture has not been comprehensively considered to date, which served as the basis for analysis and discussion in this work.The comfort of the light environment is lighting, it is the light formation of the interior spaces of architectural objects. The comfort of the lighting environment can satisfy people in the interior according to many requirements, divided into qualitative and quantitative categories.Quantitative categories are determined by the level of necessary illumination. Qualitative categories are determined by the spectral composition of light and its distribution in space.

THE DEPENDENCE OF THE APPEARANCE OF CERTAIN TYPES OF BUILDINGS FROM THE PRINCIPLES OF EXISTENCE OF SOCIETIES(with the examplesof historical and architectural processes that have taken and are taking place on the territory of Ukraine)

For a better understanding of architectural processes taking place today in-depth analysis and search of useful achievements the creation of objects of material culture of the past and their introduction in our days, for successful attempts to predict thecourse of history, civilization, society, urban planning, architecture, art, required a comprehensive analysis of factors of influence on the specified development, which took place in the historical past, takes place in our time can take place in the future. Our time of the domination of ideology of enrichment, the actual service utilizing architecture and design ideas for the commercial benefit of certain customers, leads to losses of valuable historical material heritage, leads to the creation of objects of material culture that are not only useful, but often very dangerous both for people and for the environment. For a better understanding of why such processes are characteristic of our time than were the differences in the approaches to urban, architectural and other design industries in the past, will change, and what to expect and strive for in the future, need to better understand the influence of society on the features of formation of certain types of buildings and structures in certain times and certain States.The article examines the impact previously identified by the author types of companies, classified according to the principles of their existence on processes of emergence and dominance of certain types of buildings and structures (on the example of the development of societies and States located on the territory of the settlement of the Eastern Slavs on the territory of modern Ukraine, which are quite revealing to illustrate the viability of the concept). Although even a superficial analysisof the development of societies in other European countries also points to the similarity of historical and architectural processes that had and have a place (with certain national differences) and confirm the validity of the proposed concept.Distinguishing in previous works four basic types of necessities of people and functions of society, and also four types of principles of existence of society, the author proposes to use four types of society, according to main principles of their existence.An author considers that for the names of the marked types of societies it is better to use the names of the Indian castes. Therefore exactly the names of the Indian castes better than the names of public classes represent principles of existence and ideology bothseparate groups people and separate societies.

MODERN ARCHITECTURE IN HISTORICAL DEVELOPMENT(CONCEPTS AND APPROACHES)

The article is of a generalizing nature; the authors investigate the problem associated with architectural design in the historical environment. The newly built civilian objects are considered as examples of the organic interaction between “old” and “new” in European cities. The authors’ positions of domestic and foreign professionals regarding the development of the potential of the historical centres of modern cities are considered. In connection with the dynamics of urban growth in the XXI century, the problem of renewal and development of historically established centers arises. Development as a modernization of the historical environment assumes a high-quality level of integration of relevant functions in the unique conditions of authentic urban structures. The cultural aspect of the problem is to solve the main problem of the historical environment -the preservation and protection of the valuable architectural and urban planning heritage. The authors highlight the need for an integrated approach to theproblem and formulation of a development strategy. The experience of Odessa shows the negative results of delay in such matters. Urban space as a living organism presupposes a progressive process of regeneration of both the urban structure and the “tissue” of the city, filling the space and being subordinated to the structure. A scientific approach presupposes discussion, variability and flexibility concerning the protection and development of the historical environment. However, taking into account the whole complex of economic, administrative, and cultural conditions, we can say about two main approaches in relation to the historical architectural environment in Ukraine. One is based on a conservative approach and denies the objects of modern architecture in the historical environment. This approach assumes that a historically formed urban planning formation is an integral urban planning phenomenon and only allows the construction of new objects in historical styles, allows the priority task of restoration and reconstruction of existing objects. Another approach is based on a dialectical approach and allows the introduction into the historical tissue of the city of new objects that meet all progressive achievements of engineering and technology, have modern and current features of the style (stylistic direction). At the same time, an important aspect is the novelty and high aesthetic level of architecture, due to the requirements of modern society. The logic of this approach comes from the very essence ofarchitecture, placed in the classic triad of benefit, strength and beauty. The most important factor that determines the value of the historical core of the city, in particular, the historical centre of Odessa, is the integrity of the historical structure, the interaction of all elements of the architectural complex, and a balanced urban infrastructure. At the same time, the architectural complex consists of objects of different value categories. Some are historical and architectural monuments of the universal, state and local importance. Others are authentic objects of “back-ground” development that contribute to the integrity of the city’s historical tissue. This is the picture that shows a historical accuracy. According to the authors, the scale for determining the objective value of each architectural object in this case is of a relative nature and, to a large extent, in our time is not the primary task of preserving the architectural heritage. The task of an integrated approach to the problem and elaboration of a preservation strategy is a priority task. In recent years, intensive construction has taken place on local fragments of the historical part of the city, which leads to the final destruction of the historical city. In many cases, modern civil engineering works are monotonous and have doubtful cultural qualities, and at the technical level they exacerbate the situation of collapse at the infrastructural level. There is an international, in particular, European experience in solving the problem of the conflict between new and historical in the cities of Germany, Poland, Spain, etc. The destructive cataclysms of the XX century caused great losses to the architectural heritage. The world community has developed norms and rules that allow for a huge number of implementation options in the context of regional features. The problem of a new construction in the historical environment today is not about the question of whether the object is stylized or modernized. The problem is to determine the principles of interaction of the historical environment with new structures, in the degree of “civility” of a new architecture, the ability of the “new” to further develop the potential of urban space.

SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS

Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.

DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b.

The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.