TRENDS IN THE DESIGN AND BUILDING OF LVIV IN THE XIX-EARLY XX CENTURY

The central part of Lviv was formed over several centuries and in several stages. Favourable demographic, economic and political prerequisites in the XIX-XX centuries positively influenced the quantitative and qualitative state of urban homes. Demolition of defensive walls, the formation of a new citywide centre, measures to improve the central part of the city, regulate the street network, and increase the population are the main factors that underlie the planning and development of the city. The city was actively built up. Most of the houses were profitable. These are buildings that brought profit to their owners through rented premises and commercial parterre floors. The modern architecture of Lviv is developing under the influence of tourist infrastructure and the ordinary household needs of Lviv residents. The urban space of the central part of modern Lviv needs to be regularly updated to perform functions that are dictated by time. It is also important to preserve the existing historical centre that attracts tourists, represents the historical value and pride of the country. Professional implementation of projects requires a detailed study and analysis of the existing architecture. Since the second half of the XIX century, the development of houses parallel to the main roads of the city became popular. Dense buildings spread in concentric circles from the city centre and gradually replaced low-rise buildings in the peripheral part of the city. During this period, housing construction is carried out on a large scale. These are mostly two- or three-story houses, often with a courtyard. The size and configuration of the houses were dictated by technical capabilities, existing buildings and streets. The sites often had a complex shape, the development was carried out already in the conditions of reconstruction, which significantly complicated the solution of new projects. The houses had rectangular forms of plans, the dimensions of which averaged 400 m2 until the end of the XIX century. During the twentieth century, slightly larger plots – 570 m2 – were already allocated for construction. The built-up area on the plots ranged from 30 to 87 per cent. The density of buildings was dictated by both economic and practical factors that are relevant even today. The houses were distinguished by interesting planning solutions with a thorough set of architectural details both in the exterior and in the interior. The range of rooms includes dining rooms, offices, boudoirs, bathrooms, corridors and storerooms. During the nineteenth century, in the decisions of facades dominated Italian neo-Renaissance and neo-Baroque; in the twentieth century – secession. The style solution was based on the choice of details that were prototypes of classical architectural images. The architecture of Lviv of the XIX-XX centuries represents a wide range of artistic interpretations. The study of houses built during this period reveals both their development and the transformation of spatial planning, compositional and stylistic solutions. The necessary formative periods of historicism opened up new angles for the development of subsequent stylistic trends in the following years. The experience of architects, which is connected with the historical past of Lviv, testifies to the significant importance and place of the architecture of the XIX-XX centuries for the further development and development of the city.

EVALUATION OF THE PHENOMENON OF SPATIAL SEGREGATION IN LVIV. HISTORICAL ASPECT

The article attempts to outline the phenomenon of spatial segregation in Lviv. It highlights the historical aspects of this phenomenon, and their impact on the current situation. Also is outlined the own classification of the social groups which have developed at present city is considering the degree of their mutual isolation. It was found that in the historical aspect of spatial segregation in Lviv can be divided into three periods: - medieval (when it was discriminatory), Soviet (when it was a privilege marking of politically "trustworthy"), and modern (associated with property stratification). Each of these segregation stages has left its mark on the spatial character of the city, albeit to varying degrees. Thus, the medieval discriminatory segregation of space is now practically inactive; the Soviet partially changed its direction and lost its original meaning, the modern one is at the stage of active development and deepening. Eight social categories have been identified in modern Lviv, in relation to which the process of spatial segregation is taking place. Accordingly, an assessment of the phenomenon of spatial segregation is given, which should take into account the following factors: a) the frequency of intersection of social groups of different categories; b) the place where this intersection takes place (for example citywide holidays); c) territorial distribution of spatially segregated groups. Preliminarily assessed the isolation level of different social groups, which also has a urban dimension.

IDEAS OF "PAPER ARCHITECTURE" IN THE EDUCATIONAL FUTURISTIC DESIGN BY THE LVIV ARCHITECTURAL SCHOOL

В The article highlights the ideas of "paper architecture" of the twentieth century, which were developed in the educational futuristic design of the Lviv architectural school at the Department of Architectural Environment Design. Information considers the creators of such architecture – A. Brodsky, I. Utkin, I. Lezhava, Y. Avvakumov, M. Belov, O. Anisimov, O. Gutnov and others, from Moscow and Russia. Interesting ideas are represented in the projects of architects from Ukraine – V. Proskuryakov and G. Proskuryakov, O. Bodnar, Y. Dzhyhil and I. Gnes from Lviv and other cities – Poltava, Kyiv, Dnipro. Ideas of futuristic, experimental, and search projects in semester academic bachelor's and master's works, in project seminars, in international competitions, etc. are highlighted. The results of a new design at the department that develops the ideas of the world-famous architect-set designer F. Kiesler and set designer-architect Y. Lysyk are highlighted. This attracted not only practical architects, economists, environmentalists, investors from different regions and cities of Ukraine, but also specialists from abroad.

HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE EXALTATION OF THE HOLY CROSS MONASTERY IN MANYAVA (GREAT MANYAVSKY HERMITAGE) XVII-XX CENTURIES

The article traces the history of the origin of the Manyavsky Hermitage and reveals the stages of development of the monastery from the beginning of its foundation and formation, prosperity to the decline, destruction and revival in our time. In the course of the research, the architectural-spatial and planning structure of the monastery ensemble of the Exaltation of the Holy Cross in Manyava were analyzed. The originality of the ensemble lies not only in the harmonious combination of wooden, brick monastic buildings, surrounded by fortified thick walls with three towers but also in a kind of architectural and spatial combination of the main cathedral, which dominates the cells and other temples, with high dominants - the Treasury Tower and the Bell Tower. Diverse in architectural-compositional and artistic solutions, the material of construction, monastic buildings are organically integrated into the existing landscape environment and form a holistic architectural ensemble. The monastery buildings of the Great Manyavsky Hermitage have architectural and artistic value, belong to the historical and cultural heritage, and are an invaluable spiritual heritage of Ukraine.

UKRAINIAN ARCHITECTURAL MODERN STYLE IN THE WORKS OF IVAN LEVINSKY

The article considers the formative features of the formation of the Ukrainian architectural style (modern style) as a phenomenon that has accumulated both properties characteristic of the style of Western European countries, and national traditions of the formation of folk housing or sacred construction. Ukrainian architectural style (modern style) has become an outstanding phenomenon in the development of domestic and European architectural art. It has absorbed many features that have become common to the pan-European architectural heritage, with its features and differences in the varieties of its expression. During the XIX-early XX centuries, church buildings appear in temple architecture, and they were based on the foundations of a "modern" or "realistic" understanding of shaping. Therefore, there is a focus on national culture and traditions, in an innovative sound. Linearity and decorativeness are manifested in stylistic solutions and detailing of decorative elements and inserts. In Galicia, for the first time in 1894, a building was implemented that embodied the above-mentioned features and principles of the formation of the UAS (UAMS). And its creator was the famous architect and industrialist Ivan Levinsky, professor of Lviv Polytechnic.

A CASTLE IN A STATE OF LONG-TERM RUIN AND MEASURES AIMED AT ITS PRESERVATION

In the article, the definitions “castle in a state of long-term ruin” and “architectural revitalization” are given. A list of measures aimed at preserving architectural monuments from the standpoint of their application on castles in a state of long-term ruin is considered. The definitions characterizing permissible activities on architectural monuments specified in the Law of Ukraine “On the Protection of Cultural Heritage” and restoration State Building Standards, however, in theory and practice, much more concepts are used, since the regulated terms do not cover the entire range of possibilities for the preservation and development of architectural monuments. In their works, M. Bevz, A. Rybchynskyi, O. Plamenytska, P. Molski highlight measures for the preservation of architectural monuments. Analyzing the history of the founding of defensive castles, their further restructuring and decline, we form a definition: a castle in a state of long-term ruin is a castle, as a result of destruction during a siege or loss of its defensive functions in the 16th-17th centuries was abandoned without acquiring new owners fell and came to the state of ruin that we can observe today. Looking at conservation measures using the example of castles in a state of long-term ruin, we state the following positions: The conservation method is the main point for keeping castles in a state of long-term ruin. The restoration can only be applied fragmentarily, since a holistic restoration is akin to restoration, which is an unacceptable step, given the lack of sufficient information about the original appearance of the structure. Museumification is excellent, as a method of bringing a castle in ruins to a state suitable for an excursion visit, as well as designation, as a subspecies of museumification, accompanied by both information stands and tracing of foundations reveals the planning structure of the monument. Revitalization measures aimed at revitalizing the degraded space, and renovations, which give an authentic building a touch of novelty and emphasize the period of intervention in the monument are also important. In general, the idea of preserving the castle in a state of long-term ruin should be based on three main positions such as conservation, fragmentary restoration and revitalization, that is, preserving the authentic component and returning life to the object.

PRINCIPLES AND STAGES OF DEVELOPMENT OF THE GARDEN CITY CONCEPT: AN ARCHITECTURAL ASPECT

The article highlights the semantic meaning of the term "garden city", the formation of the garden city concept and its spread in the global architectural space. The question of the influence of the idea of a garden city on the incipience of new phenomena in architecture and urban planning, in particular, the New Urbanism movement, is revealed. Examples of the implemented garden cities outline the factors that can ensure a balance between the nature of the environment and the high urban loads that are characteristic of the present time. The relevance of the topic is determined by the need to systematize the available factual and analytical materials for further popularization of the principles, which were established in the garden city concept

THE CONCEPT OF THE CREATIVE METHOD. FEATURES OF THE ARCHITECT'S CREATIVE METHOD

The problem of method in architecture, as a subject of research, always appears as a result of the development of artistic life and new aesthetic needs. Each new stage of artistic development reveals the insufficiency of the previous one not because it has become irrational, but because it no longer corresponds to new ideas about social relations and the nature of the human activity. Therefore, the theoretical development of the question is closely related to certain time cross-sections in the evolution of architecture, the consideration of which allows us to build a complete retrospective picture of the development of ideas about the method. The concept of the creative method is very broad and multifaceted. This is not only a set of certain geometric proportions and compositional techniques that are systematically repeated. The creative method is the result of an original cognitive ability to solve tasks using our intellectual search, which is aimed at developing a unique product. For the first time, the concept of an artistic method was formed in the 20–30s of the XIX century. The creative method in architecture and art is defined as a system of principles that control the process of creating a work of art. Artistic methods are designed to reflect the development of reality itself and the development of public consciousness in a specific way – in an aesthetic form. The complexity of the aesthetic characterization of methods lies in the fact that most often their features are considered from the cognitive side outside of the artistic and aesthetic features of art. However, it is from the period of formation of artistic methods that the artist's aesthetic attitude to the world is established. The method is a synthesis of the artist's worldview and the originality of his artistic thinking. The main components of the creative method are: the environment, which is a constant in the creative method of the architect, socio-economic conditions, ideology and worldview of society in a certain historical era, personal characteristics of the architect, culture of project thinking, theoretical foundations of the designer, practical activity of the architect. It is established that the creative method is formed by a) a set of principles of ideological and artistic knowledge and imaginative reproduction of the world; b) a creative approach to solving the set of architectural problems; c) the results of creative activity that is expressive and unique; d) the natural repeatability of architectural techniques that become the architectural rules of the architect; e) a set of certain geometric proportions, compositional techniques and planning features; f) the creation of an architectural object taking into account the influence of the social and cultural development of the architect; g) overcoming the usual techniques and traditions; h) creating own rules.

FEATURES OF URBAN PLANNING SOLUTIONS AND THE EVOLUTION OF SETTLEMENTS FOR DISPLACED PERSONS FROM THE CHERNOBYL ZONE

In the article, the author presents the results of her full-scale studies of the evolution of settlements for migrants from the Chernobyl zone, built in 1986-1987 of the twentieth century. Strategies and consequences of their placement, integration into the structure of existing villages, features of planning blocks, rural estates, residential and outbuildings are considered. The article analyzes the consequences of architectural and urban planning design decisions made 30 years after their implementation. Nowadays in Ukraine, there is a situation where villages and urban-type settlements urgently need to develop or update new general plans that would correspond to the present. It is known that currently there is a certain proportion of villages in Ukraine that do not have general plans at all or have them outdated. Taking into account all aspects of this problem, the results of the design, construction and evolution of villages for displaced persons from the Chernobyl zone are interesting and useful. Taking into account the tragic circumstances that led to their appearance, these villages represent a large-scale urban planning experiment in the field of rural housing construction, which represents the embodiment of the latest knowledge in the theory of village architecture in the mid-80s of the twentieth century. It was 30 years after the construction and settlement of these villages that it became possible to check the compliance of design standards with their compliance with the real needs of the village, from the standpoint of the current design standards, which are fundamentally no different from the design standards of 1986. Comparing the results of research (the study of general plans of villages of displaced persons and general plans that are being developed at the present stage), it turned out that the basis of those villages for Chernobyl victims was the main goal of socialist ideology, namely, erasing the differences between the city and the village. The author sees in modern design a similar problem, which directly leads to further degradation of the Ukrainian countryside. And nowadays, just against the background of this phenomenon, it is time for urbanists to understand the difference between a block of manor development for citizens and a rural street of a Ukrainian village.

THE EVOLUTION OF THE FORMATION OF THE ARCHITECTURE OF THE STUDIO OBJECTS

The article analyzes the development and influences on the formation of film studio architecture. The article reveals to what extent and how the architecture of film studios has changed and what influenced it. The work aims to study and analyze the development and factors of influence on the evolution of the architecture of film studios. The tasks include identifying the periods of formation of architecture, characterizing these periods, and investigating the factors influencing them. Among the main conclusions is that it is appropriate to focus on the third stage of development of the architecture of studio buildings. Each period has its peculiarity of architecture. I = 1 building 1 function, II = spaciousness, III = optimization, avoidance of large squares. From the early stages to the present day, technological factors have the greatest influence. Indeed, with the development of technology (the emergence of sound, colour, etc.), architecture became spatial (the number of necessary pavilions, workshops), and the development of computer technology and graphics led to the development of research without filming pavilions and workshops.