http://dspace.tnpu.edu.ua/handle/123456789/6617 2026-04-08T15:05:15Z 2026-04-08T15:05:15Z http://dspace.tnpu.edu.ua/handle/123456789/32572 2024-05-02T11:25:54Z 2016-01-01T00:00:00Z

Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки

2016-01-01T00:00:00Z Позняк, Анна http://dspace.tnpu.edu.ua/handle/123456789/6647 2016-11-10T11:31:19Z 2016-01-01T00:00:00Z

Назва: Психо-социальные аспекты в формировании дизайна интерьера магазина. Концепция "Статус" Автори: Позняк, Анна Короткий огляд (реферат): В статье рассмотрено интерьер магазина как архитектурное пространство со сложившимися визуальными статусными стереотипами, обусловленными общекультурной, социальной и экономической жизнью общества. Описано влияние на формирование среды социально-психологических регуляторов потребительского поведения – ценностей, символов, особенностей восприятия. Выявлено особенности художественного оформления интерьера “статусного” магазина.; У статті розглянуто інтер’єр магазину як архітектурний простір з візуальними статусними стереотипами, що обумовлені культурним, соціальним та економічним життям суспільства. Описано вплив на формування середовища соціально-психологічних регуляторів споживчої поведінки – цінностей, символів, особливостей сприйняття. Виявлено особливості художнього оздоблення інтер’єру “статусного” магазину.; This article considers interior of a store as architecture space with existing visual status stereotypes driven by common cultural, social and economic life of a society. Besides, this article describes the impact on forming an environment of existing psychosocial regulators of consumer behavior – values, symbols and features of perception. Status is a place, a position of a person in the system of relationships in a society and in a particular group. Status is shown in various external features: symbols that differentiate its holder from others. Most status symbols are an incentive of consumer behavior. In business activity such status symbols are held by a product, and the main factor defining that is the demonstration factor. There are a big number of products consumption of which is hard to hide and deny, those are clothes, smoking requisites and accessories, cars, telephones, jewelry and many others. All possession items consumption of which is hard to hide are identifying symbols which are handled by people who refer their holder to a particular level of imaginary social hierarchy. People need these symbols of demonstration and an objective of design is to provide and to get across them to all. Status symbols in interior serve as a way of communication, and this fact makes their use just necessary. Visualization of these symbols in design has got wide spread occurrence and features of particular unification. We can state that some particular visual stereotypes have been formed and caught on. Each stereotype has its own target audience with their tastes, reactions, consumption range, firmly oriented by social groups. In each groups of consumers there are particular status symbols thanks to which they can differentiate a suitable product or a store. The use of these symbols in interior forms a chain of associations: it increases emotional background of an environment, enhances meaningful perception of trade space, forms proper customer’s impression about place and as a result about a product. Status symbols in interior serve as means of communication, and this fact makes their use simply necessary. Visual reflection of these symbols in design has got wide spreading and features of particular unification. The author highlights the main visual stereotypes and their interrelation with particular target audience. Lean minimalism is the most popular stereotype of a modern store. The main reason is that it is neutral and it enables to focus attention to a product not to interior details. Whereas for median age group it is important to be “recognized” by society, young people, conversely, prefer rebelliousness and contradistinction. It is widely showed in design of youthful clothes stores. It is inherent to such stores to have some barbarity, “brutalism”, use of natural, raw and aged materials. In such a way we can highlight product positioning as young-adult, affordable, wear proof, natural. Stereotype “Pageantry”, “Glamour”. In such a manner we can describe magnificent and rich interiors. In interior design there are two the most distinctive trends: minimalist, ascetical interiors and, vice versa, sophisticated filled with a big number of details where interior serves as a background for elegant clothes or, conversely, it can fill up the image with wealth of details. Interiors can differ by artistic approach, but only emotionally – associative message is the same – status suitability. Apparently, consumer behavior is identified not only by functional abilities of a product but also by the symbolism which gives a product affectedly formed image (status value). Owing a product-symbol a person refers themselves to a particular consumer group. And in-store design is reflectively referred to the quality of the product. In such a way design serves as a fine tool of suitability.

2016-01-01T00:00:00Z Дячок, Оксана Миронівна http://dspace.tnpu.edu.ua/handle/123456789/6646 2021-06-16T09:03:19Z 2016-01-01T00:00:00Z

Назва: Архітектура енергетично самодостатніх будівель Автори: Дячок, Оксана Миронівна Короткий огляд (реферат): У статті досліджено питання формування архітектури будівель з нульовим балансом, види відновлювальних джерел енергії та засоби їх використання в сучасній архітектурі. На основі сформульованих принципів запропоновано концептуальний проект житлового комплексу із трьох житлових 26-поверхових будинків у передмісті Тернополя, який споживає мінімальну кількість енергії.; В статье исследовано вопросы формирования архитектуры зданий с нулевым балансом, виды возобновляемых источников энергии и средства их использования в современной архитектуре. На основании принципов, сформулированных автором, предложено концептуальный проект жилого комплекса из трех жилых 26-этажных домов в пригороде Тернополя, который потребляет минимальное количество энергии.; In the article investigated the question of the formation of the architecture of the buildings with zero balance, the types of renewable energy sources and their use in modern architecture. Examining the different kinds of alternative energy sources put out to find the concept of designing a house with zero balance. The idea is that each building should be energetically selfsufficient, not consume traditional forms of energy from centralized networks (gas, electric current, hot water), while providing high standards of comfort and hygiene. As shown by the study, environment building is a building that maximally uses energy-saving technologies and renewable energies to ensure the normal life of the people and creates minimal environmental load on. In foreign practice for achieving zero balance using wind energy, solar panels with photovoltaic panels of large size and wind turbines, as well as the heat of the Earth and geothermal springs. In the long run – using nanotechnology. Building solar batteries that are able to accumulate energy. An important component of energy efficient buildings is reusing heat, water, their circulation. A large reserve of saving is heat insulation of external enclosures. Examining the different kinds of alternative energy sources available in Ukraine, found the concept of designing a house with zero balance. The author defines the principles of the formation of energy- self-sufficient living: the analysis of the energy balance and the heat load of the building; the analysis of the energy potential of the area and the correlation of the buildings to the local climatic conditions; the use of natural renewable energy sources; usage of the computer automatic system for analytical calculations; reducing heat loss through external protective structures; methods of internal planning and reducing the thermal conductivity; recycling and heat recovery of water and air; taking into consideration the high standards of comfort and hygiene. Based on the defined principles, the author proposed conceptual project of residential complex of three 26-storey buildings in the suburb of Ternopil, which consumes the minimum amount of energy. Local conditions were analyzed in their potential of renewable energy (solar radiation, wind, aquifers, etc.), surrounding objects were studied on the subject of harmful emissions. The complex consists of three residential 26-storey buildings . The shape of the buildings constructed in a way to concentrate the air flows on wind turbines, located at intervals. The space-planning decision of the apartments aimed at minimizing the area of external enclosures to reduce heat loss. The author also used the dual-layer ventilated facades that provide a more effective regulation of microclimate duaring the whole year. The solar panels perform three functions: fences of the balconies and loggias, sunscreen and solar panels.

2016-01-01T00:00:00Z Мисак, Мар'яна http://dspace.tnpu.edu.ua/handle/123456789/6645 2016-11-10T11:16:52Z 2016-01-01T00:00:00Z

Назва: Особливості формування і розвитку орігамі як сучасного виду мистецтва Автори: Мисак, Мар'яна Короткий огляд (реферат): У статті розглянуто особливості формування та сучасний стан орігамі як виду мистецтва. Описано стилістичні форми, техніки складання паперової пластики у різних країнах. Відзначено, що на сучасному етапі орігамі посіло чільне місце у світі, його виняткова багатофункціональність знайшла своє застосування у різних галузях науки і мистецтва.; В статье рассмотрено особенности формирования и современное состояние оригами как вида искусства. Описано стилистические формы, техники складывания бумажной пластики в разных странах. Отмечено, что на современном этапе оригами заняло ведущее место в мире, его исключительная многофункциональность нашла свое применение в различных отраслях науки и искусства.; The article discusses the development of origami. The modern state of origami at present time. The basic properties of paper folding. Analyzed installation of origami as a modern art form around the world. The author has analyzed and described the stylistic differences between the forms and structures of origami. This article describes some of the defining technology of paper art. We describe the general principles of formation and styles of paper art. Studied the main paper plastic machinery and its application in various fields of science and design. Origami considered as a method of educational process. In social spheres of its use in the educational process and in the medical field, but actually paper folding used as art therapy. Scientists have shown that origami classes helps not only to improve memory, but through this art can develop dimensional thinking. Also paper art actively used in mathematics and engineering field. An important contribution to the development of art paper did Friedrich Froebel, who brought origami to the educational process. His methods of studying through assembly, has quickly gained popularity. Later this method took over Japan and introduced in kindergartens, schools and universities. Major trends and directions plastic paper originated in Japan, and then quickly became popular all over the world, especially in America and Europe. Today in almost every country where there are union study and research paper folding and origami. Many artists and designers are increasingly turning to origami and use it in their work. Every year in the world there are new techniques art paper. The main problem is that they do not study. Today we can count twenty kinds of papertwenty kinds of paper technics. In the world there are many attempts to classify paper folding. One of the simplest version is the classification of paper art in simple and complex. But this systematization is very primitive. News is classified and organize paper plastic. As every year there are more new species of folding. Paper assembly is one of the oldest forms of art, but also it develops today.

2016-01-01T00:00:00Z