Draft design of the monument. On holding an open competition for the best design of the monument. Competition programs and conditions

Approved by the Presidium of the Union of Journalists of Moscow on July 8, 2015,
with changes, by Decision Contest Committee of the Presidium of SJM October 20, 2015

General Provisions

1.1. An open competition for the erection of a monument to the perished Russian journalists in Moscow (hereinafter referred to as an open competition) is held in order to perpetuate their civil and professional feat. The selection of the best project of a monument that meets the given parameters and architectural conditions is carried out on the basis of competition. The erection of the monument is carried out at the expense of publishing houses and media editors, attracted sponsors and charitable donations citizens.

1.2. The competition is managed by the Competition Commission, the quantitative and personal composition of which was approved by the decision of the Presidium of the Moscow Union of Journalists (Appendix 1). The competition committee was created to select the best project of the monument to the dead Russian journalists, according to the methodology and evaluation criteria competitive worksdefined by this Regulation.

1.3. The open competition is open to sculptors who have submitted projects in accordance with the terms of the competition.

1.4. The open competition is announced by the decision of the Competition Commission of the Presidium of the Moscow Union of Journalists.

1.5. Original designs of the monument to the dead Russian journalists, as well as models of the monument with its main dimensions, the general plan and draft designs of the monument, made in computer graphics, with reference to the location of the monument in the park near Arbat Square, with elements of the architectural and landscape solutions of the territory adjacent to the monument are submitted to the competition ... The situation plan is attached (Appendix 2).

1.6. In case of submission of applications and projects in violation of these Regulations, the Competition Commission has the right to reject these works from participation in the open competition.

1.7. Each participant of the competition is assigned a corresponding 5-digit password, which is placed in the upper right corner of each competition material with the attachment of a sealed competition envelope with the corresponding password and the author's surname or the names of the authors of the creative team.

1.8. The competition committee has the right to instruct qualified specialists in the field of sculptural monumentalists from Moscow to conduct an examination and write reviews for the originality and quality of the architectural and artistic embodiment of the creative solutions of the monument to the dead Russian journalists proposed by the competitors.

1.8.1. The number of experts should not exceed 3 people.

1.8.2. Experts' candidates and their characteristics are submitted to the Competition Commission by members of the Competition Commission in writing at the address: 119019, Moscow, Nikitsky Boulevard, 8A, Moscow Union of Journalists, Competition Commission of the Presidium of SJM.

1.8.3. The registered candidates are discussed at the meeting of the Competition Committee. The final decision on attracting one or another specialist-expert to work is made at a meeting of the Competition Commission by a simple majority of votes.

1.8.4. The Chairman of the Competition Commission concludes an agreement with experts based on the amount of funds allocated by the Moscow Union of Journalists for these purposes. Specialists - experts submit their conclusions to the Chairman of the Competition Commission in writing and the terms specified in the contract. After that, the contract data is transferred to the SZHM for payment.

1.8.5. The Chairman of the Competition Commission at the meeting of the Commission announces the names of experts and their expert opinions.

1.8.6. The expert opinion is one of a number of determining factors when the Contest Commission makes the final decision on the finalists of the competition.

1.9. Participants of the competition must create a work that will later become the property of the city.

The project must include:

Artistic value.
Professional affiliation.
Spatial solution.
Binding to the terrain.
Unity of design.
Cost.
Architectural feasibility.
Profitability of the project.
Financial and technological reality of the project.

Terms of the competition**)

2.1. Competitive applications are accepted from the date of publication of this Regulation on the official website of the Moscow Union of Journalists www.ujmos.ru until October 15, 2015 inclusive.

2.2. The results of the work of the Contest Commission will be announced no later than October 20, 2015. Until the results of the work of the Competition Commission are summed up, complete confidentiality of the applications submitted for the competition is maintained. If the principle of confidentiality is violated by one or the other party, the application may be withdrawn from the competition.

2.3. The winner of the competition is determined no later than October 20, 2015 at a meeting of the Competition Commission of the Presidium of the UJM by open voting and a simple majority of votes from totalwho have accepted the members of the commission in the vote from the projects selected by the Competition Commission that meet the requirements determined by these Regulations.

61. Residential building of the XVII-XIX centuries. in the Horde deadlock in Moscow. Plan with a cartogram of multi-temporal laying
1 - mid-17th century;
2 - second half of the 17th century;
3 - end of the 17th century;
4 - mid-17th century;
5-1770s;
6 - XIX century;
7 - XX century (according to I.A.Kiselev)

62. A scan of the walls of the refectory chamber of the Church of Sergius in the Kirillo-Belozersky monastery (fragment). Cartogram of different masonry
1 - mid-16th century;
2 - mid-17th century;
3 -XVIII century;
4 -XIX century.

63. Research of the belfry of St. Sophia Cathedral in Novgorod (according to Yu.E. Krushelnitsky).
a - cartogram of layings of different times;
b - reconstruction of the 15th century belfry;
c - reconstruction of the belfry of the 16th century;
d - reconstruction of the belfry of the 17th century;
d - restoration project

64. An example of filing a restoration project. Residential building of the 17th - 19th centuries in the Horde deadlock in Moscow. Plan (according to I.A.Kiselev)
1 - restoration of masonry;
2 - dismantling the masonry;
3 - the zone of the most important and additional research during the production of the restoration;
4 - elements to be clarified

65. Example of project submission Facade of the Perkuno house in Kaunas (architect. Restoration. D. Zaretskienė, G. Janiukstis)

66. An example of the submission of the restoration project Facade of the Church of Archangel Michael in Smolensk
1 - restoration of plinth masonry;
2 - restoration of masonry from large-sized bricks;
3 - dismantling the masonry;
4 - roofs to be reconstructed;
5 - areas of the exposition of the open masonry of the monument;
6 - identification of knocked down old parts;
7 - existing ground level

Part draft design should include the justification of scientific and design decisions, which is based on the analysis of the results of the study. Since individual sections of the research reports, with all the completeness of the information they contain, as a rule, do not constitute a sufficient picture at the cost, it is usually required to include their generalization in the text part of the project. At the same time, the tasks are set: 1) to characterize what, according to the research, is a monument at the moment and to what extent the original elements of the original architecture and architecture of subsequent periods have been preserved in it; 2) to highlight in detail which of the lost forms of the monument can be accurately reconstructed on the basis of the information obtained during the research.

The characterization of the degree of preservation of elements of different times can be presented only verbally, but for monuments with a complex construction history, it is also advisable to present graphic cartograms that give a clear idea of \u200b\u200bwhat time different parts of the building or elements of its structure and decor belong to. The detail of such cartograms reflects the degree of completeness of the research performed. Basically, it is customary to present plans of a monument in the form of cartograms, which gives a clear picture of the sequence of addition of its composition (Fig. 61).

But for buildings that have undergone multiple reconstructions, the surface of the walls of which is a conglomerate of masonry at different times, sometimes it is also necessary to make cartograms of facades, sections or wall sweeps (Fig. 62).

Cartograms can be combined with dimensional drawings, but in cases where the drawings have a high saturation, it is advisable to attach them as separate additional schemes.

The analysis of the identified possibilities of reliable reconstruction of the lost forms of the monument serves as a direct basis for further restoration design, therefore, special attention should be paid to it. Describing the information received about the previously existing architectural forms monument, it is necessary not only to list what of the lost can be reconstructed, but to very clearly and objectively characterize the degree of completeness and accuracy of the data obtained.

If only the material allows it, it is highly desirable to present the collected data on the initial form of the monument and on the main stages of the subsequent change in its appearance in the form of a graphic reconstruction or a series of graphic reconstructions. Such a graphic illustration of the study makes it possible to trace the history of the architectural development of the monument, which is important for the development of a restoration solution, since it helps to more fully assess the importance of certain features of the structure and its later layers (Fig. 63).

But graphic reconstructions, especially when it comes to the most significant monuments, often have independent scientific significance, providing the basis for important conclusions of the historical and architectural order.

Only in some exceptional cases, graphic reconstructions of the lost appearance of a building can claim to be impeccably substantiated in all their details. For the most part, the researcher performing them has to supplement accurately reproducible details with others, which, due to insufficient data, are supposedly shown, based on the use of analogies or schematically, for the completeness of the visual representation. All such hypothetical points must necessarily be specified in the text. In addition, it is desirable to make a graphical distinction between what is shown on the basis of irrefutable evidence and what is not. In diagrams and perspective drawings, it is sometimes difficult to make such a distinction, but for large-scale orthogonal drawings it is quite possible.

An important part of the preliminary design of the restoration is the fundamental justification of the decision made, based on the assessment of the monument and its existing state. For this, first of all, the historical and artistic significance of the monument as a whole should be characterized, the historical and artistic value of the main later layers should be determined and those of them that do not have such value and whose presence negatively affects the aesthetic perception of the monument should be identified. Proceeding from this, the attitude towards layering, reflected in the project, is formulated. In addition, it is necessary to motivate the envisaged restoration additions and an objective assessment of the degree of documentary validity of their restoration. Here it is decided to what extent new inclusions should be visually highlighted. It is also worth considering how the proposed restoration changes might affect the existing ensemble ties of the monument. Finally, it should be shown how the restoration solution is consistent with the further use of the monument and the envisaged work on its adaptation.

Basic projections of the monument are presented in the drawings of the draft design. They not only depict the appearance that the monument should receive in the end, but also characterize the planned restoration work. The idea of \u200b\u200bthe essence of the restoration changes, which can be formed by comparing design drawings with measurements, is often insufficient. It is necessary that the design drawings themselves carry information about the scope and nature of the restoration intervention. Therefore, on construction plans, it is customary to show the proposed disassembly and additions with special designations (usually shading) (Fig. 64).

For complex and critical cases, the same notation system should be given on other projections (Fig. 65, 66).

The well-known incompleteness and conditionality of the preliminary design of the restoration, caused by the need to develop it before the complete disclosure of the monument, is also reflected in a certain way in the form of the project presentation. The fact that the restoration of various elements at this stage of work can be documented with varying degrees of accuracy, first of all, requires appropriate reservations in the explanatory note, but usually it is also reflected in the drawing schedule. It is customary to highlight in the drawings everything that is shown conditionally, preliminary and calculated for clarification in the course of restoration work, during the production of the corresponding disassembly. Such elements are usually shown with a dotted line or accompanied by another symbol... For this, inscriptions are often made in the margins of the drawing with all the necessary explanations.

The system of dimensioning in the drawings of the preliminary design of the restoration also has some peculiarities. So, the designation of the axes on the plans is given only for general orientation and the possibility of correlating the drawings with the text, since with the irregular shape, which the monument often has, with the known curvature, variable thickness and non-parallelism of the walls, there are no geometrically correct axes. Sometimes the axes are not indicated at all. For the same reason, the vertical marks shown in the drawings also have a rather conventional character, since not only the horizontal divisions of the facades, but often the floors are significantly inclined and do not have a single level. Therefore, only some of the main dimensions are taken out on the drawings of the main projections, but a linear scale is necessarily attached to them. The dimensions of those elements that are to be restored are given in more detail, and it is important to link them to the fixed points of the existing parts of the monument.

The draft design should also include a list of necessary measures for the engineering strengthening of the monument, which require the development of special projects. It should formulate special requirements for the restoration work, due to the presence of murals, stucco molding, carved parts, unique structures, the accident rate of individual parts of the monument or other specific conditions.

Supplements to the draft design of the restoration are the main research materials: historical information, a set of drawings for architectural and archaeological measurements, reports on archaeological research and description of probes. The project is accompanied by engineering-constructive and technological conclusions characterizing the structural-technical state of the monument, the reasons and nature of the ongoing destructive processes. This also includes, depending on the characteristics of the monument and the research being carried out, the conclusion of the restorer on the presence of remains of ancient paintings and their condition, the conclusion of the laboratory for the study of samples and other additional materials.

Since it is impossible to determine in advance the amount of work to be done with the required accuracy before the start of the restoration work, the estimate documentation at the stage of the preliminary design is most often developed in the form of an estimate and financial calculation with the subsequent release of detailed estimates as the monument is uncovered.

The conceptual design should include the justification of scientific and design decisions, which is based on the analysis of the results of the study. Since individual sections of the research reports, with all the completeness of the information they contain, as a rule, do not constitute a sufficient picture at the cost, it is usually required to include their generalization in the text part of the project. At the same time, the tasks are set: 1) to characterize what, according to the research, is a monument at the moment and to what extent the original elements of the original architecture and architecture of subsequent periods have been preserved in it; 2) to highlight in detail which of the lost forms of the monument can be accurately reconstructed on the basis of the information obtained during the research.

61. Residential building of the XVII-XIX centuries. in the Horde deadlock in Moscow. Plan with a cartogram of multi-temporal laying 1 - mid-17th century; 2 - second half of the 17th century; 3 - end of the 17th century; 4 - mid-17th century; 5-1770s; 6 - XIX century; 7 - XX century (according to I.A.Kiselev)

62. A scan of the walls of the refectory chamber of the Church of Sergius in the Kirillo-Belozersky monastery (fragment). Cartogram of different masonry 1 - mid-16th century; 2 - mid-17th century; 3 -XVIII century; 4 -XIX century.

Cartograms can be combined with dimensional drawings, but in cases where the drawings are of high saturation, it is advisable to attach them as separate additional schemes.

The analysis of the identified possibilities of reliable reconstruction of the lost forms of the monument serves as a direct basis for further restoration design, therefore, special attention should be paid to it. Describing the information obtained about the architectural forms of the monument that existed before, it is necessary not only to enumerate which of the lost can be reconstructed, but to very clearly and objectively characterize the degree of completeness and accuracy of the data obtained.

63. Research of the belfry of St. Sophia Cathedral in Novgorod (according to Yu.E. Krushelnitsky). a - cartogram of layings of different times; b - reconstruction of the 15th century belfry; c - reconstruction of the belfry of the 16th century; г - reconstruction of the belfry of the 17th century; d - restoration project

An important part of the preliminary design of the restoration is the fundamental justification of the decision made, based on the assessment of the monument and its existing state. For this, first of all, the historical and artistic significance of the monument as a whole should be characterized, the historical and artistic value of the main later layers should be determined and those of them that do not have such value and whose presence negatively affects the aesthetic perception of the monument should be identified. Proceeding from this, the attitude towards layering, reflected in the project, is formulated. In addition, it is necessary to motivate the envisaged restoration additions and an objective assessment of the degree of documentary substantiation of their restoration. Here it is decided to what extent new inclusions should be visually highlighted. It is also worth considering how the proposed restoration changes might affect the existing ensemble ties of the monument. Finally, it should be shown how the restoration solution is consistent with the further use of the monument and the envisaged work on its adaptation.

Basic projections of the monument are presented in the drawings of the draft design. They not only depict the appearance that the monument should receive in the end, but also characterize the planned restoration work. The idea of \u200b\u200bthe essence of restoration changes, which can be formed by comparing design drawings with measurements, is often insufficient. It is necessary that the design drawings themselves carry information about the scope and nature of the restoration intervention. Therefore, on construction plans, it is customary to show the proposed disassembly and additions with special designations (usually shading) (Fig. 64).

64. An example of filing a restoration project. Residential building of the 17th-19th centuries in the Horde deadlock in Moscow. Plan (according to I.A.Kiselev) 1 - restoration of masonry; 2 - dismantling the masonry; 3 - the zone of the most important and additional research during the production of the restoration; 4 - elements to be clarified

For complex and critical cases, the same notation system should be given on other projections (Fig. 65, 66).

65. Example of project submission Facade of the Perkuno house in Kaunas (architect. Restoration. D. Zaretskienė, G. Janukshtis) 66. An example of the submission of the restoration project Facade of the Church of Archangel Michael in Smolensk 1 - restoration of plinth masonry; 2 - restoration of masonry from large-sized bricks; 3 - dismantling the masonry; 4 - roofs to be reconstructed; 5 - areas of the exposition of the open masonry of the monument; 6- identification of knocked down old parts; 7 - existing ground level

The well-known incompleteness and conditionality of the preliminary design of the restoration, caused by the need to develop it before the complete disclosure of the monument, is also reflected in a certain way in the form of the project presentation. The fact that the restoration of various elements at this stage of work can be documented with varying degrees of accuracy, first of all, requires appropriate reservations in the explanatory note, but usually it is also reflected in the drawing schedule. It is customary to highlight in the drawings everything that is shown conditionally, preliminary and calculated for clarification in the course of restoration work, during the production of the corresponding disassembly. Such elements are usually shown with a dotted line or are accompanied by a different convention. For this, inscriptions are often made in the margins of the drawing with all the necessary explanations.

The system of dimensioning in the drawings of the preliminary design of the restoration also has some peculiarities. So, the designation of the axes on the plans is given only for general orientation and the possibility of correlating the drawings with the text, since with the irregular shape, which the monument often has, the known curvature, variable thickness and non-parallelism of the walls, there are no geometrically correct axes. Sometimes the axes are not indicated at all. For the same reason, the vertical marks shown in the drawings are also quite conventional, since not only the horizontal divisions of the facades, but often the floors are significantly inclined and do not have a single level. Therefore, only some of the main dimensions are taken out on the drawings of the main projections, but a linear scale is necessarily attached to them. The dimensions of those elements that are to be restored are given in more detail, and it is important to link them to the fixed points of the existing parts of the monument.

Supplements to the draft design of the restoration are the basic research materials: historical information, a set of drawings for architectural and archaeological measurements, reports on archaeological research and description of probes. The project is accompanied by engineering-constructive and technological conclusions characterizing the structural-technical state of the monument, the reasons and nature of the ongoing destructive processes. This also includes, depending on the characteristics of the monument and the research being carried out, the conclusion of the restoration artist on the presence of remains of ancient paintings and their condition, the conclusion of the laboratory for the study of samples and other additional materials.

Since it is impossible to determine in advance the amount of work to be done with the required accuracy before the start of restoration work, the estimate documentation at the stage of the draft design is most often developed in the form of an estimate and financial calculation with the subsequent release of detailed estimates as the monument is uncovered.

APPROVED

Director of GBUK IOGUNB

them. -Siberian

"___" _________________ 2013

POSITION

about the competition for the best draft design of the monument

Maria Afanasyevna Gaevskaya

1. Purpose of the competition

1.1. The purpose of the open creative competition for the best draft design of the monument to Maria Afanasyevna Gaevskaya (hereinafter referred to as the Competition) - to find the best conceptual solution to the image of the monument by creating an expressive architectural and sculptural composition.

2. Objectives of the Competition

2.1. The task of the Competition is to develop draft designs of the monument (hereinafter referred to as the Monument) with their obligatory architectural reference to the proposed location, which includes:

Development of a fundamental planning solution for the proposed area;

Determination of the optimal size of the Monument;

Creation of a model of the sculptural part of the Monument;

Determination of the material for the execution of the sculptural and architectural parts of the Monument;

Determination of the approximate estimated cost for the creation of the Monument, including the costs of its transportation and installation;

Determination of the approximate estimated cost for the improvement of the adjacent territory, including the costs of the foundation and pedestal of the Monument.

3. Organizer of the Competition

3.1. The organizer of the Competition is the State Budgetary Institution of Culture Irkutsk Regional State Universal science Library them. -Siberian (hereinafter referred to as GBUK IOGUNB).

4. Place of installation of the Monument

4.1. Square opposite the central entrance to GBUK IOGUNB, located at the address: Irkutsk region,

5. Procedure for the Contest

5.1. The competition is held in one round.

5.2. Architects, artists, sculptors and designers wishing to participate in the Competition are invited to participate in the Competition, who must submit an application for participation in the Competition (hereinafter referred to as the Application) to the organizer of the Competition in the form in accordance with Appendices No. 1, No. 1a to these Regulations within the period stipulated clause 7.1. Section 7 of this Regulation from 09.00 to 18.00 (lunch from 13.00 to 14.00) from Monday to Thursday, from 09.00 to 13.00 on Fridays 53, reception, ext. 705.

The participant of the Competition can be either one author or a group of authors.

Submission of the Application for participation in the Contest in the form means the participant's consent to the terms of the Contest. The participant has the right to submit several design proposals for the Monument.

5.3. The executive secretary of the Tender on the day of receipt of the Application registers it in the application register.

5.4. The Executive Secretary of the Contest within 3 working days from the date of registration of the Application checks it for compliance with the requirements of these Regulations.

5.5. If the Application is found to be inconsistent with the requirements of these Regulations, the Executive Secretary of the Competition, within the time period established by clause 5.4 of these Regulations, shall send a written notification to the Competition participant (hand it personally against signature or send by registered mail with acknowledgment of delivery) on the return of the Application, indicating the reasons for the return. The Participant of the Competition has the right to re-submit the Application if the reasons for the return are eliminated within the period provided for in clause 7.1. Section 7 of these Regulations.

5.6. When the executive secretary of the Competition establishes the compliance of the Application with the requirements of these Regulations, the participant of the Competition is given initial data within the time period established by clause 5.4 of these Regulations for the development of a draft design of the Monument.

5.7. Baseline data includes:

Situational plan M 1: 2000;

Historical information, photographs.

5.8. If less than 3 (three) Applications are submitted, the Contest is declared invalid.

6. Requirements for the design of the Monument project

6.1. The monument must be made in the form of a sculpture (sculptural composition);

6.2. The monument should be provided with the inscription: "Maria Afanasyevna Gaevskaya () - the first woman librarian in Irkutsk";

6.3. The scale (size) of the Monument must correspond to the scale of the surrounding buildings;

6.4. The monument must be made of durable materials (metal, natural stone, etc.);

6.5. The project of the Monument must be completed with demonstration materials and documents in the following composition:

Rigid tablet measuring 1.0 mx 1.0 m;

Monument model (foreskis) in soft material М 1: 7;

An approximate estimate for the creation of the Monument, including the costs of its transportation and installation;

An approximate estimate for the improvement of the adjacent territory, including the costs of the foundation and pedestal of the Monument;

6.6. The exposure field of the tablet should contain:

Scheme of the general plan of the site, combined with the scheme of the planning solution of the Monument;

Conceptual volumetric model of the Monument, allowing to evaluate its volumetric-spatial and urban planning solution;

Perspectives or photomontages from several vantage points;

Other demonstration materials that reveal, in the opinion of the Contest participant, the main ideas of the presented project of the Monument.

6.7. Demonstration materials and explanatory note should be duplicated with electronic copies.

7. Terms of the Competition

7.1. Registration of the participants of the Competition is carried out within 30 days from the date of publication of the order of the director of GBUK IOGUNB "On the Contest" on the official website of the library.

7.2. The deadline for submitting projects is within 4 months from the end of registration of Applications.

8. Jury of the Competition and summing up the results of the Competition

8.1. In order to conduct and summarize the results of the Competition, a jury is created, the composition of which is approved by the order of the director of GBUK IOGUNB.

8.2 Within two weeks after the deadline for submitting the projects of the Competition, an exhibition of projects submitted for the Competition is held for public voting at the address: 53.

8.3. The Jury of the Competition evaluates the submitted works and determines the winners according to the following criteria:

Artistic disclosure of the image, taking into account the historical accuracy (Appendix to this Regulation: Historical background, as well as photographs);

The originality of the architectural and sculptural composition;

The organic placement of the monument in the architectural and landscape environment, taking into account the scale of the surrounding buildings, the stylistic features of its architectural appearance, as well as the conditions for the perception of the monument;

Economical design solution.

8.4. The jury is coordinated by the chairman of the jury.

8.5. The decisions of the jury of the Competition are taken by a simple majority of votes of those present at the meeting and are drawn up in a protocol, which is signed by the chairman of the jury of the Competition or a person replacing him, on the day of the meeting of the jury of the Competition. In case of equality of votes, the proposed projects are subject to re-discussion, after which a re-vote is held.

Competitors;

Results of the Competition.

8.6. Sessions of the jury of the Competition are competent if at least 50% of the jury is present at the meeting.

8.7. The members of the Contest jury are not entitled to participate in the Contest, provide assistance in the development of project ideas and advise any of the participants.

8.8. Members of the Contest jury who do not agree with the decision have the right to express their dissenting opinion with its entry into the protocol.

8.9. The jury has the right to recommend to the participants of the Competition a different place for the installation of the Monument on the proposed territory and to make the appropriate changes to the demonstration materials and (or) documents specified in section 6 of these Regulations.

8.10. On the recommendation of the jury, the participants of the Competition must, within 10 calendar days, make the appropriate changes to the demonstration materials and (or) documents provided by them, specified in section 6 of these Regulations.

8.11. The decision of the jury of the Competition based on the results of the Competition is made within two weeks from the end of the project exhibition.

8.12. The winner of the Competition and participants who took II and III places will be awarded with Diplomas and valuable gifts. The rest of the participants of the Competition are awarded Thanksgiving letters GBUK IOGUNB.

8.13. The results of the Competition are published on the official website of the library and brought to the attention of the participants of the Competition within 10 days from the date of the decision of the Competition jury.

Pupils of the 4th grade of the Municipal Educational Institution "Sociocultural Center" Lophari

Project idea - creation of mini-sculptures of sketches of monuments from plasticine for the villages of our region.

Download:

Preview:

To use the preview of presentations, create yourself a Google account (account) and log into it: https://accounts.google.com

Slide captions:

Creative project "Sketches of monuments for the villages of Shuryshkarsky district" The project was worked on by students of the 4th grade of the Municipal Educational Institution "Sociocultural Center" v. Lophari Teacher: Anufrieva Svetlana Romanovna http: //www.o-detstve/ru Portal about childhood Children's project

I. Preparatory stage Definition of the topic. On the lesson visual arts we learned about animal sculptors, famous sculptures. We had to create a three-dimensional image of any animal or sculpt a sculptural composition. Then the idea of \u200b\u200bthis project arose. We decided to create mini-sculptures of monuments from plasticine, according to the sketches of which it was possible to really create monuments and decorate with them some villages of our Shuryshkarsky district. The topic of the project was determined: "Sketches of monuments for the villages of Shuryshkarsky district." http: //www.o-detstve/ru Portal about childhood Children's project

2. Statement of the problem What do we see? There are monuments in almost every settlement. They also exist in the villages of our region. In Muzhi it is a monument to the writer I.G. Istomin, a memorial plaque to N.V. Arkhangelsky - Hero Soviet Union, the name of the writer Yuri Afanasyev is inscribed on the memorial plaque of the house where he used to live. In each village of Shuryshkarsky district there are monuments to those who fell during the Great Patriotic War... We concluded that there are few monuments in our area, but they adorn the place where we live and keep the memory of some interesting events, people with an unusual fate, represent what the place is famous for. What can we fix? We can create sketches of sculptures from plasticine, so that, based on these sketches, it would be possible to create monuments for the villages of Shuryshkarsky district in the future. http: //www.o-detstve/ru Portal about childhood Children's project

3. Purpose of the project: Creation of sketches of monuments for the villages of Shuryshkarsky district. Objectives: Find out what our places are famous for. Search for information about the selected object. To mold a mini-sculpture from plasticine. http: //www.o-detstve/ru Portal about childhood Children's project

Project term: 2 weeks. Products shape project activities: mini-sculptures from plasticine and their presentation. http: //www.o-detstve/ru Portal about childhood Children's project

4. Drawing up a project plan Search for information about interesting events in our area. Conducting surveys of relatives, people around. Choosing your best option every student. Substantiation of the idea of \u200b\u200bcreating your own monument. Modeling from plasticine mini-sculptures of your own version. http: //www.o-detstve/ru Portal about childhood Children's project

II. Main stage 1. Determination of relevance: Why did the idea of \u200b\u200bcreating such a mini-sculpture arise? Each of the students determined for himself what he will sculpt and why. Lera J. - “There is a legend about the creation of the village of Lophari. It says that once on the shore they found a piece of oar for a boat. The oars craftsmen lived here. The village was named Lophari. Therefore, a monument to a boat with oars can be erected in the village of Lophari ”. Suzanne J. - “A dog is a true friend of man. In our north, this is a good helper for hunters and reindeer herders. A monument to the dog can be erected in any village in our region. " Ekaterina J. - “I know that there were good fishermen in my family. There are many famous fishermen in our area. Fishing is one of the main occupations of people. A monument to a fisherman can be erected in any village in our region "Nikita T. -" We have a lot of fishermen in our region, many with great experience. There are amateurs who fish with a rod. You can erect a monument to a fisherman with a fishing rod. " Cyril H. - “The Siberian Crane nests not far from our village. It is rare and sacred birdto be guarded. It is necessary to erect a monument to the Siberian Crane in Lopkhary. The Siberian Crane is depicted on the flag of the village and on the coat of arms of the region. " http: //www.o-detstve/ru Portal about childhood Children's project

II. Main stage 1. Determination of relevance: Vladlen R. - “In the North, the deer is the first assistant. Deer provide meat, skins, they go from one place to another. I have relatives - reindeer herders in Ovgort. It is necessary to erect a monument to a deer in district center Husbands. Yaroslav E. - “My dad is a fisherman. It's hard work. Fish is the main food in our area. It is necessary to erect a monument to the fisherman in the region, in the place where there is a fish factory. " Evgeny M. - “Our village was named so because it is translated from the Khanty language as“ paddle blade ”- Lophari. An oar blade was once found here. A monument to a boat with an oar should be erected here. Yulia J. - “Siberian Cranes live in our area. They were listed in the Red Book. Seeing the Siberian Crane dance is good. The monument is beautiful bird should be put in our village or in Muzhi. Bogdan N. - “We have nowhere without a dog. She protects the house, saves lives, helps on the hunt. Devoted animal. People should always remember that they need to take care of dogs. " http: //www.o-detstve/ru Portal about childhood Children's project

II. Milestone 2. Gathering information We visited a village and school libraryto view literature on your topic; got acquainted with the stands and some materials of the school museum; had conversations with relatives; looked at information on the Internet, where they learned about the famous sculptures of the whole world, what they are made of, what size they are. http: //www.o-detstve/ru Portal about childhood Children's project

II. Main stage 3. Carrying out our own research We calculated the approximate size, material for making the monument, determined the place; conducted several polls “To whom should a monument be erected in our village, region?”, “Is there any need for a monument in our area?”; one student even went winter fishing with his fisherman father. http: //www.o-detstve/ru Portal about childhood Children's project

II. Main stage 4. Preparation of conclusions on the work done General: “The work on our project was very interesting; learned about the origin of the name of the village; what do people do in our area, what animals live; learned about other monuments of the world and our region; we got nice and interesting mini-sculptures; monuments must be erected so that people know how important the profession of a fisherman, a reindeer breeder is, know about animal friends that need to be taken care of, about preserving rare bird - Siberian Siberian. 5. Work design http: //www.o-detstve/ru Portal about childhood Children's project

III. Final Presentation of project results; protection of the project Sketch of a monument to the dog of a 4th grade student Nakhrachev Bogdan Our mini-sculptures: Sketch of a monument to a deer 4th grade student Rylova Vladlena http: //www.o-detstve/ru Portal about childhood Children's project

A sketch of a monument to a Siberian Crane, a 4th grade student, Kirill Khorol. A sketch of a monument to a fisherman, a 4th grade student, Yaroslav Yaroslav. A sketch of a monument to a 4th grade student, Nikita Toyarov. Lophari "How Our Village Happened", 4th grade student Yarkina Valeria http: //www.o-detstve/ru Portal about childhood Children's project

Sketch of the monument to the Siberian Crane, 4th grade student Yarkina Yulia Sketch of the monument to the Shuryshkar fishermen of 4th grade student Yarkina Ekaterina Sketch of the monument in the village of Lophari 4th grade Evgeniya Matveeva Sketch of the monument to the dog of 4th grade student Yarkina Suzanne http: //www.o-detstve/ru Portal about childhood Children's project

But what if? Maybe in a few years we will see monuments based on our sketches! http: //www.o-detstve/ru Portal about childhood Children's project

Draft design of the monument. On holding an open competition for the best design of the monument. Competition programs and conditions

Download:

Preview:

Slide captions:

Recent

You need to know