Prepare using additional materials. Using additional materials, learn about architectural monuments in Samarkand built under Timur

Installing floors by combining floor coverings with different properties is one of the most popular design techniques, used, as a rule, for zoning space. Combining laminate and ceramic tile floors within one room not only diversifies the interior, making it brighter and more expressive, but also provides significant gains in strength, durability and other performance characteristics. Most often, such solutions are found in the design of living rooms, kitchens and hallways and serve to divide the room into living and working areas.

At the same time, joining laminate to tiles is a serious technical problem, which can be solved in various ways:

• without application additional materials;
• using construction foams, mastics and silicone sealants;
• using a plug capacitor;
• using transition thresholds.

Without the use of additional materials

This method is used to design single-level joints of complex configuration and requires a lot of patience and accuracy. First, careful cutting and trimming of materials is carried out according to pre-prepared templates.

Then they are fixed to the subfloor in compliance with general rules fasteners and careful grouting of joining seams. Joining laminate with tiles without the use of additional materials allows you to beautifully design any curved joint, no matter what complex shape he was not.

Using joint foams and polymer sealants

You can elegantly design joining seams of any shape, width and depth using construction foams, mastics and silicone sealants. For this there is a huge assortment of available tools and a wide choice color combinations, however, this solution has a significant drawback associated with the peculiarity of laying the laminate.

Since laminate flooring requires some space to expand, during installation the boards are not attached to the base and can move to take their optimal position. Construction foams and sealants eventually harden and seal the joints tightly, which can lead to deformation of the floor.

Using a cork compensator

High-quality joining of the laminate to the tiles with the formation of a neat seam is carried out using cork expansion joints. The cork compresses well and recovers on its own, so you don’t have to worry about creating technological gaps.

In order for the cork to fit beautifully, the edges of the laminate and tile along the cut line must be perfectly smooth, so the use of cork expansion joints places special demands on the quality of cutting the material.

To give the cork capacitor the desired shade, a special tint is used.

Using transition thresholds

Transitional thresholds not only allow you to beautifully join materials of different textures, properties and colors, they greatly facilitate cleaning of premises and increase the service life of floor coverings.

There are several types of thresholds:

• straight sills - used to design straight cuts of single-level surfaces;
• leveling bars - allow you to connect floor coverings located at different heights;
• finishing thresholds - used to decorate podiums, junctions with steps of stairs and edges of coverings.

Currently, the construction market offers a wide selection of transition thresholds made from different materials:

• natural wood thresholds look very beautiful and harmonize perfectly with furniture and laminate flooring, but they are quite expensive and require special care– rubbing scratches, polishing, painting and varnishing;
• metal thresholds or moldings - more durable, unpretentious and inexpensive, usually made of aluminum, stainless steel and brass; to protect from moisture and give the necessary color, metal thresholds are covered protective films with a decorative pattern;
• laminated thresholds - completely repeat the structure and color of the laminate, so they fit perfectly with it, but they performance characteristics strongly depend on the quality of the materials used and adherence to manufacturing technology;
• plastic thresholds are the most common, inexpensive and technologically advanced type of design for joining seams, but they are quite short-lived.

The main disadvantage of transition thresholds is that a small protrusion is formed at the joints. At the same time, joining laminate to tiles using transition thresholds provides such advantages as:

• smooth transition;
• visual integrity of the coating;
• wide selection of colors and shades;
• possibility of designing curved lines;
• speed and ease of installation;
• good protection of the joint from moisture and debris getting into it.

When installing thresholds, it is necessary to leave compensation gaps, not forgetting to take into account the dimensions of the fasteners, otherwise the coatings may become deformed and lose their attractiveness.

Video

This video will talk about transition thresholds for joints.

The foundation of a construction site is a mass of soil that lies under the foundation and steadily bears the entire load of the structure. The soils that serve as the foundation are divided into two types: natural, or natural and artificial.

thirdly, the soils must be free of heaving qualities; when they freeze, all such soils expand, and when they thaw, they shrink, which leads to disruption of the correct shrinkage of the structure and the formation of deformation cracks and gaps;

fourthly, the soil must have the ability to withstand all kinds of influences groundwater, liquids.

They have the following construction classification:

1. rocky- virtually non-compressible, not at all heaving, very water-resistant (the best base). For example, Manhattan in New York.
2. coarse-clastic, that is, pieces of rock type (about 50 percent with a volume of over two millimeters): gravel and crushed stone (a fairly good base);
3. sands- and the larger the particles, the greater their potential for construction. Gravelly sand (large particles) becomes significantly compacted under loads, they do not exhibit heaving (a fairly good base). And small, almost dust-like particles begin to swell when exposed to moisture;
4. clayey they take on significant loads when dry, but during the process of moistening their load-bearing capacity is significantly reduced and they become heaving;
5. loess-like, that is, macroporous, usually have good strength, but during the moistening process they often give significant drawdowns; they can be used provided they are strengthened;
6. bulk- are formed when filling pits, garbage dumps, and canals. They have disproportionate compressibility (require hardening);
7. alluvial- are formed as a result of the cleansing of a dried-up river or lake. A good foundation made of soil;
8. quicksand- are formed by small particles of sand containing silty mixtures. They are not suitable for natural foundations.

Strengthening methods:

Firstly, seal. Conventional pneumatic tamping or tamping with special plates, in some cases crushed stone is added. Rollers are used on large areas;

Secondly, pillow device. In cases where it is difficult to strengthen the soil, the layer of unreliable soil is removed and replaced with a more stable one (for example, sand or gravel). The thickness of such a pillow is usually 10 centimeters or more;

Thirdly, silicization- used for fine dusty sand. In such cases, mixtures should be injected into the soil liquid glass with various chemical additives. After the soil hardens, it will acquire good bearing capacity;
fourthly, cementation, that is, the supply under the base cement mixture in liquid form or a liquid mixture of cement and sand;

fifthly, burning, that is, the thermal method, burning various combustible materials in the depths of wells. Used for loess-like soil types. Thus, the soil foundation will be reliable if all these requirements and conditions are met during construction.

The density of the load-bearing soil underneath is critical to their safe and long-lasting performance. In our country, cases when buildings, structures and roads are erected on dense continental soils that do not require additional strengthening are relatively rare; most often it is necessary to carry out a number of measures to strengthen the soil, and most of them have a volume and final cost comparable to all subsequent construction.

There are only three ways to strengthen soil, both natural and artificially filled. This:

1. Complete replacement of natural soil with low bearing capacity.
2. Physical compaction natural soils.
3. Strengthening with additional materials

Complete replacement of natural soil with low bearing capacity can be accomplished in two ways.

First: excavation of soil (usually fine-grained, pulverized sands, water-saturated gley soils on the site of former swamps) to the continental base (usually gravel), followed by filling the pit with gravel, crushed stone or pouring solid concrete slab. Gravel and crushed stone are compacted using vibratory rammers or heavy equipment, for example, road rollers weighing 10-15 tons.

Second: frequent driving of piles into the top layer of fragile soil to the continental base. Currently, they are used exclusively, although history knows other examples, for example, oak piles were used in the construction of St. Petersburg.

Strengthening soils with the help of additional materials has become possible in last years when geotextiles, better known as non-woven, appeared synthetic material. It combines several useful properties and forms a strong, non-rotting, water-permeable base on the soil surface. With its help, you can strengthen the slopes of embankments or canals, make the foundation for pedestrian paths and even highways. It is used both independently and as a finishing coating gravel or crushed stone backfill.

Physical compaction of bulk and natural soils is carried out in any case to form a denser “cushion”. Only materials with a medium discrete structure are suitable for such a process - gravel, crushed stone (sand with natural stones), in rare cases it is used. Depending on the volume of work and the size of the material fractions, both light tools (vibrating rammers) and heavy equipment are used.

Samarkand – contemporary Ancient Rome: The age of its cultural lower strata dates back to the 1st millennium BC.
At the turn of the 14th – 15th centuries, a new flourishing of Samarkand began. This happened during the reign of the great conqueror Timur (Tamerlane), who decided to make Samarkand the capital of his empire. Timur wanted to make his capital unattainably beautiful and grandiose, superior to all other cities in the world. Therefore, the villages around Samarkand received new names and were henceforth called: Baghdad, Damascus, Cairo - the greatest cities of the world should have seemed like villages in comparison with new capital Timur. There were 13 gardens rustling around Samarkand, the largest of which was so extensive that once (as ancient chronicles say) the architect’s horse got lost there and they searched for it for a whole month.
The architectural ensemble of Samarkand, stretching from the Iron Gate to the east in the form of a street, was lined with ceremonial tombs and religious buildings on the sides. On the outskirts of Samarkand, on the slope of Afrasiab Hill, are the Shahi-Zinda mausoleums. No one planned or designed this magical street, the ensemble arose on its own, and it took hundreds of years to build it - one mausoleum after another. “Shahi-Zinda” means “living king,” whose cult existed long before the arrival of Islam here.
Timur had many wives, but only one beloved - the beautiful Bibi-khanum. The great ruler was on a long journey when she gathered the best architects of Samarkand, who, at the hour indicated by the stars, began building the mosque.
The mosque was built by a young architect who, captivated by the beauty of Bibi Khanum, became a victim of crazy and unrequited love. The slender walls of the mosque already shine with beautiful glaze, its dome already competes with the vault of heaven, all that remains is to close the arch of the portal. But the architect in love hesitates, because the completion of the work means separation from Bibi Khan.
Timur himself is buried in the Gur-Emir mausoleum, which is located near small pond on Registan Square. At first, Gur-Emir was intended for the burial of Muhamed Sultan, Timur’s beloved grandson, but now Timur himself, his sons and another grandson, the great medieval scientist Ulugbek, are buried here, under whom the mausoleum turned into the family tomb of the Timurids. The blue ribbed dome of the mausoleum rises to a height of 40 meters, wooden doors with ivory inlay lead to the main hall... The rays of the sun, breaking through the marble gratings, fall in stripes on eight tombstones, the graves themselves are located below - in the dungeon.
The central square of old Samarkand is Registan; streets approach it from all sides, radially crossing the territory of the Old City. In ancient times, a powerful canal flowed through the area, leaving a mass of sandy deposits. Sand deposits probably gave the name to this place, since “Registan” literally means “place of sand”, “sandy field”.
Until the 15th century, Registan was a large trade and craft area, but then its importance as a market square receded into the background. Under Khan Ulugbek, who was the ruler of Samarkand from 1409 to 1447, Registan became a ceremonial and official square: ceremonial reviews of troops began to take place here, khan’s decrees were proclaimed, etc.
During the time of Ulugbek, Samarkand was the center of scientific life in Central Asia, famous mathematicians, astronomers, historians came here... In the madrasah, for which Ulugbek personally selected teachers, and his observatory, scientists touched on the secrets of science. Merchants and artisans, pilgrims and poets, wanderers and diplomats - everyone flocked here, all roads led to the “precious pearl of the world” - the sparkling city of Samarkand.

Early age

Educational objectives:

Introduce materials for construction (natural, waste, construction and paper);

With volumetric geometric shapes (brick, ball, cube, cylinder, cone, pyramid) included in building kits or construction sets;

Learn to place various geometric bodies in space;

Highlight geometric shapes in familiar objects;

Introduce techniques used in design;

Experiment with paper, natural, waste materials in the process of creating basic crafts;

Connect parts using additional materials (plasticine, clay);

Identify familiar images in buildings and crafts.

Developmental tasks.

To develop a sense of form when creating elementary buildings and crafts;

Develop visually effective and visually imaginative thinking;

Promote the development of attention and memory;

Develop the ability to attach craft parts to each other.

Educational tasks:

Generate interest in constructive experimentation

Develop the ability to hear the teacher’s verbal instructions, his instructions, characteristics;

To develop the ability to see beauty in designs and crafts.

Features of training. Construction for young children is reminiscent of an experimental game in which the properties and characteristics of geometric shapes and various materials are studied. The three-dimensional volume of design products makes it possible to more thoroughly examine all the parts from which it is planned to create a structure.

In the learning process, where the leading method is play, it is advisable not only to demonstrate various figures, but also to name them as often as possible, to give them figurative characteristics, which helps children to quickly incorporate the examined materials into their own plans. It is important to activate all analyzers in order to form a more complete picture of the design.

IN early age Children, starting from the first year, are able to identify geometric shapes without naming them, but selecting the given shape from many others. This fact indicates that three-dimensional geometric bodies can not only be objects of manipulation and play for children at this age, but also an object of study.

The ability to identify a form, and subsequently name it, facilitates the process of learning to design at later stages, where the teacher will not need to introduce forms and develop the ability to create various buildings from them. In this case, the teacher can use verbal instructions, indicating the necessary forms, rather than a detailed demonstration, explaining the meaning of choosing certain forms for a particular building. After all, children are already prepared to work with these forms, since they know their properties and signs.

More time is left for the creative design process itself. There's no point in making things easier that are already so simple. In play, children acquire multiple skills that we, adults, do not always wisely use for their creative development. We are always afraid that children will not understand, will not be able to, will not cope. But sometimes we don’t even try to give them what they need. Often, in order to meet the time allotted for a lesson, we try to reduce the child’s activities to a minimum, and this is a fundamentally wrong approach.

You should not sacrifice the opportunity to develop some skill for the sake of the effectiveness of the craft. Let the design (craft) initially have an appearance that bears little resemblance, perhaps, to a real object, but it will testify to the path that the child has traveled. And here it is important to highlight his achievements, pointing out the prospects for further movement.

Lisa (1 year 4 months) made a “Joyful Caterpillar” from crumpled lumps of paper, which had to be placed one after another, fastening them together. At first, she had a hard time crumpling the paper into a ball (the sheet of paper kept straightening out, and she couldn’t get a single shape). The teacher suggested that she lightly wet her hands and only then roll lumps of paper, as is done with plasticine. As a result of Lisa’s efforts, the parts for the caterpillar were ready. When the lumps were connected, another problem arose: Lisa glued the eyes into different places(on the first link and on the last). Lisa’s mother immediately rushed to help her daughter: to glue it for her so that everything would be neat. But after explaining to the mother the inappropriateness of such an act, the teacher, together with the girl, found a way out by gluing one more eye to each link and dividing the caterpillar into two parts. Thus, we got two small caterpillars. Lisa was so happy that she got not one large caterpillar, but two small ones that she made herself. After class, she ran to show her handicraft to her mother, proudly clapping her chest, as if to show that she could do it herself.

When the child himself achieves the desired result with the indirect guidance of the teacher, the skill acquired by the child in the lesson becomes part of the constructive-visual experience. Even if the lesson is held with a subgroup of children, you should strive not to minimize their activity, but to think through its organization so that the children, performing simple actions, create a simple design (craft). It is important to place emphasis on techniques and techniques, variations of which expand the content and technical aspects of children's design products.

Junior preschool age

Educational objectives:

Continue to introduce materials for construction (natural, waste, construction and paper), their properties and expressive capabilities;

Introduce three-dimensional geometric bodies and architectural forms (domes, roofs, arches, columns, bridges, doors, stairs, windows) that are part of building kits or construction sets;

Continue to learn how to place various geometric bodies in space, creating a specific design;

Learn to identify and compare geometric shapes with each other;

Continue to introduce the methods and techniques used in constructive activities;

Learn to create constructive images while experimenting with various materials and transformation of various workpieces;

connect parts using additional materials (plasticine, clay, double-sided tape, glue, matches).

Developmental tasks:

Develop visual-effective and visual-figurative thinking, imagination, attention, memory;

To promote mastery of constructive skills: arranging parts in various directions on different planes, connect parts, correlate buildings with diagrams, select adequate connection methods;

Expand the child’s vocabulary with special concepts: “design”, “architecture”, “scheme”.

Educational tasks:

Arouse interest in design;

To develop the ability to see beauty in designs and crafts;

Cultivate accuracy when working with various materials and tools;

Ability to perform teamwork.

Features of training. In the process of teaching children of primary preschool age, it is advisable to use, in addition to the reproductive method, based on children repeating the teacher’s instrumental actions, but also partially search, heuristic methods that allow children to independently transform the experience gained into new situations. Undoubtedly, younger preschoolers are not yet able to fully realize their own plans without help, because, firstly, their plans are not stable, Secondly, constructive and visual experience is small. However, the ability to choose material, use, and maintain a constructive image forms in children creativity, manifested on initial stages in the ability to give your building an individual character.

When creating a garage for a car from a building set, you can show kids how the same parts can be used to create different garages for every car. To do this, you need to use parts made of self-adhesive paper as decoration: bricks, stones, slabs, eyes (surveillance cameras), etc., buttons, corks from plastic bottles for the construction of additional structural elements: locks, handles, cornices, etc.

In the younger group, children try not only to create structures on their own, but to actively include them in the game.

Construction refers to those types of activities that, in terms of content, create the most favorable conditions for the development of collective creativity. For example, when preparing decorations, gifts for the holidays, attributes for story games, performances, manuals for mathematics classes, familiarization with the outside world, buildings in a corner of nature, etc. Thus, children, starting from a younger age group, learn to participate in organizing the environment in which they live while they are in preschool institution. This has a huge impact on them, therefore, in the content plan of design classes, it is necessary to take this moment into account in order to implement such directions in the development of creativity as satisfying personal and social needs.

At the age of three, children have a desire to express their “self.” This also needs to be taken into account; you should not impose a specific, planned type of design just in order to solve a specific problem in the formation of any skill. Constructive skill and the content of a building are interconnected, but not static in nature. This allows you to use the principle of variability in the learning process, which gives some freedom to both the child and the teacher. It makes no difference which building the baby will learn the required technique from. The main thing is that he will master it in order to continue using it independently.

As part of learning to design from paper, children master the techniques of bending paper in various directions (vertically, horizontally, diagonally, double folding). This makes it possible to expand the content of children's constructive images.

Middle preschool age

Educational objectives:

Strengthen the ability to work with various materials for construction (natural, waste, construction and paper), taking into account their properties and expressive capabilities during the design process;

Strengthen the ability to identify, name, classify different volumetric geometric bodies (bar, ball, cube, cylinder, cone, pyramid, prism, tetrahedron, octahedron, polyhedron) and architectural forms(domes, roofs, arches, columns, doors, stairs, windows, balconies, bay windows) included in building kits or construction sets;

Continue to learn how to place various geometric bodies in space, using various compositions that reveal the essence of constructive images;

Learn to create plot compositions during the design process;

Continue learning to compare geometric shapes with each other and with objects in the surrounding life;

See the image in geometric shapes;

use various methods and techniques in the process of constructive activity;

Create constructive images in the process of experimenting with various materials and transforming various workpieces;

Connect parts using additional materials (plasticine, clay, double-sided tape, glue, matches).

Developmental tasks:

Continue to develop a sense of form when creating buildings and crafts;

To promote mastery of compositional patterns: scale, proportion, plasticity of volumes, texture, dynamics (statics);

Strengthen constructive skills: arrange parts in different directions on different planes, connect them, correlate buildings with diagrams, select adequate connection techniques;

Expand the child’s vocabulary with special concepts: “proportion”, “scale”, “texture”, “plasticity”, “proportion”.

Educational tasks:

Arouse interest in design and constructive creativity;

Develop the ability to follow the teacher’s verbal instructions during the exercises;

Aesthetic attitude towards works of architecture, design, products of one’s own constructive activities and the crafts of others;

Accuracy when working with various materials and tools;

The ability to work together with children and the teacher in the process of creating common work.

Features of training. IN middle group children consolidate their constructive skills, on the basis of which they develop new ones. Thus, the ability to create a specific composition from the elements of a construction set contributes to the development of the ability to plan work. At this age, children learn not only to act according to the plan proposed by the teacher, but also to independently determine the stages of the future construction. This important factor when forming educational activities. When children design a building or craft, they mentally imagine what they will be like and plan in advance how they will be completed and in what sequence.

In the process of working with paper and cardboard, children learn to bend paper in different directions, using both simple and complex types of bending. In the middle group, this type of construction such as paper-plastic is becoming increasingly relevant. Along with building kits, paper, thanks to its expressive and plastic capabilities, allows you to create interesting designs and crafts that have both a realistic and decorative basis. Paper, or rather its transformation, develops children’s imagination and develops the ability to see new images in familiar forms. For example, a cone made of paper can, with appropriate modifications, turn into any animal, flower, vase, boat, completion for a tower, become part of a costume for a fairy-tale character, etc.

There are many options for using a cone. But in order for children to be able to transform it, it is necessary to show the possibilities of transformation using diagrams and pedagogical sketches.

The same wonderful transformations are obtained in the origami technique, which is based on the techniques of working with paper by bending it in different directions. The origami technique allows the use of scissors and glue only in exceptional cases. This allows us to classify it as quite complex techniques, which require great attention, patience and accuracy. Unevenly folded corners will not allow you to get the desired result. The initial stage of learning the origami technique in the middle group is mastering the simplest initial forms, by varying which you can get different images.

Another type of papermaking involves the use of scissors and glue, in addition to techniques for working with paper, allowing you to create three-dimensional structures and crafts using experience in working with appliqué images. It also requires the ability to work with scissors in order to obtain the necessary part for the design. In the middle group, children only master simple ways cutting. They score, cut paper and cut out elementary shapes from blanks. Along with cutting in the middle group, plucking (to convey the texture of the building) and tearing (to convey a certain character of the image, display the style of the building) can be used to create a constructive image. Application techniques in this case can be both basic and additional.

Joint constructive activities of children (collective buildings, crafts) play a big role in developing the initial skills of working in a team - the ability to agree in advance (distribute responsibilities, select the material necessary to complete a building or craft, plan the process of their production, etc.) and work together, without interfering with each other.

Children making various crafts and toys as gifts for their mother, grandmother, sister, younger friend or peer fosters a caring and attentive attitude towards loved ones and a desire to do something nice for them. It is this desire that often stimulates the child to work with special diligence and diligence, which makes his work even more emotionally rich and brings him great satisfaction.

Constructive activities, due to their capabilities, make it possible to practically introduce children to such an art form as architecture. In the middle group, children not only study individual architectural forms, but also get acquainted with different styles, which has a positive effect on other types of fine art. It is knowledge of the features different forms architecture helps to enrich the content of children’s drawings and applique images. In this case, constructive activity has great importance and for the education of aesthetic feelings. When children become acquainted with architecture, they develop artistic taste, the ability to admire architectural forms and understand that the value of any structure lies not only in its functional purpose, but also in its design.

Senior preschool age

Educational objectives:

Improve the ability to work with various materials for construction (natural, waste, construction and paper), taking into account their properties and expressive capabilities during the design process;

To consolidate the ability to identify, name, and classify various volumetric geometric bodies (bar, ball, cube, cylinder, cone, pyramid, prism, tetrahedron, octahedron, polyhedron) and architectural forms (domes, roofs, arches, columns, doors, stairs, windows, balconies, bay windows) included in building kits or construction sets;

Use Various types compositions for creating three-dimensional structures;

Create plot constructive images;

Compare geometric shapes with each other and objects of surrounding life;

Identify an image in various geometric bodies;

Improve the ability to use various techniques and techniques in the process of creating a constructive image;

Continue to teach how to make a design according to verbal instructions, descriptions, conditions, diagrams;

Learn to independently transform materials in order to study their properties in the process of creating constructive images;

Strengthen the ability to select adequate ways to connect parts of a structural image, making them strong and stable;

Find replacements for some parts with others;

Improve the ability to bend paper of different densities in different directions;

Learn to work according to ready-made patterns and drawings.

Developmental tasks:

Continue to develop a sense of form and plasticity when creating buildings and crafts;

Strengthen the ability to use compositional patterns: scale, proportion, plasticity of volumes, texture, dynamics (statics) in the design process;

Continue to develop visual-effective and visual-figurative thinking, imagination, attention, memory;

Improve the ability to plan your activities;

Consolidate and expand the child’s vocabulary with special concepts “substitute”, “structure”, “tectonics”.

Educational tasks:

Arouse interest in design and constructive creativity;

To cultivate an aesthetic attitude towards works of architecture, design, products of one’s constructive activities and the crafts of others;

Accuracy when working with various materials and tools; improve skills in working with scissors;

Develop the ability to work collectively.

Features of training. The constructive creativity of children of senior preschool age is distinguished by the content and technical diversity of buildings and crafts, due to the presence of a certain degree of artistic freedom.

Making crafts from natural materials develops in children not only technical skills and abilities, but also an aesthetic attitude towards nature, art, and their creativity. However, this becomes possible only with comprehensive and systematic approach to the learning process. It is important that children be able to use the knowledge, skills and abilities acquired during one type of construction in others.

To enhance children's constructive creativity, it is advisable to use a variety of stimulating materials: photographs, pictures, diagrams that guide their search activities. As for the materials used in the creation of a constructive image, there should be more of it than is required for a separate building (both in terms of elements and quantity). This is done in order to teach children to select only the necessary parts that correspond to their design. If a child is not able to make a choice and uses all the material provided to him in class, without trying to objectively assess its significance for the implementation of the plan, then this indicates a rather low level of creative development. It is important to teach children to analyze the material, to correlate its properties with the nature of the constructive images being created. Children of senior preschool age, when creating structures, do not build in general, but for a specific purpose, i.e. in order to apply the construction (craft) in practical activities. This gives the design meaning and purpose.

Considering the variety of materials used in construction, you should consider a system for its storage. It is most convenient to arrange the materials in boxes, depending on the type, while making it accessible to children. It is advisable to classify the material together with the children. Firstly, this will allow you to quickly remember its location, secondly, joint work on disassembling the material accustoms children to order and neatness, and thirdly, during such activities, preschoolers indirectly consolidate knowledge about the properties of different types of material.

In senior preschool age under the guidance of the teacher, children master new methods of connection, learn to create a variety of movable structures using pictures and drawings. Special attention refers to special training in children’s ability to connect parts using nuts and wrenches, since this requires the participation of the small muscles of the hand, which are still imperfect in a preschooler.

Sets of building materials and construction sets are not given all at once, but gradually, as children master them. After children, under the guidance of a teacher, have mastered one or another construction set, it can be placed in the creativity corner so that children have the opportunity to independently use it in free activities.

Paper is also widely used in older groups in the process of paper-making, which is used both as an independent form of creativity and in combination with others to make various crafts and toys. Children are given different types of paper: thick board paper, writing paper, glossy paper, semi-whatman paper, and different types cardboard

The diversity of natural material and ease of processing allow it to be used in many ways when working with preschoolers. The teacher, together with the children, prepares natural materials. Its reserves are replenished throughout the year. To create a complete craft or structure from natural material, you need to choose an adequate fastening method. In that age group, such as an awl, a needle, or wire may already be used as an additional means, which, due to their unsafety, is not recommended for use in younger groups. However, even for older preschoolers, instruction about the features of working with these tools is necessary, as well as control over the work.

Natural material allows you to create structures both small and large sizes, and then the work will be of a collective nature. For example, the construction of buildings made of sand or snow on the site. In this case, children will develop the ability to lead working together where you need to negotiate and find a common solution.

Artistic manual labor

This is an artistic and labor activity consisting of children making artistic and aesthetic objects. useful crafts, necessary in various areas of life of preschool children.

The practical orientation of artistic manual labor contributes to the formation of labor skills in preschool children. Children learn not only to create by inventing interesting crafts, but also to organize the space of your life, to create beautiful things that fill it. To do this, they need to master the necessary skills and abilities that allow them to transform materials, achieving the intended results - the implementation of creative ideas.

Their own crafts, which preschoolers subsequently use not only in play, but also in the process of educational and work activities, acquire a certain value for them. For example, having made a stand for a brush, children treat it much more carefully than one bought in a store. From this we can conclude that artistic manual labor is an important means of developing the personal qualities of a preschooler: the desire for hard work, attentiveness towards others, accuracy, patience, etc.

The techniques and methods used are the same as in the design and application process. The tasks have the same focus. The main difference is that children learn to purposefully create useful things necessary in their practical activities.

Control questions

1. Define children's constructive creativity.

2. What types of constructive creativity can be conditionally distinguished? What is the essence of each type of constructive creativity?

3. What materials are most often used when working on appliqué?

4. What are the differences and similarities between appliqué, design and art? manual labor?

5. At what age is it best to teach how to use scissors? Why?

6. For what purpose are sketches used in the process of learning appliqué?

7. What is the importance of diagrams in the process of learning to design?

8. What constructive techniques do children of primary preschool age learn?