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Titanium raw materials are widely used for the synthesis of various functional materials – sorbents of radionuclides and rare earth elements, various additives, filler pigments, etc. Since most of titanium concentrates are imported, in line with the import substitution program, production of titanite concentrate from apatite-nepheline ores of the Khibiny deposits is a promising trend for supplying national industry with titanium raw materials. The article presents the results of laboratory studies of flotation separation of titanite concentrate from apatite-nepheline-titanite ores extracted from the upper ore horizon of the Koashvinskoye deposit, where titanite-enriched ores are concentrated. Recovery of titanite concentrate was accomplished using two reagent modes – a mixture of alkyl hydroxamic and carboxylic acids with the addition of distilled tall oil and a mixture of tall oils with the addition of polyalkyl benzene sulfonic acids. The results of the research showed that the first flotation mode, which allows a selective recovery of titanite into the concentrate (titanite content in the concentrate was 93.5 %) is the most efficient. It was shown that flotation separation of titanite concentrate is preferable compared to the chemical method based on sulfuric acid leaching.

УДК 72.036 румилец Т.С., пивонос к.В., Таран а.а. Одесская государственная академия строительства и архитектуры архиТекТура ВОСТОчнОй еВрОпы 1960-х-1990-х гОДОВ аннотация. Статья посвящена последнему периоду в истории советской архитектуры-советскому модернизму, «совмоду», научная и просветительская работа по систематизации и популяризации которого была запущена лишь в последние несколько лет. В настоящее время, когда архитектура 1960х-1990х еще абсолютно функциональна, но уже нуждается в том, чтобы быть выявленной как ценность, ревизия этого периода приобретает особую актуальность. Авторы попытались исследовать территорию всего постсоветского пространства и собрать базу уникальных объектов, чтобы по достоинству оценить совмод, изучить его и, возможно, защитить многие объекты от исчезновения. В статье на примере выбранных объектов рассмотрены исключительные композиционные и планировочные приемы, рассмотрены интерьеры зданий, декор, а также применение различных строительных материалов. ключевые слова: постсоветское пространство, памятники эпохи, советский модернизм, рационализм. rumilets Tatyana, pyvonos Karina, Taran anastasiya Odessa State Academy of Construction and Architecture archITecTure Of easTern eurOpe In 1960s-1990s summary. That article explores, the architecture of the post soviet republics completed between the late 1950s and the end of the USSR in 1991. Eastern Europe and the former Soviet Union are often associated with grey, anonymous, and poorly constructed postwar buildings. Despite this reputation, the regional architectural developments that produced these buildings are critical to understanding global paradigm shifts in architectural theory and practice in the last 50 years. The vast territory of Eastern Europe and the former Soviet Union covers about one-sixth of the world's landmass and currently contains all or part of 30 countries. Time is running out, and action is urgently needed as many of the buildings. Architects working in the decades between the Khrushchev Thaw in the mid-1950s and «Perestroika» in the mid-1980s faced a dearth of money and material, as well as political censorship. After Khrushchev pronounced the official departure from Stalin's turgid classical style, ornamentation literally became a crime. A decade later, architects had to reverse course; Brezhnev's reactionary politics allowed ornamentation, but required architects to "scientifi-cally justify their artistic consciousness." This article discusses several unique objects of Soviet modernism. Today, Soviet modernist architecture is criticized without factoring in the constraints of the time. It is often derided as derivative, unexpressive, and inhumane. The evaluation of any style on a mass scale is meaningless. Classical architecture is defined by the Parthenon; Gothic, by the Chartres Cathedral; but in our own time, architecture is often judged by the mediocre building next door. Such a practice is not objective and is unjust. Modernism should be judged by the best creations of masters such as Corbusier, Mies, Alv...

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