you were a tv director, what is the difference between the art of television and the art of cinema? cinema

is bigger, cinema makes it easier, because the viewer pays his money, makes his own choice, sits in a dark room, on television you are constantly fighting for the attention of the viewer, who is constantly distracted. i think television should be more casual and more fast-paced than movies that you watch, you're in your own home and i'm supposed to captivate you with my story, so movies...

yeah. this is a space stories podcast,

today we are celebrating international cosmonautics day, today my guest is a wonderful person, space architect, designer, artist, engineer, galina andreevna balashova, she came to our studio with her granddaughter olga vinogradova, as well as karina dimir, she supervised the translation process books, just about galina andreevna, today we will talk about life...

i took exams at this architectural institute in drawing and drawing , i took the rest, i had a silver medal and i didn’t have other subjects i was required to demonstrate my skills, according to the drawing i received a four, according to the drawing they drew a vase and i received a three, but in the end i passed. institute, because half of the applicants did not pass at all, because they had bad grades, i went to the institute in the first group, there were teachers, at first we had lisenko, lisenko and another teacher, and the first three groups we learned to draw in architectural in this, in the first years of the institute, in the third year we were taken in by teachers, wonderful teachers, yuri nikolaevich. shverdyaev and mikhail fetrovich

olenev. mikhail fetrovich olenev, however, was a wonderful artist, and yuri nikolaevich shverdyaev was an architect. that our task as architectural teachers, so to speak, is mikhail fetrovich aleneva and yuri nikolaevich shurdyaeva, is to show us taste, and that was the main thing, they didn’t teach us how, how to do it, how to get used

to the taste, but simply they painted what they considered talented, they were both talented people, in our fourth year mikhail fetrovich olenev died. and of course, we were very sorry, and yuri nikolaevich taught the workshop for another 40 years zheltovsky, since i entered this institute, this workshop, there was a very good attitude towards us, in total there were five girls in the group, the remaining 20 people were men, and of these five girls , only one of them took me for a diploma, yuri took me for a diploma nikolaevich. i had all a’s in architecture, a residential building, a small, then a large flower shop, there was, there was an a, and i graduated from the institute, where did you end up, what did you do after the institute, from

the institute i was sent to work in kuibyshev, now samara, then this kuibozhev was there, i was there i worked for 10 months, the task was this: daneli, he turned, we just have a photograph, this is where you and him are, and yes, this is, i was a skier, so daneli was also a skier, here we are with him, that’s how since you are a skier, at some competitions, i was at the competitions, yes, at the institute competitions, i was, that means

i excelled there, was distinguished by fast riding, and was a normal skier, yes, the next year. i studied at the architectural institute for 6 years, and my friend alone, yuri pavlovich balashov, studied for 6 years, he was ill a year later than i graduated faculty of physics and technology at moscow state university, he studied, he studied at this institute, he graduated from this institute the next year and came with me, he and i... lived while we were studying - at a ten-year school in dmitrov, and he came to me when i worked in kuibyshev for 10 months, he came to me, one might say that he was after me, we were generally friends at school,

he came to woo you, yeah, in kuiboshev we signed, became husband and wife, and i asked for time off from the head of the aviation industry, in which she worked. then i asked to return to moscow to my husband, to yuri pavlovich balashev, he was already working in the city of korolev, in the space field, the head is sergei pavlovich koroleverge bureau number one, which is located in korolev, i forgot a little, but having arrived in moscow, he was already working at the company korolev, what was he doing there, he was working on the descent...devices, he was working on calculating the thickness of the descent vehicles, thermal protection, and it turns out a heat-protective layer, a heat-protective layer, 20 cm, in my opinion there was a heat-protective layer, so he yes, he is also there today, yes, he was studying there, and i entered, this is just

the descent module of the soyuz spacecraft, here we see a dark outline, just this thickness, yes, which saves us cosmonauts when we return from space on... yes, yes, yes, he worked there, and i went to work at gipratis, lived in lobnya, every day i went to work in losinka, there would... i spoke at my place in this very enterprise,

where he worked, got me a job in this, in the same enterprise, where, where people worked with spaceships, but he was also there additional department, the department of the chief architect, this is the chief architect for the territory of this plant, that is, you ended up in the space industry, i ended up in the space industry, but not in but not in space, but in... in the territory of this enterprise, and you were landscape designer, that’s what they call it now, yes, yes, no, she was an architect, but since the complex is large, there’s a lot of all sorts of territory needed there, so we just see that you’re on time, this is a community cleanup, this is already in korolev, in the city of korolevo there was a city park, which means i i was working, yuri pavlovich was already me, so my husband had already agreed that i ended up working in the department of the chief architect. at this at this plant, which was attached to this city, this and the city plant were considered to belong

to this cosmic city, a cosmic architectural city, and i worked there for several years, the chief architect was kazansky, his last name was kazansky, he was a good man, but he was not, he was not an architect by training, he was not, i was the only architect by training, so that means... with the help of yuri pavlovich, i came to the city of korolev, there near the city we rented a private apartment from a woman, and i worked, there was a department of the chief architect and the chief technologist, the chief was also chief, there were several chief workers, but but they were at the factory, they didn’t work on ships, they...

the devices were very small, they just took off, the first cosmonauts, flew around

the earth, again landed quickly, and korolev thought about what to do, after all, fly on one day, it was quite a bit, and this was enough, which means, to rise in the cradle of the descent vehicle, descend in the same cradle of the descent vehicle, and fly around the earth, but... in the descent vehicles in which they rose and fell to the ground,

it was impossible to live for a long time, some kind of an auxiliary apparatus, if you fly there for a week, you already need to, that is, create something additional, something additional, and sergei palovich ordered just the filling apparatus, and they were drawn, and then i had to do this, that is, this our modern household compartment appeared in the soyuz ships, in addition to the descent module and the instrument-assembly compartment, which were in the eastern sunrises, another household compartment just appeared, so we just see it, but no, that’s later. korolyov already had a worker, they made a compartment, but not this one, but before this ship, so i had to make the left side, the left side, here is the left side, here is the starboard side, the left side is a sideboard with instruments, and that was then, first there was another descent vehicle, move away, don’t disturb, she’s alive, you have

no way. seriously, i want someone prettier, i don’t want to tell olya about this directly, because she will think that i want to quarrel with her, wife. alexey, first of all, thank you for coming to me with this information and not to olga. olya, i, i love you. lovilas you ended up with us. i see that a girl from work is staying the night with you, and olechka is stopping by for the night. i'm chasing the suspects, they turned onto kolomenskaya, i need help. everyone nearby, how did you know that there would be a raid on the bank? regarding the turbine, will be carried out a thorough investigation, if you find something related to the turbine, consider it a death sentence, you think he’s a rat, i’m from the police, i’m in the know, i didn’t find out, undercover taxi, premiere on monday on the first, this is the first

streamlined compartment for astronauts that were flying. orbital, orbital, yes, at first there was a compartment, you know, this compartment was made by space designers, they made it like this, and the apparatus in which the astronauts were turned into another compartment, an additional one, this household compartment, yes, it was at first, you know what, here there was just a red box, on the other side there was also a red box, down there was a luxury box. descent here descent apparatus this compartment had at first here the entrance here the landing hatch and the landing hatch into this apparatus from this apparatus the descent apparatus in this apparatus they were supposed to fly fly around the earth several branches there for several

days but they did as they did two one hatch. down, another into the hatch out, this hatch is out, yeah, and then just a box, here a red box with red handles, on the other hand, here there was also a red box with red handles, where the sideboard and sofa came from, here the sideboard and sofa are korolev, he looked at the second descent module that was made, that’s how i tell you , and korolev said, nonsense, he scolded them, he said:

there is only one chief architect about one professional architect, who finished, graduated from 6 years of architectural institute, it was a seam, she is already, it’s me, so he knew me, from now from queen, you know why, because korolev was a student of tsandr, and tsandar died early at the age of 36, in the thirty-third year, in my opinion, he died. they had already buried him in kislovodsk, and korolev loved him very much and pitied him very much, and he knew that tsandra was buried, but he didn’t have a monument, and then korolev, he entrusted the artist viktor petrovich dyumin, viktor petrovich dyumin was

korolev’s personal artist, i drew furniture for him there , fixed it, and he drew, you know what... large royal rockets, which korolev designed at the same time, and victor petrovich painted these rockets with color, with some kind of colored devices, viktor petrovich dyumin advised korolev to take balashova as his assistant, because the architectural part of the tsandrug monument, dyumin did not know how to do it, he was not an architect, they did two. yes, yes, here is the monument to tsandur, and i did the architectural part, they did everything, they drew it all, yes, ah... i made a portrait of this tsandur, and i drew the whole, the whole, the whole, the whole system, together, so to speak, the architectural

i painted part of this monument because i knew how to do this, it still stands there, then, when dyumin and i made this monument, korolev already turned to me to make from that... a round monument in which there were such red boxes, two, two boxes, yes, right and left, and he turned to me, make a living space out of these, make a living room out of these two boxes, and i made a living compartment, i made them over the weekend, because i’m an architect, and that’s exactly what i have the point was to make it out of some kind of round thing, but how did you come up with the idea that you should to be exactly - and he told me, and the piaktists told me what i needed, that there were two drawers here, there was a hatch down there, there was a hatch on the outside,

we needed to make a living space, well, i immediately realized that - this is a sideboard, yes, this is a sideboard , on the contrary, the toilet and so to speak, everything, everything else, well, i can say that more than 50 years have passed there, here - firstly, the design documentation is what is called in the household compartment. and the sofa is called the sofa on the left, where you say, there is also a space toilet, yes, a space toilet, books, a remote control, a control panel, a drink downstairs, over there on the left there is a drink from this drawer, where the handles lay suits, space suits for several years, yes, and on the left there was a sofa, the sofa had fasteners, because there is weightlessness there. the crepe was at first they were striped with these, it’s not just like that, i drew it on purpose, and then i forgot to paint it in half, i forgot

to paint it, this was the first, this was the first sour, the very first drawing was mine, the next one is more visual, the next one is already, the next one is more different, but the next one was shown, those were then then after that, but here yes, that comes later. so it still is, and in the same color scheme, that is, the same upholstery material, i see green, i have these materials, yes yes, this is the so-called velcro or velcro, so that objects do not the floor, the sofa, the floor, this one, this one, then all these, all these parts, flew away, there were different versions of these, this compartment and this sofa. and the sofa was like this, sometimes darker, sometimes lighter, it turns out that you are the real first space designer, and nothing much has changed in so many years, so i’m off to space

i flew four times, and the first time i flew to the space station, for two days, on my own along with the crew, i also had two flight engineers, we lived for two days, this is what you came up with, back then, under the queen, we lived in this everyday compartment, we still had sleeping bags, we tied them down. already in the living compartment itself, but we also slept, tied the bags right in the area of ​​​​the sofa, although always, when a spaceship takes off, the sofa is filled with various cargo, there is a special mesh that holds these loads, everything is attached very rigidly so that it does not dangle during the start, especially the start, of course we used the toilet, what you say, water, we drank water, that’s where the sideboard is, there we have it. were stored to change clothes, we took off our spacesuits, put on flight suits, plus food, although there is still no heater, so we ate cold canned food,

and drank regular cold water or barefoot, so this is what you invented, we still fly like this , now we usually fly to the space station in 3 hours, so we no longer change clothes, we take off our spacesuits, but still if anyone needs to, for example, use the toilet. yes, a patch, yes, yes, i made this emblem just like this, then like that, and the last, last option was this.

ships, so we see that it was signed by the crew members, these are lionov and kubasov, it was signed that the author, the artist, by the way, well, this is our artist balashov, in america they signed that this is a completely different artist, that is you were classified under such secrecy standards that you, me, and i were not allowed all the time it was, even, that is, finally passed there, some decades, but we can safely say.

that is, it’s all you too, i’m all me, an artist on this topic, i was, korolev was there for a very long time, so to speak, accepted my drawings, signed korolev, well, except for the union ship, well, i mean the household compartment, emitting device, you were directly involved in the interior development of space stations, soviet space stations, mir stations, as i understand it, well, i can say that the russian segment of the iss is practically a copy of what you made. for the station, the world, the world, yes, the world is big, you know, this is the working part, and there was also a living part, yes, well, from left to right there are two cabins, they are now on the iss, no, now this is the remote control there, a large remote control , this part is shown here, this living part, where four people are sitting behind this remote control, sitting in cabins, well, yes, we are just now seeing

the prototype. i say that it has undergone changes, we don’t have chairs, experience has shown that we don’t need chairs there, the only thing we have is there is a handrail on the floor and we just hold on to this railing with our feet, being, for example, around the table, that’s where these green boxes are now, there is a table at which we eat, do experiments, medical and so on, and i want you say thank you that only in russian cabins here. cabins, which have a porthole on the left to right. all these drawings and drawings of yours, i mean on space themes, while we’ll talk about space, ended up in your home, not somewhere in the archives, not somewhere behind seven seals under seven seals. top secret, but at your house, at my house in general, everything, how did you manage to do it, and i didn’t do anything, i drew all the pennants at home, but what about

the space drawings? they were not considered drawings , there was no stamp on them, they were , well, not unofficially, yes, then she passed it on, it turns out to these designers, they were already making their design drawings based on these sketches, but those were already secret, but these were not considered so she could take them, you draw so much, well, you painted and watercolors, where the inspiration came from, he was a wonderful person, my father, i took after him, generally speaking, my mother studied with him. in this technical school, and he married her, my brother, he didn’t draw, my sister is at home, now she’s also old, but i ’ve been rejuvenated for several years, she, she didn’t draw either, but i did, i’m into him, because my my father was a man of art, but he had to work after the revolution, and he worked as a forester, and what kind of grandmother is there in life, grandma galya is the kindest,

she spoiled us with everything, took us out, there were donuts, which my mother forbade, and so she always, well , in my, actually in my childhood, all her life, and she always painted, that is, her apartment is filled with paintings, all visits to her are looking at her paintings, appreciating new ones, and looking at how she remade something she didn't like. from all her trips, she always brought paintings, brought them to us for art council, yes, yes, yes, she always listened to our comments, it was important for her that we appreciate, look, she always loved to travel and said that in general this the main pleasure for her is to travel, in soviet times she traveled to all sorts of republics, they went to the baltic states with the whole family, she loved to go alone to holiday homes. and there

she also devoted a lot of time to drawing, then, when the opportunity arose to travel to europe, for example, she very diligently earned money with the help of her drawings for these trips and... and she went to europe for me and my mother, even once she arranged for us together, the three of us we went, it was the first such trip abroad, the three of us traveled around europe, for her it was really a source of inspiration, in fact, she always took a lot of photographs, even took photographs, yes, for some reason she loved slides more, and these were also such family viewings, then slides from the trip, many, many boxes, she brought her device, and we watched it all, with her comments, everyone gathered, so all these impressions of hers could also be absorbed from these slides, which is why, perhaps, that

these were her main hobbies, after retirement she could directly a lot of this time pay attention, but drawing is primarily drawing - is it her? i recently showed my works to my grandmother, she highly appreciated them, so that i was very pleased, well, one day she brought them , let’s see, maybe her great-grandchildren too... both olya and grisha will become artists or architects, she’s all postcards, children they draw postcards for her, she saves them all, puts everything on the bank, on the bank, everything, everything they do, i take care of the books, by the way, on march 8, grisha made

a palm tree, a three-dimensional palm tree, wonderful, beautiful, that is, great-grandchildren, talents too you, incredible talent, that is, you have a big, good family, friendly, they are friendly, let’s ask kana how she is with you... my acquaintance with galina andreevna took place, if i’m not mistaken in 2017, i could n’t even imagine that there is such an amazing architect who was involved in interiors, the identity of spaceships, we agreed to meet in korolev, in 2017 we came to visit, gu. we were greeted by such a hospitable table with tea, some treats, we leafed through huge folders with projects of galina andreevna, we looked at her

drawings, which cover almost the entire surface of the walls in the apartment, an amazing tapestry depicting the union of polon, i also really remembered, so we discussed some of the main... stages that we must go through in order to so that the book would be published in russian, and we agreed that we would begin work, after that we worked on translation, editing, and we recorded an interview with galina andreevna, she is very persistent, demanding, both of herself and of those around her, then there is some kind of film is being made, or just an interview, no, an interview, which was later included in the book, in printed format, she and i... verified some situations, historical facts, terms, what, why it was necessary, we worked a lot over this book, in 2018 a russian edition was published,

galina andreevna chose the color for the cover, brown color for the first book in russian, then in 2018 such a large-scale presentation took place: at the garage museum of contemporary art as part of a book fair, then galina andreevna came for the first time to to her fans, one might say, and simply to people who are interested in design, architecture, astronautics, there were a lot of people, she also talked about her work, talked about some difficulties that arose in working, probably with space technology, with astronauts , have you dreamed of flying into space? no, no, no, i loved architecture and

drawing, but to fly into orbit, there to paint in watercolor what our earth looks like, the stars, no, no, that didn’t happen, so draw drawings, i have a lot of drawings in general. that you didn’t want to become an astronaut, no, i knew that i knew that there was nausea, there is such a thing, at first there is, there is, i knew it from the very beginning. when, when korolev instructed me to remake this new compartment, like a household compartment, yeah, a household compartment, the workers who made these double-layers, well, no, no, these didn’t know, they didn’t know what to do, so they did it simpler, what something simpler, like this, two, they’re just engineers, they had to place the equipment, they placed it, but how will people live in it, they didn’t set such a task for themselves, just here...

the most important thing is good health, long

life, congratulations on cosmonautics day, thank you, thank you, thank you that i lived, thank you olga, thank you karina for this wonderful conversation about space, hello, i'm cosmonaut anton shkaplerov, this is a space stories podcast. russia is a great space power; it never ceases to explore new horizons in the space industry. the first artificial earth satellite, the first man in space, the first woman in space, the first spacewalk outer space, the first dockings and, finally, the first feature film shot in space, this is russia. today my friend, cosmonaut pilot, hero of russia, oleg, is visiting me. artemyev. oleg made his first flight 10

years ago. oleg, hello. why did you choose the space industry? there are many other interesting professions. maybe there is an element of chance, since i wanted to get the best education, well, in my youth i thought that astronauts had the best education. i went through all the autobiographies cosmonauts, there were military pilots. engineers who graduated from mine, bauman moscow state technical university, and i followed this path, received an education, but before i received it, i had a very good meeting, so significant for me, i met at a lecture with vladimir aleksevich solovyov, who is now general designer of the rocket and space energy corporation, and he is also the flight director at tsup, and he spoke so interestingly. in space, the management of the station is so simple that this

simplicity, it captivated me, that the usual a person can fly into space, then control spaceships, a station, everyone who was at the lecture then, they all wanted to follow this path, but some succeeded, some did not, you studied in bauunk for 6 years , yes, yes, well, at baum university, where one of our best universities in the country, where i think the best technical education, yes, one of the best, but here...

well, this is a box in which two probes were screwed in , and these probes were unscrewed from the outside, smears were made, then back screwed in, then returned to the ship to the station, then returned to the ground, then in laboratory conditions they realized that there were... microorganisms, this discovery, it made it possible to raise the level of the earth's biosphere to the level of the space station's flight up to 425 km, now we have the next task is to make such strokes on satellites that fly higher. do you have to catch him for this? well, catch it and fly there. i think it’s not that difficult to catch, but it will be necessary to fly there. and our next development will help us with this astronautics. i hope. oleg, before becoming an astronaut, you worked at

the energia rocket and space corporation in the department that deals with external activities. tell me, are our spacesuits eagles? yes, they are being improved all the time, compared to the first spacesuits that were for going into outer space, now modern, what are the differences, differences, but the basis remains that we go in from behind, that is, we open the door and there, as if we put on we go into it, that is, we close it ourselves, that is, this concept remains, but since then times from the time of the first... who was preparing for the moon for the release of those, he, of course, went far ahead, he got a more convenient one, uh, modernization is constantly underway, control systems are constantly being modernized, so that it is more convenient for you, more convenient, so that you can work, because it is quite rigid, uh, now new sleeves are being tested to

make it more convenient to work, then - the early modernization of the spacesuit, it has climate control, that is, the previous system of the spacesuit you... had to constantly because of that, well yes manually adjust yes change temperature, because the intensity of work with the outdoor station changed, that is, you either rest there, then you get cold, you need to make it warmer, or when you work hard, you need to cool down, now this is no longer necessary, you set the climate to one temperature - the control works, by the way, only we have it in the american one, and now modernization is continuing. stops because, firstly, there is such a thing as remarking to astronauts after exits, yes, they always offer some things that would improve these spacesuits, and the designer listens to comments and modernizes the spacesuits, if possible, well, now there is such a problem

that, well, not that much of a problem, but new materials are replacing the old material, so the spacesuit already needs to be modernized with those materials . which exist, then these spacesuits, they will continue to be used at our new stations there, then we have alien activities ahead, when we fly, we will work on the moon there or on mars, there will also be a need for spacesuits, all the best the developments that we have, we are investing in new spacesuits, i know that you took part in experiments on the ground, march 500 twice, and the first time it was 2 weeks, the second time it was already 150. i was in isolation, tell me, in what was the essence of these experiments and what new, maybe discoveries were made, this is a purely psychological experiment, why it was called mars 500, because right now the level of our technology and the projects that exist allow us to fly in about 200 seconds

about a day from mars, work there for a month and the same amount of time to go back, that is, it ’s about 520 days, and the most important part...

an experiment and a good project, and it’s very cool that it’s ongoing, right now, right now , a year-long experiment is taking place, called sirius, this already preparing for the moon, it’s also partly psychological, it’s 3 days to fly to the moon, why a year? well, you see, we need to work with the fact that on the moon we will have a base, a lunar base, and we must work on it, and i think that it should be... permanently operating, and those people, you never know if there will be such a thing that you won’t be able to return there for some reason, and you need to understand how people will interact with each other, and for... scientists who come up with all sorts of experiments, research, they are very interested the behavior of people in such conditions,

this is one thing, and secondly, one of the tasks of both my isolation experiments and those experiments that are now is testing the experiments before they get to the international space station or further into the future, that is, they can now to work on the ground with those people who work here in a confined space and... how can this be worked out, this is all within the framework of the sirius experiment, yes, this is all within the framework of the sirius experiment, that is, me too, when i was on my experiments, those experiments that i was working on then, i later met them on board the international space station, it was much easier for me to work than for my partners, that is, i already knew these experiments, knew the people who came up with these experiments, supervised, this and prevention, these are all sorts of biological experiments related to... experiments,

for a reason, we took it and sent it, but the methodology, how we do it, what sequence, all this is worked out, during the sirius experiment, we touched on the psychological part, yes, then there are psychologists who have made huge conclusions based on the number of crew members, i don’t know, gender. like, how many girls should there be, how many boys, i think that what you are saying now, according to the gender type, this continues, because if we take those the experiments that i had, i had - in small experiments there was only one girl, in the main experiment there were only males, now those experiments that are going on now, they are in half, there are in half, there are more girls somewhere, where -there are fewer girls, well, they look at how they get along with each other, each experiment provides... food for scientists to draw some conclusions about what the composition should be, how

sirius differs from mars, saturation, new equipment, that is, what we did tests were there, written in writing, now this is no longer there, now all this is computerized, this is once, then the use of artificial intelligence is mandatory, that is, also , as it were... for data processing, then new experiments that appear and are being tested now, which then there wasn’t, then now the emergence of new equipment, then when i actually had a 3d printer, we were just dreaming, now it already exists, then what else, well, science doesn’t stand still, that is, there are tools that scientists use , they are all new, that is culture of treatment the same. 3d printer also simulators simulators new simulators, that is , we only had a treadmill and a regular

strength trainer, now this is the simulator that can be installed there at our new russian station, that is, constant development is underway, that is, radically sirius it differs from mars simply by a new level of, well, just equipment, new experiments, but it’s the same as these. i came to him, i saw how my son was doing these homework very quickly, and i looked at everything, he just......