The history of Moscow dates back to 1147, when the Rostov-Suzdal prince Yuri Vladimirovich Dolgoruky gathered the allies for a feast, led by the Novgorod-Seversky prince on the banks of the Moskva River. Nine years later, he ordered to lay a new fortress on that site. From that time on, the history of the Kremlin ensemble began - the largest and most important architectural ensemble in Russia.
Before the foundation of the Kremlin
The Kremlin architectural ensemble is located in a sacred place - here in the 2nd millennium BC there was a pagan ritual place, and around - oldest settlements and the churchyard where the Magi were buried. The hill, on which the first fortification arose during the reign of Yuri Dolgoruk many centuries ago, was called Witch Mountain and was located at the confluence of the Neglinnaya River into the Moskva River. Later, the hill was named Borovitsky Hill. It is here that the unique architectural ensemble of the Moscow Kremlin is now located.
The beginning of the formation of the ensemble
So, at the first stage of the formation of the architectural ensemble in Moscow, the Kremlin was just an earthen rampart and a ditch that protected it from the outside. According to other sources? some of the fortifications were made of wood.
At that time, the territories near the Moskva River were quite inhabited, because important trade routes passed here, although these lands were the outskirts and border point of the Rostov-Suzdal principality. All settlements near the river and Borovitsky hill belonged to the boyar Kuchka. Shortly before the construction of the first fortifications, Dolgoruky executed Kuchka. The reasons that prompted him to this are not known for certain.
The princely chambers were erected near the Kremlin. New settlements of immigrants arose. All villages united around Borovitsky Hill under the protection of the fortress walls into a single urban formation. New town was originally named Kuchkov, but then changed its name to Moscow, which was due to its location.
A weak fortification, built not according to the traditions of ancient Russian defense architecture? was captured and destroyed by the Mongol hordes, but under Ivan Kalita in the first half of the XIV century, among others, Moscow was restored. Gradually, the Moscow principality strengthened its position among other large Russian principalities, and even began to compete with Tver, Suzdal-Nizhny Novgorod and Ryazan, and most seriously with the first of the three. All the principalities fought in the Horde for the prestigious label of the Grand Duke of Vladimir, the possession of which gave enormous advantages, above all, power over other principalities and special privileges in the Horde. Ivan Kalita, with the help of diplomacy, cunning and bribery, managed to acquire this label, as a result of which he was able to free the Russian lands from the Horde yoke for a long time. As a prince of Moscow, he annexed others to his principality, thereby uniting many Russian lands. Moscow became the center of the new principality. This happened after Ivan Kalita persuaded the Vladimir Metropolitan Peter to move his residence to the banks of the Moskva River. From that moment on, Moscow became the ecclesiastical center of all Russian lands. The rapid rise of Moscow over other cities began.
Ivan Kalita is rebuilding a wooden Kremlin - made of oak, but how it looked is unknown. Over the next 25 years, the Kremlin suffered many times from fires, and in 1366 it was rebuilt in stone by princes Dmitry Donskoy and Vladimir Andreevich. But for some unknown reason, it will soon collapse. The next version of the fortification will be built by order of Ivan III. Over the course of several centuries, the Kremlin was being completed, its towers were erected. The Kremlin received its modern look only during the reign of Ivan the Terrible.
Kremlin structure
The shape of the Kremlin territory resembles an irregular polygon, and is limited by Red Square, Kremlin Embankment and Alexander Garden. The walls and towers are lined with red bricks. The height of the walls is 5-19 m, the towers are 16.7 m - 80 m. There are 20 towers in total on the Kremlin wall.
The beginning of the formation of the architectural ensemble of Cathedral Square
History Cathedral Square began much earlier than is commonly believed. Back in 1272, according to legend, in this place, Prince Daniel Alexandrovich ordered to build a small wooden church and consecrate it as the Church of the Savior on Bor. The chronicles mention that around this church in the XIV century was located male monastery... His son, Ivan Kalita, erected a stone cathedral instead of a wooden church. It happened in 1330.
In the architectural ensemble of the Moscow Kremlin at the beginning of the 20th century, the temple occupied an important place, but in 1933 it was demolished by decree of the Presidium of the CPSU.
Four years before the construction of the Savior on Bor by Ivan Kalita, he also laid the first temple of the architectural ensemble of the Cathedral area. We are talking aboutAssumption Cathedral, in the memory of the deceased half-brother of Ivan Yuri Danilovich, who was killed by the prince of Tver in the Horde.
It is believed that a wooden temple was also located here earlier. According to unconfirmed information, nearby, here, on Borovitsky Hill, there was another wooden church built by the son of Alexander Nevsky, Andrei Alexandrovich in 1291. At the beginning of the 15th century, it was expanded and strengthened.
In 1333, among other churches on Borovitsky Hill, on the site of a modest wooden church of the 13th century, a white-stone Archangel Church was erected, in which a prince's tomb was equipped by order of Ivan Kalita. Burials, according to tradition, continued until the death of Peter II, and the tomb is preserved as a memorable place and now in the new church.
Cathedral of the Archangel
A new church on the site of the Church of St. Michael the Archangel was built here at the beginning of the 16th century by the architect Aleviz Novy. Its construction began during the life of Ivan III, and finished after his death. According to the Old Russian tradition, the temple has a cross-domed structure, and its vaults rest on six pillars. The five-domed temple is richly decorated from the outside: the facades are divided into equal parts by blades with fancy capitals, and the top is decorated with zakomaras. The decor is complemented by white stone carvings and an intricate cornice with tall narrow windows. The frescoes of the times of Ivan the Terrible inside the church have not survived - in the 17th century they were replaced by those of Simon Ushakov, Joseph Kazantsev and Sidor Pospelov.
Assumption Cathedral
Ivan III erects a new one on the site of the former cathedral, the architect of which is the Bolognese master Aristotle Fioravanti. This happens 153 years after the construction of the first church of the Assumption.
The cathedral is being built in the image of the Assumption Vladimir Cathedral. Its architecture, however, is not similar to the Old Russian one. The temple is elongated in length and has six round and square pillars, dividing the cathedral into three naves of equal width. The ribs of the cross vaults form a cross in plan. On the east side it has three apses, two lateral ones are double. The temple is crowned with five domes on the drums. The central one is larger and higher. The entire dome structure is deliberately shifted to the east.
Outside, the temple had the usual forms for Russian church architecture: the blades divide the facades into uniform parts and end with semicircular zakomars. Instead of windows, there are slit-like holes, partially extending into the zakomar area. There is almost no decor, only a columnar belt. The entrance is decorated with vertically elongated portals.
The interior of the temple is completely painted with frescoes. It is believed that the ancient Russian icon painter Dionysius participated in the work on the paintings.
Blagoveshchensky cathedral
The "stone" history of the temple begins at the end of the 15th century, and is associated with the name of the unifier of the Russian lands, Ivan III. The old cathedral was dismantled. A new white stone was built. It had only one apse and one massive pillar, on which the arches of the vaults rested.
The cathedral received its modern look only in the 1560s. The cathedral has the shape of a pyramid, topped with nine golden domes. The entrances from the north and west are decorated with figured portals of white carved stone, made by Italian craftsmen. The main motives for the carving were images of vases, dolphins, sphinxes. Perhaps they had a multicolored color. Now (since the 18th century) it is two-color. The galleries with which they are decorated had floors laid out in the form of patterns with ceramic tiles, but later were replaced by carved white stone ones with black ornaments. The floors in the temple itself are lined with silicon tiles. They are of different sizes and shades. The heavy double-leaf wooden doors leading to the temple are also noteworthy. They are covered with sheets of copper with engraved scenes of biblical stories. A porch of carved white stone is attached to the cathedral from the southeast.
Unique fresco paintings were made by the remarkable icon painters Theophanes the Greek and Andrei Rublev. This cathedral also housed the personal chapel of Ivan the Terrible.
Ivan the Great belltower
During the reign of Ivan Kalita, a church for the bell was built on Borovitsky Hill. Its architect was Ivan Listvichkin. It stood here for 179 years and was demolished, and in its place the Italian architect Bon Fryazin built a stone church in memory of Ivan III. A little less than a quarter of a century later, a belfry was built, and a staircase to the temple located on the third tier. After 68 years, the church was enlarged due to the additional tier of a cylindrical shape, at the beginning of the 17th century under Mikhail Fedorovich Romanov - the Filaretov extension. It was from this time that the church began to be used only as a belfry-belfry. During the burning of Moscow by Napoleon, the church burned down, only the bell tower survived. The belfry and the Filaretov extension were reconstructed seven years later.
Now the building is equipped with 21 bells, they are suspended on metal beams instead of the old ones - wooden ones.
Church of the Deposition of the Robe
The church is located in the architectural ensemble of the Moscow Kremlin next to the Metropolitan Palace, is connected with it by covered passages and was previously the palace church of the Metropolitans. It was erected in honor of the amazing event associated with the victory over the Horde army that approached the Kremlin in 1451 and tried to capture it. According to the chronicles, this happened on the Day of the Uncovering of the Robe of the Most Holy Theotokos. The Mongol army, which was under siege at night, suddenly saw a huge army moving to the aid of the Kremlin defenders, and fled in panic. Metropolitan Jonah made a decision to build a memorial church. And at the end of the century, the temple was demolished and a new stone church was erected in its place.
The one-domed temple on a high basement with a porch leading to one of the entrances is crowned with a helmet-shaped dome on a high drum. On the east side, according to the Old Russian tradition, there are three equal-sized apses. In the design of the facades, divisions with blades, carved white-stone tape columnar ornaments, kokoshniks, narrow vertical semi-arched windows, portals, ending in the form of a kokoshnik on twisted columns, echoing with the ornamental decor, were used.
Having suffered from fires many times, during the Time of Troubles the church was plundered, almost all interiors were destroyed. After restoration, it was transferred into the possession of the Tsar's court and connected by passages with the chambers of the tsarina and princesses, and for a long time served as the house church of the royal family. The chapel of the Pecherskaya Mother of God was added to the church. The entrance to the temple is decorated with a high relief depicting George the Victorious, allegorically reminiscent of the victories of the Russian army over the Mongol-Tatars.
Monuments on the Kremlin territory and around
The architectural ensemble of the Moscow Kremlin also includes two monuments - Tsar Bell and Tsar Cannon, as well as the Metropolitan Court, the Grand Kremlin Palace, the Faceted Chamber, Terem Palace, the buildings of the Arsenal and the Armory, the Senate and the State Kremlin Palace, Taynitsky Garden.
Adjacent to the Kremlin and historical and cultural monuments Red Square - St. Basil's Cathedral and the monument to Minin and Pozharsky, the building of the Historical Museum, Big (GUM) and Small Trading Rows, "place of execution" and the Lenin Mausoleum. And also the necropolis in the Kremlin wall and the Memorial "Tomb of the Unknown Soldier" from the side of the Alexander Garden.
The Moscow Kremlin is one of the most beautiful and powerful architectural ensembles in Moscow and the Russian Federation and a visiting card of our Motherland.
Novosibirsk Academy of Water Transport
Omsk Institute of Water Transport
Architectural ensemble
Moscow Kremlin:
Old Russian features and Italian influence.
Completed: student Pylina N.Yu.
Faculty: economics and Management
Group: EK-10-49
Teacher: Grebennikova O.M.
Omsk 2011
1. The history of the creation of the Moscow Kremlin …………………………….… .2
2. Italian influence on the modern look of the Kremlin ……………. …… .. 3
3. The walls and towers of the Kremlin …………………………………………. …… .5
4. Conclusion …………………………………………………………… .9
5. References ………………………………………………… ..… 10
The history of the creation of the Moscow Kremlin
The history of the Kremlin is closely connected with the history of Moscow, and not only Moscow, but the Russian state as a whole. The Kremlin arose on the high Borovitsky Cape, well protected by the Moscow and Neglinnaya rivers from enemy attacks. This place was inhabited by the East Slavic tribe of Vyatichi long before the Kremlin emerged. In 1156. Yuri Dolgoruky, a wooden fortress with an eight-meter rampart and a powerful, at that time, wooden wall, reaching 3m in height and 1200m in length, was being erected to protect against raids. Approximately in this form, the fortification existed until the winter of 1237-1238, when the hordes of Khan Batu plundered and burned Moscow, and with it the Kremlin. But together with the city the Kremlin grows and gets stronger. In 1339-1340. under Ivan I Kalita, the territory of the Kremlin was expanded, new oak Kremlin walls were erected, powerful defensive fortifications were erected, and behind them the mansions of the Grand Duke, white-stone cathedrals. Moscow becomes the political and spiritual center of Russia, and the Kremlin becomes the residence of the great dukes and metropolitans.
In 1367-1368, shortly before the Battle of Kulikovo, Prince Dmitry Donskoy, fearing another Mongol-Tatar invasion, encloses the fortress with white-stone walls and towers located about 60 m from the former oak fortifications. The Kremlin square reaches almost modern dimensions. On the side of the Moskva River, the wall was erected at the foot of the hill so that the enemy would not have a foothold here for the deployment of their troops during the siege of the Kremlin. In 1368. and 1370. The Kremlin successfully withstood the siege of the Lithuanian prince Olgerd, and in 1382, 1408 and 1451. turned out to be impregnable for the Tatar-Mongol troops. The white-stone Kremlin of Dmitry Donskoy has served for over 100 years. During this time, numerous sieges of enemies, frequent fires severely destroyed the Kremlin walls and towers.
Italian influence
on the modern view of the Kremlin
The era of the rise of the Moscow principality in general and the Kremlin in particular is the time of the reign of Ivan III; it is already surrounded by an aura of glory, power, prosperity and rapid prosperity in everything. Ivan III is already referred to as "Sovereign Grand Duke".
In the second half of the 11th century, the Grand Duke of All Russia Ivan III Vasilyevich launched a grandiose construction in Moscow, because he was no longer satisfied with its former appearance with small cathedrals built at a time when the Moscow principality was one of the many small Russian principalities. The dilapidated white-stone wall no longer corresponded to the role that Moscow, the capital of one of the strongest states in Europe, was now supposed to play.
Ivan III, having cleared the walls of the Kremlin by 110 yards in circumference from the wooden dwellings heaped up without any order, ordered to start building a stone wall with towers, loopholes, gates around the Kremlin on a new, already capturing more extensive space, place. For this I had to break a lot, to transfer something to other places.
The first to be erected was the majestic cathedral in the name of the Dormition of the Most Holy Theotokos - the main cathedral of the entire Moscow state. The construction of the new church was entrusted to the masters Myshkin and Ivan Krivtsov. They were instructed to take the Assumption Cathedral in Vladimir as a model, but at the same time surpass it in length and width. Krivtsov and Myshkin began construction of the cathedral in 1472. In the years 1473-1474, the walls of the cathedral were folded and the vaults were brought down. But when they started laying the top, the cathedral collapsed. The reasons for the destruction were the irrational construction of the stairs leading to the choir, and the poor viscosity of the solution. The destruction of the almost finished cathedral made an extremely painful impression on Muscovites. Ivan III invited masters from Pskov, who were then considered the best architects in Russia, to resume construction. But the Pskovites who arrived in Moscow, having examined the ruins of the cathedral, flatly refused to finish building it. This prompted Ivan III to take non-standard solutions. For the grandiose reconstruction of the capital he planned, he invited architects from Italy.
In 1475, the Italian Aristotle Fioravanti arrived in Moscow, who had previously fulfilled the orders of the Duke of Milan, the King of Hungary and the Pope. A foreign architect was commissioned to build the Assumption Cathedral. As a result, the Italian master built a kind of building. In its architectural forms, the sophistication and sophistication of Vladimir architecture, laconicism and austere simplicity of Novgorod buildings were combined with the artistic vision of the architecture of the Italian Renaissance. The Assumption Cathedral was built in a mixed technique: the lower parts were made of white stone, the upper ones were made of bricks. The cathedral was built on the basis of precise mathematical calculations - that is, with the help of a compass and a ruler, and not by eye, as before. Fioravanti taught Russian builders how to make better quality red bricks and how to draw up special lime mortars. Thanks to the innovation of constructive solutions, the temple acquired a majestic and austere appearance, became a symbol of the unity and power of the Russian state.
The Cathedral of the Archangel (Aloisio da Carcano, 1505-1509) was erected near the Assumption Cathedral on the territory of the Kremlin under the leadership of other Italian masters; the famous bell tower of Ivan the Great (Bon Fryazin, 1505-1508, the pillar of the bell tower was completed in 1598-1600). Perhaps the most unconventional of the Kremlin's temples turned out to be the Archangel Cathedral, reminiscent of Italian palaces ("palazzo"). It became the burial vault of Moscow princes and tsars up to Peter I. Next to the temples, the residence of the Grand Duke of Moscow was built. The first building of the ensemble was the Faceted Chamber. It was built in 1487-1491. Italians Marco Ruffo and Pietro Antonio Solari (he also supervised the construction of the Kremlin walls and towers). During the entire 16th century. all new palace buildings were erected. The appearance of the Moscow Kremlin was distinguished by picturesque contrasts; it was characterized by the neighborhood of buildings of various styles and eras. The architectural complex of Cathedral (Ivanovskaya) Square with a necklace of temples and the Faceted Chamber - the most important secular building - embodied the most important spiritual ideals of the Moscow kingdom.
Some of the Kremlin's towers and temples were built by Russian craftsmen, as their forms bear the character of wooden structures. Our masters could not abandon the forms of wooden towers that they had mastered to perfection, which, as you know, were built in abundance along the walls that surrounded the then city of Moscow, and were distinguished by their enormity, complexity of construction and skill of execution. Carpentry skill reached possible perfection in ancient wooden Russia, since its wonderful material and constant, thanks to fires, abundant work greatly contributed to this. It is precisely this circumstance that should be attributed to the forms of the present small towers of the Kremlin.
By the end of the 15th - beginning of the 16th century. The Moscow Kremlin becomes the most significant fortification in Europe. Moreover, its towers, cathedrals, civil buildings are perfect not only in their architecture, but also in their interiors and decoration. In the XVII century. the Kremlin towers, except for Nikolskaya, are decorated with multi-tiered tents made in the traditions of ancient Russian architecture. Bright green tiles, white stone edges, gilded weather vane - all this created the impression of festivity and elegance. Civil and religious buildings were also erected: the Terem Palace (1635-1635), the Amusement Palace (1651-1652), the Patriarchal Chambers with the Church of the Twelve Apostles (1642-1656).
Mixing dissimilar architectural styles was an obvious innovation, overcoming the usual canon of temple architecture.
Kremlin walls and towers
At present, the Kremlin walls are spread over a length of 2235 m, the thickness is from 3.5 to 6.5 and the height is from 5 to 19 m. And, as if following the outline of the Kremlin hill, they descend into the depths, then rise up the hill itself, and forming an irregular triangle. Along the top of the wall there is a combat passage 2-4 m wide, along which you can walk from tower to tower. It is laid with square slabs with a slope and stairs at a break, and in the very thickness you can often find corridors even now; and in the past they also housed the so-called dungeons, chambers, pits for criminals. At the inner sole were sheds and storage facilities for shells and gunpowder. Combat is based on rhythmically alternating arches ("pechuras"). From the outside, it is covered with 1045 two-horned teeth (the so-called merlons, or "dovetails", 2-2.5 m high, 65-70 cm thick), from the inside - a parapet. Once upon a time there was a gable wooden roof over the wall, which sheltered the archers in bad weather and protected the wall from rain, snow and wind. In the 18th century. it burned down and was no longer recovered as unnecessary.
The Moscow Kremlin has 20 towers. The "oldest" of them is Taynitskaya (1485), the "youngest" is Tsarskaya (1680).
Let's take a look at some of them:
Vodovzvodnaya tower
In the southwestern corner, the Kremlin is guarded by the Vodovzvodnaya Tower. This is one of the most beautiful buildings in the entire ensemble. The tower was built in 1488 by the architect Antonio Gilardi. At first, she was called Sviblova, after the name of the Sviblov boyars. The tower received its modern name in 1633 after the installation of a water-lifting machine in it and the installation of the first pressure water pipeline in Russia to supply water from the Moskva River to the Kremlin.
At the foot of one of the seven hills on which Moscow stands, there is a tower that differs from others in its stepped shape. This is the Borovitskaya Tower. Its name comes from the ancient pine forest that once covered the entire hill. Borovitskaya Tower was built by the Italian architect Pietro Antonio Solari in 1490. It has the shape of a stepped pyramid. The tower had 5 battle tiers. The loopholes of the mounted battle were on the upper platform. The arrow in this tower is not in front, as in other towers, but on the side, taking into account the rotation of the wall.
Commandant Tower
This is a small, blank, strict tower. Its construction was completed by 1495. Previously, it was called Kolymazhnaya - from the Kolymazhny yard in the Kremlin, where the royal carts and carriages were kept. It got its current name in the 19th century: the commandant of Moscow lived next to it in the Amusement Palace. Like all the Kremlin towers, it was built on in 1676-1686 with a tent with a tower. The height of the tower from the side of the Alexander Garden is 41.25 m.
Armory tower
This is a small tower. Its construction was completed by 1495. Its modern name she received in the 19th century from the Armory building built on the territory of the Kremlin. Before that, it was called the Konyushennaya, since in ancient times there was the royal Konyushennaya yard behind it.
Trinity Tower
With this tower the architect Aleviz Fryazin Stary completed the construction of fortifications from the side of the Neglinnaya River, later the Alexander Garden. The tower was built in 1495-1499. The meaning of the tower for the western facade of the Kremlin is the same as that of the Spasskaya tower for the eastern one. The architect who added to the tower in 1685 took this into account and gave its hipped roof almost the same decoration as that of Spasskaya. The tower is six-story, with deep two-story basements that served for defense purposes, and later used as a prison in the 15-16th centuries. The gates of the tower served as a passage to the mansions of the queen and princesses, to the courtyard of the patriarch. Troitskaya Tower is the tallest tower in the Kremlin, its height is 80 m.
Nikolskaya tower
The travel tower, located on the eastern wall (height 70.4 m), was built by the architect Pietro Antonio Solari in 1491, the name is associated, according to one source, with the icon of St. Nicholas the Wonderworker, located above the arrow gate. In the 17th century, the Nikolsky Gate served mainly as an entrance to the boyar and monastery courtyards in the Kremlin.
Senate tower
The tower is located immediately behind the Spasskaya Tower, behind the Lenin Mausoleum. The tower was built in 1491 by the architect Pietro Antonio Solari. The Senate Tower performed purely defensive functions; it defended the Kremlin from the side of Red Square. The height of the tower is 34.3 m.
Spassky Tower
It is rightfully considered the most beautiful and slender tower in the Kremlin. The architect Pietro Antonio Solari, who built it in 1491, in fact, laid the foundation for the construction of the eastern line of the Kremlin fortification with the Spasskaya Tower. From time immemorial, the gates of the Spasskaya Tower were the main entrance to the Kremlin. In the 50s of the XXVII century, a coat of arms was erected on the top of the Kremlin tower Russian Empire- two-headed eagle. Later, similar coats of arms were installed on the most high towers- Nikolskaya, Troitskaya and Borovitskaya. The Spasskaya Tower has 10 floors. Three floors are occupied by the mechanism of the Kremlin chimes - the main clock of the state. The height of the tower is 67.3 m.
Tsar tower
This is the youngest and smallest tower. It was built in 1680. More precisely, this is not a tower, but a stone tower. Once there was a small wooden turret, from which, according to legends, Tsar Ivan IV the Terrible loved to watch the events taking place on Red Square - hence the name of the tower.
Alarm tower
This tower was built in 1495. It got its name from the alarm bell that alerted Muscovites about impending events or danger. The tower was placed on a hill, and from it an overview of the southern surroundings was opened. Guards were on duty at the tower all day and night, watching the roads.
Taynitskaya tower
The "oldest" tower of the Moscow Kremlin is Taynitskaya. The construction of the Kremlin fortifications began with it. A well was dug under the tower, to which the tower and its gates owe their name. In the event of a siege, it was possible to supply the Kremlin with water through this well and the underground passage. Unfortunately, the tower, built in the 15th century, has not reached us. In 1770 it was demolished, as the Kremlin began to build the Kremlin Palace according to the project of V. Bazhenov. However, already in 1771-1773, the tower was restored according to the measurement drawings of M. Kazakov with the subsequent superstructure of the hipped roof. Its height is 38.4 m.
Nameless tower
In the 1480s, next to the Taynitskaya Tower, the Nameless Tower was built, which is notable for its sparse architectural forms. She has always performed a purely defensive function. The tower has a difficult fate. In 1547, the tower collapsed from an explosion of gunpowder, and in the 17th century it was rebuilt. At the same time, it was built on a tent-roofed tier. In 1770-1771, the tower was dismantled to make way for the construction of the Kremlin Palace according to the project of V.I.Bazhenov. When the construction of the palace was stopped, the tower was rebuilt in 1783, somewhat closer to the Taynitskaya tower. The height of the tower is 34.15 m.
Annunciation tower
The tower was built in the years 1487-1488. It is a low four-sided tower. At its base are slabs of white limestone. They have survived from the ancient white-stone Kremlin of the 14th century. During the time of Ivan the Terrible, the tower was used as a prison. The height of the tower is 30.7 m.
According to their configuration, the Kremlin towers are divided into round and quadrangular. This is not an architect's whim, but a kind of fortification technique. Located on Borovitsky Hill, the Kremlin has an irregular triangle with an area of 27.5 hectares in plan, washed by the Moscow River in the south, bounded by the Alexander Garden in the north-west, and by Red Square in the east. At the corners of the triangle there were round towers - Uglovaya Arsenalnaya, Vodovzvodnaya and Beklemishevskaya, which were the most durable and made it possible to fire round. In the place where important strategic roads approached the Kremlin, powerful quadrangular towers with passage gates were erected - Spasskaya, Nikolskaya, Troitskaya, Borovitskaya, Taynitskaya, Konstantino-Yeleninskaya. From the outside they were protected by arrows. The rest of the towers were located between the corner and travel towers and were of a purely defensive nature. Until the 17th century. (when the tents appeared) the towers ended with battlements, under which there were mashikuli - hinged loopholes for close combat. They have survived to this day on almost all the towers.
Conclusion.
Undoubtedly, the Kremlin is valuable not only from the point of view of history, but also as the greatest work of art. Moskovsky Kremlin is an the oldest building Moscow and is a magnificent architectural ensemble that has evolved over several centuries. The architecture of the Kremlin vividly reflected many stages in the historical development of the Russian people and the Russian state, and the characteristic features of the national culture found a brilliant expression.
The architectural complex of the Kremlin is formed by temple and palace buildings, beautiful tiered Kremlin towers and the pillar of "Ivan the Great" dominating over them. The Kremlin with the adjacent Red Square is the compositional center of Moscow, which is associated with the architecture of the city, its largest architectural ensembles. New buildings, bridges, stone-faced embankments, asphalt squares merged with the Kremlin into a single architectural whole.
The Kremlin, despite the constant restructuring of parts of its ancient fortifications, as a whole has not lost its artistic qualities of a single ensemble. Each tower of the Kremlin is beautiful in itself, but their combination with each other, with other buildings of the Kremlin and with the city creates the most impressive images.
Eight hundred years ago, Moscow was born on the site of the Kremlin and grew around it, as Russia grew around Moscow. The Kremlin determined the radial-centric development of the plan ancient capital... Being the compositional center of Moscow, it not only gathered around itself large city into a single whole, but later he himself organically joined in his picturesque silhouette. It is difficult to imagine Moscow without the Kremlin. This holy place is dear to all Russians. The Kremlin is the heart of Moscow and Russia.
Literature
1. Kantorovich I.V. "From the history of Moscow", M., 1997
2. Ivanov V.N. "Moscow Kremlin", State Publishing House "Art", M., 1971
3. Surmina I. O. "The most famous fortresses Of Russia » ... - M., Veche, 2002
Architectural ensemble represents a harmonious and expedient arrangement of buildings, engineering structures, monuments and works of monumental art on a separate area of urban development.
A holistic architectural ensemble is successfully formed only under the condition of a single spatial solution of the complex.
The word "ensemble" comes from the French "ensemble", which means "unity", "connectivity", "integrity". Thus, an ensemble in architecture implies the creation of a single, holistic and harmonious composition.
The concept of an ensemble in architecture is very capacious and multifaceted, because for its successful formation, architects must take into account many factors, among which are the following:
- Terrain relief
- Features of the landscape
- The presence of natural reservoirs
Some architectural ensembles are created at the same time, that is, an integral composition of buildings, technical communications, engineering structures and garden and park design is immediately formed.
However, most of the ensembles in is a process of long, many years of creativity of many architects, each of whom complements the composition in such a way that new elements are harmoniously combined with old buildings.
This understanding of the ensemble sheds light on the exceptional role that time plays in its formation. It is no coincidence that the most significant architectural ensembles of the past were created over many decades and even centuries.
It was formed from the end of the 13th to the end of the 15th century - that is, for almost two hundred years. Since then, its appearance has remained practically unchanged.
No less famous St. Mark's Square in Venice in its current outlines, it has existed since 1150, and its ensemble received its final completion in 1810. The ensemble took 660 years to form.
Piazza and Cathedral of San Marco in Venice The ensemble in Rome and the adjacent square has been formed since 1506, when the great Italian architect Bramante began to solve this problem, and acquired its present appearance in 1667. For 161 years, Raphael, Michelangelo and Bernini managed to work on it.
Central ensemble Louvre - Tuileries in Paris actively formed for almost three hundred years - from the middle of the XVI to the middle of the XIX centuries, - 150 years (from the beginning of the XVII to the second half of the XVIII century).
Even at very high rates of urban planning activity ensemble of Palace Square in St. Petersburg demanded for its completion more than 80 years (1753 - 1834), and the participation of such famous and diverse as V. Rastrelli, J. Felten, C. Rossi, O. Montferrand.
Palace Square in Saint Petersburg It is time that crystallizes the ensemble, giving it the opportunity to slowly add one building to another, think over the decor elements and features.
Often, not only buildings and landscape elements, but also monuments, monuments or sculptural groups are important components of an architectural composition. A prime example is Isakievskaya Square in Saint Petersburg, on which a monument to Nicholas I was erected.
Ensemble of Isakievskaya Square in St. Petersburg A monument to the Russian tsar - reformer Peter I is also erected on Senate Square in St. Petersburg. It plays the role of the central element of the architectural ensemble Senate Square, which is one of the oldest squares in the northern capital.
Senate Square in Saint Petersburg The gradual development of the ensemble makes it the object of the collective creativity of several architects, each of whom brings his own vision and zest to it. This circumstance helps to create architectural masterpieces of amazing beauty, which remain for centuries as standards of creative thought embodied in stone.
Types of architectural ensembles
In the theory of architecture, there is a special system for classifying the types of architectural compositions, among which are the following:
- Ensemble of the square- an example is the composition of squares located in almost every major city. However, the most famous and outstanding are the Red Square ensemble in Moscow, Palace Square in St. Petersburg, St. Mark's Square in Venice, St. Peter's Square in Rome and Old Town Square in Prague.
- Fortress ensemble- fortified buildings and fortifications have been known to mankind since time immemorial. However, the brightest and most harmonious examples have come down to us - these are the Moscow Kremlin, Prague Castle and Alhambra in Granada.
- Dvortsovo - park ensemble Is a large-scale complex that includes several palaces, gazebos, many elements of carefully thought-out landscape design, reservoirs, fountains and many other fragments of a holistic composition. To the most beautiful palaces - park ensembles can be attributed to Peterhof in St. Petersburg and Paris Versailles.
- Manor ensemble Is a harmonious composition of a private estate that belonged to noble and wealthy people. An example is the Ostankino estate and Arkhangelskoe.
Estate "Arkhangelskoye" (Krasnogorsk district of the Moscow region). - Monastery ensemble- on the territory of some monasteries, whole compositions were created, fulfilling not only a decorative role, but also having a functional purpose. Among such monastic ensembles can be called Monastery of St. Catherine (Sinai), Geghard and Kiev - Pechersk Lavra.
Ensemble of Red Square
Formation ensemble of Red Square in Moscow also happened in several stages. The oldest part of the modern ensemble - the eastern wall of the Moscow Kremlin with the Spasskaya, Borovitskaya and a small unnamed tower between them (later it was called the Senate) was built in 1491-1493. The old chronicles have preserved for us the names of the architects: Anton and Marko Fryazin, Pietro Antonio Solari, Alois Fryazin - senior.
The moat, fortified by a low battlement wall, separates the Kremlin from the building of the settlement with the ancient bargaining that approaches it almost closely. After a devastating fire at the end of the 15th century large territory in front of the moat it burned out, and they did not build it up. Thus, between the Kremlin wall and the bargaining, a vast empty space was formed, which began to be called "Fire". The site for the construction of the future Red Square has been cleared, but it does not yet exist.
In 1535 - 1538 the second line of Moscow fortifications - the Kitaygorodskaya wall - was built. It starts from the corner Arsenal Tower and goes approximately along the line of the facade of the current building of the Historical Museum.
In the place of the modern Historical Passage, the Resurrection (Iversky) Gates are arranged in the wall - this is the future main entrance to the square from the side of the city. By the middle of the 16th century, city orders were grouped here - administrative institutions that frame the empty territory of the Fire from the north.
From the south, this territory is limited by a steep rise of a hill from the side of the river, where not far from the Execution Ground, built in 1534, there was a small white-stone Trinity Church. During the military campaigns of Ivan the Terrible (1552 - 1554), commemorative wooden churches were erected near the Trinity Church to commemorate victories.
By the time of the annexation of the Kazan and Astrakhan khanates, there were eight of them. Thus, when Ivan the Terrible, in memory of his victories, decided to erect a grandiose stone church, the place and form of the future construction were prompted by life itself. Nine-pillar stone Cathedral of the Intercession on the Moat- - replaced nine churches (Trinity and eight commemorative).
Cathedral of the Intercession on the Moat or St. Basil's Cathedral With the construction of the cathedral, the first fundamental step was taken in the formation of the Red Square ensemble. The temple - the monument has become a symbol of the triumph of the Russian people - a kind of giant altar near the historic walls of the Kremlin. Crowded processions, wide public prayers and processions associated with the cathedral predetermined the sacred - patriotic, nationwide character of the future square, which, with the construction, received a beautiful southern facade.
The high-rise tent-roofed composition, the severely solemn and at the same time festive character of the building, largely predetermined the architectural appearance of the Red Square ensemble. At this time, two more architects were added to its creators - Postnik and Barma.
Cathedral of the Intercession on the Moat came down to us with some changes. Two more were added to its nine pillars - churches in the 16th - 17th centuries (according to one of them, it got its second name - St. Basil's Cathedral) and a bell tower. However, these extensions did not violate, but even more emphasized the volumetric, spatial character of the composition of the many-domed cathedral.
At the very end of the 16th century, another important event takes place - the eastern border of the square is outlined by rows of one- and two-story stone benches built in 1596-1598. The regularly planned rows of these shops formed two quarters between Nikolskaya, Ilyinskaya and Varvarka streets, which received the names of the Upper and Middle trading rows.
The lower rows descended from Varvarka towards the Moscow River. In the direction of the Kremlin wall, the Upper and Middle rows went out in long buildings with arched galleries along the facades, which turned along the lines of the transverse streets.
Subsequently, the shopping arcade will be rebuilt many times, but a lot will remain from the technique found by an unknown architect who lived almost 400 years ago - these are the clear boundaries of the shopping districts, the regular layout of the rows reflected on the facade, as well as the theme of long buildings with arched galleries.
The boundaries of the square have been completely determined, and they no longer change, until our time. But the square itself, as such, does not yet exist. Along a moat filled with water, running parallel to the Kremlin wall, right in the middle of the present square were many small churches. These are the so-called "churches on blood", which were erected on the place of executions by order of Ivan the Terrible.
The unpaved square is crossed in the transverse direction by two cobbled streets - one leaves the Kremlin's Spassky Gate and branches out to Ilyinka and Varvarka. The other, Nikolskaya, originates at the Nikolsky Gate and continues along the highway.
In 1625, the tower of the Kremlin, the Spasskaya tower, closest to the Cathedral of St. Basil the Blessed, received a stepped high-rise superstructure with a characteristic spire. This was an outstanding event in the history of Russian architecture, because until then they did not have such a structural element.
Soon after that, the name itself appeared in the documents. So far, they designate only a small part of the current square in front of the Cathedral of St. Basil the Blessed, between the Spasskaya Tower and the Execution Ground.
The appearance of the name together with the superstructure of the tower is symbolic, because it contains the main leitmotif of the entire ensemble. The pointed ends of the Kremlin begin to repeat the stepped vertical silhouette of the Cathedral of St. Basil the Blessed. In the historical documents of that period, in connection with the construction of the tower, the names of two more architects are mentioned - Bazhen Ogurtsov and Christopher Galovey.
In 1689 Resurrection gate The Kitaygorodskaya wall gets a slender end in the form of two tents. Now the northern approach to the square is marked by characteristic pointed spiers.
From the moment the capital of the Russian state was moved, the Resurrection Gate played the role of a ceremonial entrance to the Kremlin - from this side the royal cortege began to move during coronations and other official ceremonies.
At the end of the 17th century, the monumental building of the Mint and the Main Pharmacy (now the Historical Museum is located here) were erected here, which determined the building lines of the modern Historical Passage.
A little later, the second building of the Mint was erected here, and the Main Pharmacy with an elegant tower end was rebuilt to accommodate Moscow University. In this regard, the architect D. V. Ukhtomsky took part in the work on the ensemble of the Kremlin Square.
Meanwhile, on the square, churches are being demolished on blood, freeing up the entire space from St. Basil's Cathedral to the Main Pharmacy. The parallel arrangement of the shopping arcade and the Kremlin fortifications, the orientation towards the Spasskaya Tower and the temple, emphasized by the front entrance from the opposite end of the square - all these factors clearly fix the longitudinal axis of the square as the fundamental pivot of the future ensemble.
In 1780, the Nikolskaya Tower received a high hipped roof, thereby restoring the expected symmetry of the section of the Kremlin wall overlooking the square.
In 1776 - 1787 the architect Matvey Kazakov erected a triangular Senate building in the Kremlin. One of the sides of this triangle lies parallel to the Kremlin wall overlooking Red Square, so that the high dome of the main round hall is clearly visible from the square just in the middle between the Spasskaya and Nikolskaya towers, directly behind the small unnamed tower, which was named Senate for this reason. Thus, the architect predetermined the nature of the future development of the entire ensemble.
In 1786, the rebuilding of the trading rows began, which continued until 1810. The author of this project was allegedly Giacomo Quarenghi.
According to the new plan, the two-storey arcades of the new shopping malls enclose in two brackets the entire perimeter of the square between the Nikolskaya Tower and Ilyinka, leaving the passage along the longitudinal axis.
This is how two squares are formed - a large one surrounded by shopping arcades, and a small one - directly in front of the Spassky Gate and the Cathedral of St. Basil the Blessed. The architect Quarenghi refuses to support the transverse axis outlined by Kazakov. However, it leaves a gap in the building of the new shopping arcade, which runs along the Kremlin moat, directly opposite the Senate Tower.
Now the entire space of the square receives a fractional, chamber solution. The distant approaches to St. Basil's Cathedral were blocked. New shopping arcades stand against the backdrop of the Kremlin walls, fencing off the Kremlin from the city.
In the fire of 1812, most of the trading rows burned out, and the buildings built along the moat were destroyed by explosions. Already in 1813 the architect O. I. Bove, who was in charge of the restoration work, proposed his own project, which was implemented four years later.
In 1817, according to the project of Osip Bove, the western part of the shopping arcade could not be restored. The architect returns to the square the unity of space, which was achieved by the end of the 17th century, and then lost again.
Moreover, the architect brings it to its logical conclusion by destroying the moat that separated the Kremlin wall from the square. In its place, a narrow boulevard appears, only two rows of trees wide, which emphasizes the loss of the defensive significance of the wall.
Thus, the ancient wall of the Kremlin with the towers and the dome of the Senate finally acquires a leading role in the ensemble of the square. Beauvais emphasizes this with a skilful redevelopment of the old shopping arcade. The upper shopping arcade receives a single monumental façade.
The three-story building reproduces the arcade motif in the semicircles of the upper floor windows and has a three-part structure. The powerful central portico with a dome towering above it is located directly opposite the Senate Tower and the Senate dome.
In front of the central portico, an expressive monument to Minin and Pozharsky... Thus, the transverse axis of the square is fixed, which turned towards the Kremlin.
Architect Osip Bove finally determined the size and composition of the square, its spatial disclosure along the longitudinal axis, oriented towards the Cathedral of St. Basil the Blessed, and symmetrically about the transverse axis, which emphasizes the unconditional dominance of the Kremlin in the ensemble.
From that time to the present day, much has changed in the architectural appearance of Red Square. Two of its four facades, the north and east, will be completely rebuilt. Beauvais's design will nevertheless remain at the heart of all subsequent architectural changes.
At the end of the 19th century, in the northern end of Red Square, on the site of the Main Pharmacy, the architect V.O. Sherwood in 1847-1883 built a large-scale building of the Historical Museum. The restructuring of the shopping malls began again.
On the site of the three-storey rows of Bove in 1894, the architect A. N. Pomerantsev, together with V. G. Shchukov, erected a new building of the Upper Trading Rows - now the GUM is located there. The middle trading rows were rebuilt by R. I. Klein a little earlier.
All three of these buildings were erected in an eclectic pseudo-Russian style. At the current stage, this fact serves as the basis for a negative assessment of these buildings from the standpoint of the cleanliness and expediency of using this one.
Finely dissected facades with numerous decorative elements act as a replica of the architectural features of St. Basil's Cathedral. This made it possible to give the area ensemble greater integrity.
The Kremlin's role as the leading element of the entire composition was further reinforced by the erection of the peaked building of the Historical Museum. This enlarged the solution to the northern façade of the square and supported the overall symmetry of its ensemble.
Thus, more than one generation of architects worked on the creation of a harmonious and beautiful in its uniqueness ensemble of Red Square, as we see it today.
A single architectural concept is the main feature of socialist urban planning. However, the problem of a holistic ensemble as a synthesis of architecture - the art of organizing space and painting and sculpture - fine arts, reflecting all the diversity of the surrounding world in the development of the city in the 70s of the XX century, is becoming increasingly important. G. Orlov and K. Derzhinsky believed that the ensemble, combining spatial and pictorial form, is capable of aesthetically enriching the figurative content of the human life environment, forming compositions of an exceptionally high ideological and artistic sound. Unfortunately, on the way to this there were many organizational difficulties that impeded the implementation of the ensemble development.
Soon, an online library of publications on architecture, art and design of the twentieth century will open on the website of the TATLIN publishing house. We continue to publish fragments of texts and articles from the editions included in our virtual collection. Below is a chapter from the brochure “Soviet Architecture. Creative Problems ”, prepared and published by G. Orlov and K. Derzhinsky in 1977.
The main feature of socialist urban planning is that all construction and reconstruction work on a city scale is carried out according to a single plan and architectural concept. This applies not only to the implementation of a scientifically grounded structure that ensures the correct functioning of the urban organism, but also to the formation of the architectural and artistic appearance of the city and its parts on the basis of the ensemble building principle (in large cities systems of architectural ensembles are created).
The problem of the ensemble has become especially relevant today, when urban centers, centers of new residential areas and industrial zones are being intensively built up and reconstructed. Now large urban centers of socio-political, administrative, cultural, entertainment and memorial purposes are being designed and implemented in Ulyanovsk, Tashkent, Ashgabat, Alma-Ata, Perm, Arkhangelsk, Yoshkar-Ola, Vladivostok, Novorossiysk, as well as in new cities: Togliatti, Naberezhnye Chelny, Zelenograd and many others. The architectural interpretation of some of these ensembles, their scale, novelty and modernity of the volumetric-spatial construction determine the originality and individuality of cities.
The role of the ensemble in the formation of the image of the city and its center, an individual approach to solving a specific architectural problem can be illustrated by examples of development central squares Tashkent and Ashgabat.
Both squares are metropolitan, public. But the first - solemn, intended for demonstrations, processions, parades, has a pronounced character of the political, administrative center of the capital of the Uzbek SSR. The second square is a place for festivities, festivities, rest, therefore the theme of its development and the architectural and artistic image are different.
Government and administrative buildings are located on Lenin Square in Tashkent (architects B. Mezentsev, L. Adamov, A. Yakushev, etc.). Hence their large size and representativeness, corresponding to the scale of a city with a population of 1.5 million; the contrast of the compositional solutions of buildings - the height of some and the length of others; the dynamism of the urban planning interpretation of the area, emphasized by the spectacular "wall" of the water cascade.
Tbilisi. Corps of Engineers of the Ministry of Road Industry of the Georgian SSR. Arch. G. Chakhava, Z. Jalagania, Ing. T. Thilava, A. Kimberg
On the Ashgabat square named after Karl Marx's main building is the library, which defines its character as a cultural center. The architecture of this in many respects remarkable building has been highly acclaimed. The author of the project of the Library. K. Marx arch. A. Akhmedov and other participants in this work in 1976 were awarded the State Prize of the USSR. They have worked out the “architecture of the earth” in a new, varied, large-scale and plastic manner, organically linking it with the architecture of the buildings of the library and the Karakumstroy Administration. A complex system of extended massive retaining walls, separate geometric volumes, ponds, flower beds, benches, etc., is made of monolithic concrete (like other buildings on the square). All these elements seem to grow into expressive, emotionally rich forms of the library building. From under the scorching sun, a person falls into the coolness of her inner shaded courtyards. In this complex, you can also see the features of a true synthesis of arts.
The list of expressive, modernly conceived and already implemented architectural ensembles could be continued. They are created in the capitals and cities of many of our republics. For example, an interesting ensemble of the city square in Alma-Ata is being formed, where the leading buildings are the Palace of them. V. I Lenin (architects N. Ripinsky, V. Kim, L. Ukhobotov and others) and a high-rise hotel under construction. A large and ideologically significant ensemble is formed at the entrance to Leningrad from the Moscow highway and Pulkovo airport. Architect S. Speransky and his group conceived and systematically carry out the development of Victory Square, which is modern in its architectural appearance. Its compositional center was a monument in honor of the heroic deeds of the defenders of Leningrad.
Tbilisi. Georgian State Philharmonic. Arch. Chkhenkeli, sculptor M. Berdzenishvili. State Prize of the Georgian SR 1973
The problem of the synthesis of architecture and monumental art in the development of a modern city, in the formation of its ideological and artistic image and its ensembles has become increasingly important in recent years. Naturally, the point is not that the figurative expressiveness of the architectural form is in itself insufficient and requires its additional disclosure by means of monumental sculpture and painting. Far from it, and this is evidenced by numerous examples from the history of urban planning. However, the beauty of the city can be spiritually enriched with monuments, monuments, frescoes and mosaics. If architecture is the art of organizing space and spatial forms, evoking a generalized emotional artistic image in a person, then sculpture and painting are visual arts, reflecting the diversity of the world around us. That is why the synthesis of architecture and monumental art, creating a highly artistic fusion of spatial and pictorial forms, is able to form ensemble compositions of exceptionally high ideological and artistic sound, aesthetically enrich the imaginative content of the human life environment.
We know that the monument to the heroes of the Battle of Stalingrad on the Mamayev Kurgan in Volgograd (sculptor E. Vuchetich, architect Y. Belopolsky, etc.), which dominates the silhouette of the city, received nationwide recognition. The statue "Mother Georgia" (sculptor E. Amashukeli) brings an active ideological-figurative accent to the development of Tbilisi. The obelisk in honor of the 50th anniversary of the Great October Revolution (architects D. Torosyan and S. Gurdzanyan) plays the role of a silhouette accent in the ensemble of the main thoroughfares of Yerevan. The emotional artistic image of the monument by the defenders of Murmansk, built on one of the hills bordering the city (sculptor I. Brodsky, architect I. Pokrovsky, etc.), enriches the spatial characteristics of the central part of the capital of the Soviet Arctic. In recent years, a number of successful monuments have been built that organically fit into the development of city squares and highways. Among them is the monument II. K. Krupskaya in Moscow (sculptor E. Balashova, architect V. Voskresensky), monument to V. I. Lenin in Gorky (sculptor Y. Neroda, architect V. Voronkov, Y. Voskresensky), monument to architect A. Tamanyan in Yerevan (sculptor A. Ovsetian, architect S. Petrosyan) and many others.
Baku. Hotel "Azerbaijan". Arch. M. Useinov
Speaking about ensembles, in particular, ensembles of citywide centers, it is natural to turn to the urban planning practice of our capital. As you know, in 1971 a new master plan for the development of Moscow was approved. After that, the Moscow City Committee of the CPSU and the Executive Committee of the Moscow City Council adopted a number of decisions on the development and improvement of the city center.
Development of a project for a detailed layout of the central core of Moscow and projects for a number of areas in Sadovoye and Boulevard rings, the competition for architectural ideas for the formation of the centers of the planning zones of the capital have become notable creative events in the activities of Moscow architects. Discussions of these works in the Union of Architects of the USSR, on the one hand, revealed serious professional achievements of the leading architectural teams, and on the other, revealed certain shortcomings. While the competitive projects for the planning and development of the centers of the planning zones of Moscow were carried out with a certain creative scope, the projects for the development of the squares of the central core of Moscow, developed recently, suffer from the absence of impressive compositional ideas, a sense of the new in solving planning and transport problems, and the timidity of the silhouette characteristics of the building.
Riga. Administrative building. Arch. J. Viltsins, A. Udris, A. Stanislavsky, Ing. Veldrum
Over the past few years, significant reconstruction work has been undertaken in the center of Moscow. Large administrative, hotel and residential buildings have been built, new highways have been pierced. However, this did not always take into account the historical and cultural significance of the center of the capital, the existing urban environment. Therefore, it is understandable that great care with which the issues of building up its important town-planning units are currently being considered and resolved.
The task of transforming Moscow into an exemplary communist city will eventually require the creation in its central zone, in place of depreciated low-rise buildings, a whole series of new town-planning formations corresponding to the significance and scale of the capital's center. Naturally, during their design and construction, it is necessary to preserve and compositionally identify valuable architectural monuments, take into account and tactfully use the nature of the planning structure and the existing development of this historically valuable part of the city. New expressive ensembles of squares surrounding the Boulevard and Garden rings the heart of the city - the Moscow Kremlin, should provide the center of Moscow with the architectural and ideological sound that befits it as the center of the world's first capital of socialism, embodying social, cultural, scientific and technological progress.
Vilnius. Wedding Palace. Arch. G. Baravikas, engineer A. Katilyus
The complex tasks of combining the old and the new in building must be thoughtfully and reasonably solved during the reconstruction of other historically established cities. In this regard, state bodies for construction and architecture, the architectural community, republican societies for the protection of historical and cultural monuments held detailed discussions on the problems of preserving the architectural heritage of the past and including it in modern buildings. Recently, such discussions have taken place in Tashkent, Tbilisi, Riga. General plans and projects of detailed planning of the centers of Vladimir, Kostroma, Yaroslavl, Kaluga, Tula, Novgorod, Smolensk, Tobolsk and many others were considered.
One of the most successful and interesting examples of the inclusion of new buildings in the fabric of historical buildings is the tourist complex in Suzdal (headed by architect M. Orlov), the Modern motel for motorists and other new buildings built practically in the center of this city, unique in terms of the abundance of architectural monuments, surprisingly organically fit into the building and the natural landscape of Suzdal. Examples of successful solutions to this problem can be found in Vilnius, Riga and other cities.
The preservation of architectural monuments, their skilful and careful use for modern needs, the creation in some areas of historical cities of security zones with strict requirements for architecture, the scale and silhouette of new buildings, the transformation of the most architecturally-historical parts of these cities into architectural ensembles-reserves - All these tasks are of paramount importance in modern domestic urban planning practice, becoming especially relevant in connection with the 1976 Law on the Protection and Use of Historical and Cultural Monuments.
In the creation of the urban ensemble, in the formation of the style and image of architecture, public buildings have always played a special role. The ability to use progressive structures in them, to give the building an individual plastic characteristic by means of a space-planning structure, the use of a wide palette of finishing materials makes it possible to create public buildings of significant artistic expression.
The improvement in the quality of the architecture of public buildings and, first of all, of spectacular buildings was largely facilitated by the improvement in recent years of standard projects (for example, cinemas, for which architects D. Solopov, M. Bubnov and others were awarded the State Prize of the RSFSR) and, most importantly, the gradual transition to the construction of large spectacular buildings on individual projects.
Moldavian SSR. State farm "Romaneshty". Administrative building. Arch. B. Shpak, V. Gorshtein, engineer D. Levit
Comparing, for example, such dissimilar buildings, but certainly memorable in architecture, such as theaters in Tula (architects S. Galadzheva, V. Krasilyshkov, A. Popov, etc.), Vilnius (architect N. Buchute) , in Vladimir (architects G. Gorlyshkov, V. Davidenko and others), Vladivostok (architects R. Begunts, M. Vinogradova and others). the new building of the Moscow Art Theater (architect V. Kubasov), circuses in Sochi (architects Y. Shvartsbreim, V. Edemskaya), Kazan (architect G. Pichuev and others), Alma-Ata (architect V. Katsev, I. Slonov and others) and Tashkent (architect G. Alexandrovich and others), the Ukraine Palace of Culture in Kiev (architect E. Marinchenko and others) and the Philharmonic Concert Hall in Tbilisi (architect I. Chkhenkeli), cinemas "Russia" in Yerevan (architects G. Pogosyan, A. Tarkhanyan, S. Khachikyan) and "Sofia" in Moscow (architects 3. Rosenfeld, M. Moshinsky, etc.), we can say that in each of them has a functional specificity, and they cannot be confused with a structure for any other purpose. At the same time, each of them has its own individual image, its own more or less sonorous architectural theme, which, on the one hand, reveals the architect's creative intention, and on the other, corresponds to the town-planning conditions, the scale of the city, square or street. The professional skill of the authors of these structures is also manifested in the well-found proportions of the facades, in the beautiful interiors and in the skillful incorporation of elements of monumental and decorative art into their architecture.
When forming urban ensembles, architects are increasingly using large commercial facilities. Among them shopping malls on Kalinin Avenue in Moscow, on Moskovsky Avenue in Leningrad, on the Esplanade Embankment in Baku, shopping center on Victory Square in Kiev, as well as supermarket buildings built in the centers of residential areas. Due to the functional specifics and convenience of customer service, commercial buildings, with rare exceptions, are designed in the form of spread-out volumes or elongated galleries. At first glance, this nature of their architecture does not make it possible to compositionally subordinate the surrounding multi-storey buildings to them. However, in some cases, commercial buildings and galleries successfully play the role of a transitional scale module from the huge dimensions of modern residential or administrative buildings to a person, i.e., to architectural forms and volumes that are easily accessible to his perception during pedestrian traffic.
In this regard, I would like to emphasize that the architecturally resolved systems of low commercial and service buildings and pavilions in combination with small forms, landscaping and landscaping can become an effective means of overcoming the monotony and monotony in city development.
Yerevan. Cinema "Russia". Arch. G. Pogosyan, A. Tarkhanyan, S. Khachikyan, Ing. Gevorkyan, I. Tsaturyan
Recently, large sports facilities and complexes have begun to play an important role in the formation of architectural ensembles. Suffice it to recall the very interesting and expressive stadiums in Krasnoyarsk (architects V. Orekhov and others) and Yerevan (architects K. Akopyan, G. Mushegyan and others), new Sports Palaces in Vilnius (architects E. Chlamauskas, I. Kryukeris and others) and Minsk (architect S. Filimonov and others), the Yubileiny Sports Palace (architects G. Morozov, I. Suslikov and others) and a sports school on Vasilievsky Island in Leningrad (architect S. Evdokimov, T. Khrushcheva, etc.), cultural sports complex in the pioneer camp "Eaglet" near Tuapse (architects L. Galperin, M. Fabritsky, I. Shmelev), the sports complex of the automobile plant named after Lenin Komsomol in Moscow (architects Yu. Regentov, M. Gelfer, G. Lebedev and others). Such ensembles as the citywide sports center under construction in Togliatti (architects L. Adler, Yu. Karpushin, etc.) sports centers Novosibirsk and Naberezhnye Chelny will undoubtedly play a significant role in shaping the architectural appearance of these cities.
The 1980 Olympic Games, which will be held in Moscow, will require the creation of a number of unique sports facilities in our capital. The construction of an indoor stadium for 45 thousand spectators and an indoor pool for 10 thousand spectators has already begun in the area of Prospect Mira (architects M. Posokhin, B. Tkhor, R. Semerdzhiev and others). These structures will be part of a huge urban development ensemble, the so-called "Northern Ray", which will cut through Moscow with a wide green esplanade from the center to the television complex in Ostankino and Glavny botanical garden Academy of Sciences of the USSR. A large sports complex with multi-storey hotels is being built in the Izmailovo district, on the territory adjacent to the Institute of Physical Culture. An interestingly conceived new indoor sports hall, which is being built on the territory of the Central Stadium. Lenin in Luzhniki (architects Yu. Bolshakov, I. Rozhin and others). The recently created ensemble of the Rowing Canal in Krylatskoye will be supplemented by an architecturally expressive cycle track (architects I. Voronin, A. Oleinikov, etc.). Sports zones in the Leningradsky Prospect area and a number of others will be developed.
It is known that the Olympics are not only of sporting importance, they demonstrate to the world the level of culture, including architecture, of the host country of the Olympic Games. Therefore, the talented team of Moscow architects, entrusted with the design of the structures of the 1980 Olympics, bears great responsibility for the quality of their architecture, for the creation of expressive architectural ensembles that should organically enter the system of urban planning complexes and formations provided for by the general development plan of Moscow.
In connection with the rapid development of transport and, first of all, automobile transport, a significant role in the appearance of a modern city is played by multi-level interchanges of highways: bridges, overpasses, tunnels, overhead and underground passages. Unfortunately, their architecture is still unattractive. However, the recently built overpass in Moscow, near the Rizhsky railway station, road bridge across the Dnieper in Kiev with a system of transport interchanges and a number of other similar structures are encouraging examples of the growing attention of architects to these potentially very expressive structures of the modern city. Among the traditional transport facilities - stations, new types of buildings - bus stations and air terminals - have appeared and are being actively introduced into the planning structure of the city. Bus stations in Sochi (architect V. Datyuk), Vilnius (architect V. Bredikis), Tbilisi (architect Sh. Kavlashvili, R. Kiknadze, etc.) are successful in their architecture. In connection with the Olympics-80, the Moscow air terminal on Leningradsky Prospekt becomes the center of a large promising urban planning formation.
Ashgabat. Library named after Karl Marx. Arch. A. Akhmedov, engineer S. Saparov, foreman of installers-concrete workers M. Danielyants. USSR State Prize 1976
Complexes of scientific, educational and design institutes, computing and large treatment and prophylactic centers and administrative buildings have significant "architectural potential" in the system of urban development. Now, for example, in the South-West of the capital, at the intersection of Profsoyuznaya and Krasikova streets, a large ensemble of scientific institutions of the USSR Academy of Sciences is being formed. Its center is the building of the Institute of Information of the Department of Social Sciences (architects Ya. Belopolsky, E. Vulykh, L. Misozhnikov, etc.). The construction of buildings of other institutes (architects L. Pavlov, L. Lurie, Yu. Schwarzbreim, Yu. Platonov, etc.) is being completed along the perimeter of the new square that is being formed. And one can hope that over time an interesting and expressive urban development complex will develop here. The buildings of the city and its individual parts are actively shaped by such structures as the House of Urban Organizations in Zelenograd (architect A. Klimochkin and others), the House of Soviets in Perm (architects A. Pilikhin, V. Lutikova, B. Zaritsky, etc.) , the new building of TASS at the Nikitsky Gate in Moscow (head - architect V. Yegerev), the building of the Ministry of Highways of the Georgian SSR in Tbilisi on the embankment of the r. Chickens (architects Z. Jalgania, G. Chakhava and others).
Now in the southern part of Moscow, in the area of Kashirskoye highway, a large urban planning ensemble of medical institutions is being created. Its architectural dominant will be the building of the Oncological Center of the Academy of Medical Sciences of the USSR (headed by architect I. Vinogradsky) with an interestingly designed high-rise part in terms of plasticity and silhouette (its construction is nearing completion). In the western part of the city, a large complex of buildings for the Cardiological Center is under construction.
Hotels are also an important component of the city's ensembles (as a rule, its central districts). Their capacity is increasing more and more, and, consequently, building volumes are being enlarged as well. A successful, well-thought-out setting of the hotel is capable of organizing a significant architectural space. Examples are the hotel "Iveria" in Tbilisi (architect O. Kalandarishvili), "Kiev" in Kiev (architects V. Elizarov, I. Ivanov, etc.), "Uzbekistan" in Tashkent (architects I. Merport, L. Ershova and others), "Azerbaijan" in Baku (architect M. Useinov).
Emphasizing the role of public buildings in the creation of urban ensembles, it should be pointed out that large buildings of city-wide significance, which can become the basis of an urban planning composition, are sometimes placed in random places. For example, the architecturally interesting building of the Higher School of the Trade Union Movement is located in the peripheral part of the South-West district of Moscow, and the largest cinema and concert hall in Leningrad, Oktyabrsky, faces a secondary street in the city.
Unfortunately, in the creative practice of architects, especially when developing projects for some types of public, administrative and educational buildings, recreation and sports facilities, unjustified excesses are allowed. Without sufficient need, design solutions are proposed and, unfortunately, are being implemented that involve the use of expensive finishing materials, there is a passion for excessive glazing, and metal structures are not always used justifiably. In this regard, it should be emphasized once again that the Soviet architect must not only master the methodology of technical and economic calculations and justifications, but also deeply understand the issues of the "big economy", realize the importance of the tasks set by the party in the field of increasing the efficiency of capital investments, improving the design and estimate affairs, compliance with state discipline in design and construction.
The main trends in the development of ensemble building principles are most clearly manifested in the creation of new cities. As already noted, the team of architects and builders of the cities of Navoi, Togliatti, Zelenograd, Sosnovy Bor awarded the State Prizes of the USSR and the RSFSR. In these cities, a rational interconnection of residential territories and places of employment has been implemented, an optimal ratio between the structure of urban development and the surrounding nature has been achieved, the most progressive ideas for planning residential areas and the organization of social services for the population have been implemented, and, finally, architecturally expressive complexes of urban ensembles have been created.
The work of Soviet urban planners on the planning and development of new cities is also gaining international recognition. In 1976, the International Union of Architects awarded the Prize to them. P. Abercrombie 1 to architects I. Orlov and N. Simonov for the architecture of the new cities of Navoi and Shevchenko, built in difficult desert conditions. In addition, a number of new cities can be named, the appearance and main ensembles of which are "shaped by science." The firstborn of this kind of town-planning education was the Novosibirsk Akademgorodok. Such centers have grown and developed in the vicinity of several of our major cities.
The foundations for the formation of architectural ensembles are laid in the master plans of cities. Without them, it is impossible to purposefully, taking into account the prospects, build up new and reconstruct historically established cities. And such work is being carried out in our country on a large scale. In the past few years alone, more than 250 master plans of cities have been approved, including the capitals of the Union republics, large industrial and administrative centers. They solve the organization of transport and pedestrian traffic in a modern way, feel the desire of architects to develop the existing urban planning traditions, more thoughtfully consider and comprehensively take into account the natural and climatic conditions, preserving the natural landscape and relief, revealing their originality.
An important factor in improving the quality of urban planning ensembles, in enhancing the creative search and development of urban planning thinking of the architect are competitions for projects of city centers. Over the past seven years, Gosgrazhdanstroy, together with the Union of Architects of the USSR, has held up to 30 such competitions.
The architectural ensemble can rightfully be considered the highest form of the volumetric-spatial and ideological-artistic organization of the city. Today, when the necessary prerequisites for the all-round rise of the architectural art have arisen, when special attention is paid to the quality side of construction, architects must consider the problem of the formation of architectural ensembles one of the most important problems in their creative activity. At the same time, there are still many organizational difficulties that impede the implementation of the ensemble development. One of the main ones is the lack of earmarked allocations for the complex construction of urban ensembles. It is also necessary to organize optimal, scientific management of the formation and development of our cities.
1. P. Abercrombie - a major English urban planner, the first president of the International Union of Architects.
Architectural ensemble architectural ensemble
(from the French ensemble - a set), a number of structures that form a harmonious whole, that is, subordinate to a single rhythm, placed taking into account certain points of viewer perception, scaled and proportionally correlated with each other and forming a balanced composition. The ensemble can be built both on the principle of symmetry ( Versailles, 17-18 centuries), and asymmetry (Athenian Acropolis, 5 c. BC BC), combine buildings of the same era and style (Smolny monastery in St. baroque, B.F. Rastrelli, 1748-54) or different styles (Novodevichy Convent in Moscow, 16-17 centuries).
The main types of ensembles: an ensemble of the city square; the ensemble of the main building (palace, public) and the outbuildings adjacent to it; palace and park ensemble.
In the ensemble of the square of St. Peter's Cathedral in Rome (1656-65) DL Bernini enclosed the space from the sides with semicircles of colonnades that echo the columns on the facade of the cathedral, their rapid rhythm seems to urge the visitor to the entrance to the temple. The space of the square received the shape of a trapezoid, which created the effect of a reverse perspective, the temple seemed to be approaching the viewer. Its supremacy in the space of the square is emphasized in every possible way. The movement towards the entrance develops along the central planning axis: from the street leading to the square, through its center, marked by an obelisk, to the stairs and portico of the main entrance, over which the giant dome of the cathedral rises. The ensembles of Red Square in Moscow and Palace Square in St. Petersburg combine buildings of different times and styles into a harmonious whole. The buildings on the square of the Italian city of Pisa (cathedral, bell tower and baptistery, 12-14 centuries), decorated with arched galleries with thin columns, are designed in the same Romanesque style.
The ensemble of the Admiralty building in St. Petersburg (A.D. Zakharov, 1806-23) is located on the embankment of the Neva. The extended facade is formed by the central and side buildings, united by links connecting them. The subordination of the lateral parts to the center emphasizes the rise of the tower with a high spire, placed above the massive center of the building with a high semicircular arch.
In the palace and park ensembles (Pavlovsk, Tsarskoe Selo, Peterhof near St. Petersburg, Sanssouci in France, Katsura in Japan), the forms of buildings and "green architecture" - the design of the natural environment (trees, lawns, alleys, etc.) correspond to each other in a figurative system, present harmonious pictures from certain viewpoints. An important role in the aesthetic perception of the palace and park ensemble, in understanding its figurative content, is played by the movement of the viewer in space, a change in visual impressions.
Of great importance in the architectural ensemble is the artistic organization of the adjacent space, the interaction of buildings with it. Medieval squares in Europe are closed complexes, while monuments of ancient Russian architecture (Kolomenskoye, 16-17 centuries), ensembles of the Baroque era open outward, actively interacting with the surrounding landscape. Thus, three beams of wide avenues extend from the main facade of the Palace of Versailles into a vast park, three streets run away from Piazza del Popolo in Rome, the perspective of the main Peterhof canal ends with a view of the sea. An important role in the architectural ensemble can be played by sculpture and architecture of small forms (gazebos, pavilions), as well as fountains (fountain in Piazza Navona in Rome, DL Bernini, 1647-52; Peterhof fountains, 18-19 centuries), green plantings, lawns and flower beds.
(Source: "Art. Modern Illustrated Encyclopedia." Edited by Prof. AP Gorkin; Moscow: Rosmen; 2007.)
See what "architectural ensemble" is in other dictionaries:
architectural ensemble- A group of buildings, united with each other and with the environment into a common artistic composition, perceived as a whole [Terminological dictionary for construction in 12 languages (VNIIIS Gosstroy USSR)] EN architectural ensemble DE ... ... Technical translator's guide
A group of structures united with each other and with the environment into a common artistic composition, perceived as a single whole (Bulgarian; Български) architectural ensemble (Czech; Čeština) architektonický soubor ( German; … Construction vocabulary
Architectural ensemble- (from the French. ensemble together, at once, totality, harmonious whole) harmonious unity of buildings or structures, communication. the unity of facades, style, time or place of construction. M. b. deliberately created or formed in the process of evolution. In Europe… … Russian humanitarian encyclopedic dictionary
See architectural ensemble. (Source: "Art. Contemporary Illustrated Encyclopedia." Edited by Prof. AP Gorkin; Moscow: Rosmen; 2007.) ... Art encyclopedia
- (French ensemble together). 1) correspondence, proportionality of parts with each other and in relation to the whole, general appearance, harmony. 2) in music: the combination of instruments and voices in the performance of a piece of music; slender, precise and consonant ... ... Dictionary of foreign words of the Russian language
Ensemble (fr. Ensemble, a slender whole). The Wiktionary contains an article "ensemble" ... Wikipedia
Ensemble of St. Isaac's Square (St. Petersburg) ... Wikipedia
Modern encyclopedia
ENSEMBLE, ensemble, husband. (French ensemble). 1. Slender unification, consistency of all parts of some whole (book). Architectural ensemble. 2. Artistically coordinated, amicable performance by all artists of the dramatic or ... ... Ushakov's Explanatory Dictionary
Ensemble- (French ensemble totality, harmonious whole), 1) mutual consistency, harmonious combination of parts that form a whole (for example, an architectural ensemble). 2) In performing arts, the artistic coherence of all ... ... Illustrated Encyclopedic Dictionary
Books
- Architectural ensemble of the Savior-St Andronicus monastery, Merzlyutina N. The album was released to coincide with the 70th anniversary of the founding of the Andrei Rublev Central Museum of Ancient Russian Culture and Art. The publication opens a series dedicated to the unique museum ...
Natural World Heritage Sites of South America Campos Cerrado National Parks: Chapada dos Veadeyrus and Emas, Brazil
Is there a sea in finland
The meaning of the eighth wonder of the world in a reference book on phraseology
Federal system of reconnaissance and airspace control
Federal system of reconnaissance and airspace control problems of improvement