The Great October Socialist Revolution also marked a revolutionary change in the field of culture, as in the whole structure of the country's spiritual life.
With the first government decrees, the Soviet government provided ample opportunities for the deployment of landscape construction in our country. Thus, the Land Decree (1917) nationalized the land, which made it possible to develop the necessary territories for the organization of recreation and health improvement places for workers. By decree of the Council of People's Commissars “On the Protection of Monuments of Nature, Gardens and Parks” (1921), manor and palace gardens and parks became national wealth. An important role was played by the “Plan of Monumental Propaganda” (1918), which focuses on the popularization of the gains of the revolution and world culture. Therefore, it is not by chance that the memorial garden on the Champ de Mars is one of the first Soviet objects of landscape art.
Field of Mars (10.9 hectares) - a monument to the revolutionary speeches of workers, soldiers and residents of Petrograd in 1917, as well as the first All-Russian Communist Saturday. In March 1917, the solemn burial of the fighters of the revolution who died in the February days of the overthrow of the monarchy took place here. November 7, 1919 the opening of the monument (architect L. Rudnev). The design of the garden around the monument was designed by architect I. Fomin. The garden was laid down on May 1, 1920, on the day of the first All-Russian Communist Saturday. The breakdown of roads and places for planting trees and shrubs was carried out by a horticultural scientist R. Katzer.
The garden is a vast space - the ground garden. The compositional center is a monument to the Fighters of the Revolution. It is designed in the form of a 2.2 m high, wall-like walls constructed of granite blocks delimiting a square of 45 × 45 m in plan. The walls in the central part are separated by 10 m wide aisles, and memorial inscriptions are on the wall ends. The text was compiled by A. Lunacharsky and reveals the ideological content of the monument. In the center of the square is the eternal flame. The garden has a regular layout with a clear network of direct roads, oriented to the monument or converging on 4 round plots. Bushes (lilac, Chubushnik, barberry, shiny cotoneaster, viburnum, etc.) are planted at the intersection of roads. There are almost no trees here: these are only 4 oaks planted in the centers of circular platforms, and rows of linden trees along the edge of the long sides of the garden - along Sadovaya Street and the facade of the Pavlovsk barracks. Field of Mars became the center of the garden and park ensemble, which also includes Summer and Mikhailovsky gardens. "It is a work of art of a perfect artistic form, an example of the unity of urban planning, architecture, park-building and poetry."
The next stage in the history of Soviet landscape art is closely connected with the first five-year plans. It is characterized by the construction of new and reconstruction of old cities, the landscaping of which was aimed at the formation of a unified system of plantings, combining intracity and externally urban environment.
At this time, the Soviet country, which had just overcome the illiteracy of the population, needed cultural institutions that could accept the thousands of working people and provide them with forms of recreation that would promote their cultural growth and development. There are parks of a new type - parks of culture and recreation, which have become “combines of culture” with a multifunctional program, including sports, cultural, entertainment and political-educational work that has developed over large areas of a park territory.
In 1928 in Moscow, the country's first park of culture and recreation was opened, now the Central Park of Culture and Rest. A. M. Gorky. The creation of parks became widespread, in 1934 there were more than 150 parks under construction in the country, and the pace of their construction continued to grow. Among them are PKiO Sokolniki (area 594 ha, architect A. Karr), PKiO Izmailovo (1200 ha, architects M. Korzhev, M. Prokhorov), PKiO them. SM Kirov on Elagin Island in Leningrad (96 hectares, architects L. Ilyin, E. Catonin), Nagorny Park named after SM Kirov in Baku (120 ha, architect L. Ilyin). Of these, some parks are created on the basis of historical ensembles, where the preserved layout is linked to new functional tasks.
Multifunctionality and regional zoning associated with it, as well as a wide range of cultural institutions, are characteristic of cultural parks.
Central Park of Culture and Rest. A. M. Gorky in Moscow . The project was executed by a team of authors under the leadership of A. Vlasov. The park area is 104 hectares. The park is located along the banks of the Moscow River. From the main entrance (from the Garden Ring near the Crimean Bridge) begins the regular part of the park (50 hectares) with an extensive orchestra, on both sides of which there is a sports area, an amusement area, a mass rest field with pop music, the Chapito circus and numerous pavilions - exhibition, reading room, cafes, etc. The landscape part adjoins the regular part of the park, including a quiet recreation area (formerly Neskuchny Garden) and a children's recreation area.
In the 30s of the 20th century, the organization of forest parks as places of country rest in the conditions of a natural environment began. Green protective belts began to be created around the cities. The first such forest park was Nevsky, organized in 1934 on an area of about 500 hectares.
After World War II, the construction of memorial parks and Victory parks unfolded, commemorating the heroism of the Soviet people. First of all, these include Leningrad parks - Moscow Victory Park (area 68 hectares, architect V. Kirhoglani), Primorsky Victory Park on Krestovsky Island (139 hectares, authors: A. Nikolsky - head of the group of authors, V. Stepanov, P. Volkov , O. Rudneva, V. Medvedev); Memorial complex in Treptow Park in Berlin (Appendix, Fig. A 32) (architect J. Belopolsky and sculptor E. Vuchetich); memorial ensemble on
Mamayev Kurgan in Volgograd (architect J. Belopolsky, landscape architect L. Rosenberg, sculptor E. Vuchetich); memorial cemeteries - Piskarevskoe, Serafimovskoe.
These parks were created as single ensembles, in which regular compositions are organically combined with landscape. “Architecture, decorative and applied art, sculpture give the park landscape ideological and ideological concreteness and meaningful versatility ... The joint“ work ”of various arts has become a characteristic feature of Victory Parks.”
Seaside Victory Park them. SM Kirov was founded on October 7, 1945 on Krestovsky Island. Even in the prewar years, it was decided to master this territory for a sports complex with a large stadium (project of architect A. Nikolsky). On the western arrow of the island, ground was washed in the form of a 16-meter-high hill, inside of which stands and a football field were to be located in the craters. On the lowland swampy territory of the island, they washed the soil for road construction and landings. Works were interrupted by war. After the war, it was decided to create Victory Park on Krestovsky Island. The park was founded on a voluntary basis by the method of cultures. In October, about 45 thousand trees and 50 thousand bushes were planted. The opening of the park took place in 1950. The center of the composition was the hill of the stadium. From the east, where the entrance is located, there is a triple linden avenue 2 km long leading to it. She is the axis of the park. At the entrance on both sides of the avenue there is an amusement zone and a rowing canal in the northern part, and a children's town in the south. The rest of the park with a system of ponds, lawns and arrays set aside under the zone of free rest. It houses a reading room, a summer stage, a restaurant.
The park organically combines regular and landscape planning techniques. The main axis, oriented to the hill of the stadium with the monument of S. M. Kirov, is of a regular type, in the tradition of Russian classical park building. It includes squares and sculpture, reflecting the themes of the Great Patriotic War and the preservation of peace. Pyramidal poplars, groups of spruce barbed in combination with birch, larch and other species of woody plants give them a solemn, elevated character. The rest is solved by landscape techniques and has become a favorite vacation spot for workers.
After 30 years, the need has arisen for felling the formation of landscapes, or, as they are called, landscape felling, as the trees have grown and the plantings turned out to be thickened. They were started in the mid-70s and gave good results. Characterized by a wide range of trees and shrubs, numbering more than 50 species and about 90 forms and varieties.
Memorial complex in Berlin . Created in 1946-1948. on the territory of Treptow Park, designed by architect J. Belopolsky and sculptor E. Vuchetich at the burial site of Soviet soldiers who fell in battles during the capture of Berlin. The ensemble is of a regular type with a pronounced axis, the beginning of which is accentuated by the sculpture of the Motherland, and the opposite end is completed by the compositional center - a monument to the Soldier Liberator, towering on a green pedestal of the bulk hill. At the foot of the hill there is an area with burials in the form of green squares rhythmically following one after another. The exit to the square is marked by red granite banners forming the sawing. The park has skillfully used the relief, providing, with the seeming simplicity of the planning solution, an emotional change of accents perceived along the axis of movement. The approach strip is framed by rows of poplars, similar to the ranks of soldiers, the single birch trees in front of them in the green strip are the symbol of the motherland. All this creates a solemn and sorrowful image.
For Victory parks or memorial parks dedicated to the Great Patriotic War (parks, cemeteries; parks, memorial complexes, for example, Salaspils in Latvia, Memorial ensemble in Berlin (Treptow Park), Khatyn in Belarus; parks dedicated to battles, for example, the park on Mamayev Barrow in Volgograd) is characterized by an organic fusion of the means of all types of art, when sculpture, literature in the form of memorable poems, music and, of course, plantings create a holistic and vivid emotional image - a solemn, strong, sorrowful, performed heroic pathos or the joy of victory. Verticals of poplar, blue spruce, columnar thuja and juniper, weeping forms of willow, elm, mountain ash, and birch as a symbol of native nature have become traditional.
Together with Victory parks, Friendship parks are created. One of the first such parks was the Friendship Park in Moscow, dedicated to the International Festival of Youth and Students in 1957 (by V. Ivanov, A. Savin).
In general, the objects of the 40–50s are characterized by the prevalence of regular planning and composition techniques.
In the 1960s and 1980s, urban planning developed, and with it all categories of green areas of the city. The increase in housing construction has accelerated the emergence of residential areas requiring improvement and landscaping in accordance with the requirements of modernity. In this regard, park objects are designed as links of a multistage urban landscape system: sections of residential areas, a microdistrict garden, a residential area garden, a planning area park, a city park.
The further cultural development of our society forced us to reconsider the functions of cultural parks and to renew their cultural program on the basis of scientific research, thus giving an impetus to further development. The prototype of such parks was the USSR Exhibition of Achievements of National Economy complex, which combines the functions of information, training, entertainment and a holiday, providing cultural activities for the widest strata of the population, having a beautiful design from the point of view of landscape art, which successfully combines parade approaches and cozy recreation gardens . Among the parks of culture of a new type is the project of the Experimental Park in Krasnodar, developed under the guidance of architect V. Antoninov. Along with multifunctional, specialized (or monofunctional) parks are being created - children's activities (a park in Anapa, children's towns in Leningrad and Lviv), and parks-museums of national life (in Riga, Tallinn, Kiev, Lvov). In the 1950s, sports parks were built (in Minsk, Luzhniki in Moscow), and now they are being developed further. For example, a team of designers of the Moscow Research and Design Institute of Culture, Sports, Recreation and Health Care in Moscow developed a draft of a Krylatskaya sports zone covering an area of 690 hectares. Separate sports complexes of the zone - the rowing canal, cycle track and others were commissioned in 1980. Construction continues.
The territory of the sports zone is located in the bend of the Moscow River and includes areas with a variety of relief: floodplain, relatively flat part in the bend of the river and hilly, turning into a plateau. The elevation difference reaches 50 m. On one of the hills is the church (XVIII c.). In the center of the zone is a rowing canal, which is its main planning axis. To the east of the canal there are sports and fitness zones with a water-ski stadium and other water devices. The elevated part of the zone is set aside for a cycle track, devices for various types of skiing, climbing walls, bobsleigh, etc. The entire coastal strip of the Moscow River 300 m wide is occupied by parks and beaches. The complex of sports and fitness centers is divided by park areas. A hydropark, a willow park, a pine park, a garden of topiary art, etc. are envisaged here. Planning decisions were preceded by a landscape analysis of the territory, which revealed the aesthetic and functional advantages of individual areas of the future zone and used them accordingly.
In the 1960s – 1970s, parks of city and district significance develop, which are laid in memory of social events and significant dates. Their functional content is due to the needs of adjacent residential areas, as well as the potential of the natural landscape.
South Primorsky Park them. V.I. Lenin in Leningrad . The construction of the park began in 1960, and its opening took place in 1970 by the architects E. Levinson, A. Lelyakov, L. Schrether, O. Bashinsky, the dendroscheme - I. Bogovoy. The area of the first stage of the park is 50 hectares. The park was founded in honor of the anniversary dates of life of the leader of the revolution V. I. Lenin and is intended for recreation of residents of new areas. The park was built on the alluvial area, plantations were created by the method of forest crops, and on the nodal areas - by large-sized material. The center of the composition is the memorial part dedicated to V.I. Lenin, with a memorial grove on a dais, where 90 lime trees were planted (they symbolize 90th birthday of V.I. Lenin), an area with a pool and an obelisk, the shape of which symbolizes the sickle and hammer . From the square to the bay leads the "main perspective" - a green orchestra (300 × 30 m). Created children's playground and lilac garden. The construction of the park has not yet been completed.
During this period, especially increased thrust to suburban objects, where you can relax in a natural environment. Tens and hundreds of thousands of citizens rushed into the suburban forests. Such a “recreational boom” forced to pay special attention to forest parks, their improvement and the formation of landscapes that are aesthetically sound and resistant to recreational loads. The increase in the social and aesthetic significance of natural landscapes influenced the development of the landscape style direction. His main idea - the formation of the image of nature. It is embodied in objects of different scale and in a variety of techniques. For example, in separate corners of the building in the form of small natural compositions; in the residential area of Lazinai (Lithuania), a natural color which is given by accents from boulders, plastic relief and its processing with stone; in the square near the cinema in Sochi, where the authors abandoned the use of traditional southern landings and created small lawns, emphasizing the natural character of pines and stones; finally, in parks, by applying a local range of trees and shrubs and a harmonious combination of different spaces. In its development, these techniques are firmly based on the classical traditions of Russian landscape park building.
Thus, modern landscape art is designed to solve a number of problems. It develops in two directions - the preservation of the natural landscape and the formation of its image; the creation of active recreation facilities - parks and holidays (the formation of the natural landscape takes a back seat, the search for new forms is in progress).
The choice of direction is determined by social tasks that need to be addressed when creating an object [10].
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