2.3. Russian landscape parks

  2.3.  Russian landscape parks

 

In the second half of the eighteenth - early nineteenth century. Russia is developing a new direction in architecture - Russian classicism, which was marked by the creation of beautiful ensembles of St. Petersburg, outstanding buildings of Moscow, and wide urban and country estate construction. The architects V. Bazhenov, I. Starov, M. Kazakov, N. Lvov, P. Argunov, and then A. Voronikhin, K. Rossi, V. Stasov, and others combine the principles of classical architecture with the processing and development of Russian architectural heritage. In literature and painting the nature of Russia is praised, the beauty of meadows, fields and forests. These aesthetic positions are reflected in the formation of landscape parks. Old regular parks are growing, becoming shady, they are no longer cut. Elements of regular gardens adorn only small in size ceremonial parts of the landscape parks of the royal suburban residences. Thus, the landscape style direction in Russia begins its development in close connection with the architecture of classicism.

Initially, landscape techniques entered the regular layout (Oranienbaum - Petershtadt), then, more and more independence (Oranienbaum - Own summer cottage), they became the basis for the formation of romantic parks of Tsarskoe Selo, Gatchina, etc. In their evolution, many common features with European parks can be traced .

Catherine Park (Appendix, Fig. A 27) (landscape part) covers an area of ​​109.6 hectares. Conventionally, the park is divided into 5 areas: a regular garden, the area of ​​the Big Pond, the Upper Pond area, Rose Field, Own garden. The romantic park was formed in the 1760–1770s (A. Rinaldi, V. Neelov, Y. Velten), 1780–1790s (C. Cameron, D. Quarenghi, I. Neelov), 1810–2020s (L. Ruska, V. Stasov). In the middle of the nineteenth century. designed by architect A. Vidova, a private garden was created.

The park with its complex system of ponds and canals, loose hills and lawns, an abundance of architectural structures is rich in a variety of landscape paintings, and its areas have their own composite sections.

Numerous architectural structures become centers of landscape paintings or the dominant of any area. They are built in various styles: Chinese (Big and Small whims, Chinese arbor, Chinese village, theater), Egyptian (pyramid), classical, which is typical of romantic parks. A heroic note in the mood of the park is made by buildings that glorify the victory of the Russian troops in the war with Turkey. These are the Katul Obelisk, the Chesme Column, the Sea Column, the Tower Ruin. Their role in the formation of the park is very large and allows us to consider it a memorial to the feat of the Russian troops.

The central place in the composition of the park is the area of ​​the Big Pond. The pond was reconstructed in the 70s, its banks became free-flowing, and scenic groups and glades gave the appearance of a natural lake. On the Big Pond four islands were arranged (Concert - 0.8 ha, Wild - 6.2 ha and two small), the total area of ​​the pond is 16.6 ha. The main view points are located along a circular route, where the most important accents are architectural structures: Grotto (adjacent to the regular garden), Palladium (Siberian) Bridge, Chesme Column, Admiralty and Turkish bath, the Grand Pond District includes eight landscape sites grouped around it water mirror: this is the glade at the Cameron Gallery, the glade at the terrace of Ruska, Ashenaya glade, the water maze, the site at the Turkish bath, the Admiralty, the area at the Wild Island, the site at Kamenny (Humpback) m stop The first three plots form the Great Glade (an area of ​​7 hectares), which slopes down to the pond with a soft slope (a relief difference of 10 m at the 160 m wide glade). It is bounded by the lines of the Ramp Alley (500 m) and the Cameron Gallery (100 m), from which pictures of the pond with its various structures are revealed in the frame of the tree groups. Groups are placed taking into account the organization of fan prospects.

Their depth from the Cameron Gallery is 600–700 m (north-south orientation), from the Ruska terrace to the “Girl with a jug” sculpture - 240–250 m (north-west orientation). The open spaces of the glade also deepen the specific pictures when they are perceived from the opposite bank of the pond. Other areas of the Upper Pond Park, with its Concert and Evening Halls and the Pink Field, are characterized by finely crafted lyrical landscapes with their water devices and architectural structures. Conifers prevailed in the assortment of trees - pines, spruces, firs, larches, which have almost disappeared by now.

 

Gatchina

The palace and park ensemble Gatchina (Appendix, Fig. A 29) is located 45 km from Leningrad. It was created in favorable natural conditions on the site with a picturesque relief, forests, lakes. The history of its development includes three periods:

1) 1766–1781 - possession of Count G. Orlov. A palace was built (A. Rinaldi), economic structures, roads were laid, the Chesme obelisk and the Eagle Column were erected.

2) 1783-1801 - possession of Paul 1. The main work on the formation of the ensemble and the reorganization of the palace (V. Brenna). The green meadow in front of the palace was replaced by a parade ground and bounded by a moat. Regular gardens are created: Own, Lime, Upper and Lower, Dutch (near the palace). Floral and Botanical (on the opposite shore of White Lake), Sylvia (on the border with the menagerie). The shores of the White Lake are being processed with bays, bulk islands, a cascade, ponds (Karpin, Kovsh, Octagonal, Round, Oval) are arranged and the main park facilities are being built. Garden masters work: D. Gacket and F. Helmholtz. In 1798, architect N. Lvov built the Priory Palace and set up a park on the Black Lake.

3) 1844-1857 - the squares (kitchen and arsenal buildings) and the Clock Tower and Signal towers (architect RI Kuzmin) are built on. The ensemble consists of 3 parks, consecutively located and united by one water system: Prioratsky Park (143 hectares) on the Black Lake. Palace Park (140 hectares) on the White Lake and Menagerie on the Small Gatchinka River, or Teplaya. The park was created by natural coniferous forest and planting and partial felling of deciduous, plastic processing of the relief, fine drawing of the curves of the coastline of White Lake and the construction of inland waters. Local material was used for construction, mainly limestone - Pudost stone, as well as wood. Priory Palace and Amphitheater - earthworks. All this led to the stylistic unity of the whole ensemble.

The central place is occupied by the Palace Park with the White Lake - its main hub and palace - the architectural dominant. The palace is located on a clearing (150 × 200 m) not far from a small Silver Lake, hidden between two hills and visible only from the upper floors of the palace or directly from the shore. The Silver Lake is separated from the White by a narrow ridge, on which the Terrace-marina was arranged, which descends by a steep wall into the waters of White Lake and is perceived from its opposite bank as a pedestal of the palace.

The area of ​​White Lake is 30 hectares, the length is 1200–1500 m. The chain of islands and peninsulas crosses the water surface along the longitudinal axis, forming the so-called Long Island.

The transverse axes are balanced by the buildings: the Eagle's Column - the Eagle Pavilion (architect V. Brenna), the Venus Pavilion - the Turkish tent or garden devices: the Dutch - Botanical Gardens. In the area of ​​White Lake, a number of areas of different size, resolution and significance can be distinguished, but they form a single landscape: Admiralty, Water Labyrinth, Island of Love, section at Kaskadsky or Zapertsevy, gates, Long Island, section with the Chesmensky Obelisk, Silver Lake, Sylvia, Lower and Upper Gardens, Botanical Garden, a plot at the Birch Gate.

A characteristic feature of the palace park is a wide panorama, perceived from high points — the upper floors of the palace, the ring walkway of the lower Dutch garden, the view areas at elevated elevations, etc. It is also a combination of the powerful multi-dimensional perspectives of White Lake with the chamber lyrical landscapes of its coastal part. Thus, Lebyazhy Island with a picturesque group of white willows and the Venus Pavilion on the Island of Love play an important role. They are located at the intersection of the main species rays and repeatedly participate in the landscape paintings of White Lake. The chain of small islands along the coast (Birch, Pine, Spruce), located at intervals of 45–50 m, forms its own series of species, which alternate rhythmically, as if they unfold before the viewer and alternately become the backdrop, scenes, and centers of landscape paintings. A separate group consists of internal "pictures" in the park. For example, the site of Sylvia (which means “forest”), solved as a romantic forest labyrinth with a complex system of paths, has three beams directed from the forest to the light vertical of the Eagle Column.

The picture is perceived through the entrance gate, from which these rays diverge.

A characteristic feature of the Palace Park Gatchina - lightness color. Slightly trembling air (due to the evaporation of the water of the Big Lake) gives landscapes a special watercolor lightness and mother-of-pearl tones. This impression is enhanced by the reflection of landscapes in the water, especially interesting near islands with low shores.

During World War II, the palace and park with its buildings were destroyed, the trees were cut down.

At present, the main structures have been restored, and restoration work has begun in the neglected park.

 

Pavlovsky Park

The Pavlovsky Park Ensemble (Appendix, fig. A 28) took shape over the course of 50 years from the end of the 1770s to the end of the 1820s. and in the future did not undergo significant changes. The park area is 543 hectares. The park was created on the basis of the forest and the valley. Slavyanka. Three periods can be distinguished in the history of the park: 1779–1785. (architect C. Cameron); 1786–1800 (architect V. Brenna); 1803–1820 (artist P. Gonzago, as well as architects D. Quarenghi, A. Voronikhin, C. Rossi, T. de Tomin).

In the first period, Ch. Cameron erected a palace, engaged in the planning of the park and the construction of park facilities. He created the Pridvortsovy districts with a pavilion of three graces and Aviary, r. Slavic women with the colonnade of Apollo, the Cold Bath, the Temple of Friendship of the Big Star. The glades are made in the forest area of ​​the future area of ​​White Birch. Pastoral buildings are erected — Molochna, the Old Chalet, the Hermitage Hut, and others (only Molochnya is preserved). As a result, already in the first period, Charles Cameron laid down the planning structure of the park. His works are characterized by stylistic refinement and lyricism.

In the second period, the park takes on an increasingly ceremonial appearance. V. Brenna rebuilds the palace, contributes additional roads to the slopes of the coast and arranges an amphitheater, and at the Round Pond - the Grand Cascade. In the forest creates areas of Old Silvia and New Silvia. Compared with the work of Charles Cameron, the works of V. Brenna are more official, parade-spectacular.

The third period is famous for the works of P. Gonzago, who creates the Parade Field area on the territory of the parade ground, forms landscapes of Red Valley and White Birch in the forest, brings the Slavyanka valley to perfection. Bridges are built on the river. Slavyanka (K. Rossi and

A. Voronikhin) and the pavilions at the Triple Alley (K. Rossi), in the area of ​​New Silvia, the Church is being built to the benefactor’s spouse (T. de Thomon).

Over the 50 years of the formation of the park, each subsequent master took into account the work of his predecessors, and as a result an integral ensemble of world-wide artistic value was created.

Pavlovsky Park consists of 6 districts: 1) Palace; 2) Valley p. Slavyanka; 3) A big star with Krasnodolinny ponds; 4) Old and New Sylvia; 5) Parade field; 6) White birch. Each of them is characterized by its own spatial solution, its physiognomic appearance, and all of them are subordinated to a common artistic idea - the creation of an image of northern Russian nature.

The palace district occupies a small area (9 hectares) and is located in the southwestern part of the park, but thanks to the palace it occupies a dominant position in the functional use and structure of the park. It includes a number of plots - Own garden near the eastern facade of the palace, the Triple Lime Alley (entrance to the palace), on the sides of which there is a captive plot with a flower garden, a labyrinth and a small figured reservoir, and the Big Circles.

Valley r. Slavyanka (79 hectares) permeates the park from the north-east to south-west and is its compositional axis. It is solved as a series of glades located on the open slopes of the valley and near the water, with picturesque groups of trees and shrubs, among which are park facilities - the compositional centers of the inner sections and landscape paintings. The green walls of Sylvia, Bolshaya Zvezda and Red Valley woodlands approach the Slavyanka valley, closing the space and orienting the species in the longitudinal direction. Conifers - pine and spruce - dominated in plantations. They gave the area a northern nature, the severity of which was softened by leafy groups. Currently, the pines have almost disappeared, the main species are deciduous and spruce, so the original appearance of the area has changed a lot.

By the nature of the landscape in the valley. Slavyanka architect O. Ivanova identified 6 sites:

1) Privortsovy, with the colonnade of Apollo;

2) plot at the Cold Bath;

3) the plot of the Temple of Friendship (from the Great Staircase to the Rossi Bridge);

4) a section of the Round pond (up to the Viscontiev Bridge);

5) a section of the amphitheater (from the Viscontiev Bridge to the Pil – Tower);

6) a section of a narrow valley (from the Pil – tower to the Novosilvii bridge).

The first 4 districts were created mainly by C. Cameron, the 5th - V. Brenna, the 6th - P. Gonzago. In addition, Gonzago introduced a number of elements in all areas, thus completing the composition of the district. 1, 3 and 6 plots are open spaces alternating with the rest of the half-open.

As the architectural structures become smaller from the palace, landscape paintings are built using natural components, the wide valley gradually narrows, the forest comes closer to the banks of the river, the park seems to merge more and more with nature. The area of ​​the Big Star (area 142 hectares) is a forest with a predominance of spruce, an admixture of pine and birch. The center of the district is a round square with the Musical pavilion (built by the project of C. Cameron in 1795). Roads from the square diverge with romantic names (Friendly, Red Youth, Good Fiance, etc.). Some of them are decorated with spruce and oak tree lanes (the Green Woman's Road), and they are all lined with a yellow acacia hedge. The area is dominated by closed forest areas with the inclusion of glades and lawns. This also includes an extensive meadow, dissecting an array of forest in the form of a long beam, expanding towards the Krasnodolinnye ponds. They are a chain of artificial reservoirs in the forest with stone dams. On the Island of Love there used to be a wooden trill (P. Gonzago). The Sylvia district (15 hectares) is created in a forest on the high left bank of the r. Slavyanka. The spruce-pine massif of Old Silvia (4 hectares) is cut by 12 lanes, which converge on a circular platform with a bronze statue of Apollo Belvedere in the center. It is solved as a "hall", closed by the walls of a coniferous forest. The entrances from the paths are accented with oaks and bronze statues of muses and gods. The overall color scheme is dark, restrained, devoid of sharp contrasts. Each path closes with a bronze sculpture or architectural structures. New Sylvia (11 hectares) is adjacent to the Old and is separated from it by the Ruin Cascade. Its beginning is marked by a bronze sculpture of Apollo-Kifared. The site, cut by 5 parallel walking isolated roads, stretches a narrow strip of forest along the valley of the r. Slavyanka. In the stands dominated by pine mixed with spruce and deciduous, now pine falls. The End of the World column was erected here and in memory of Paul I - the Temple to the benefactor’s spouse (architect T. de Thomon).

 

Parade field

Area 30 ha. Originally served as a place for military parades. The area was created by artist P. Gonzago (1805–1815) and resolved as a transitional link from the Pridvortsovy area to the White Birch. The center of the composition is a pond with the island of Liven. About 6,000 trees were planted in the vast expanse of a meadow lawn in the form of mixed groups, less frequently tapeworms (only 3%). Groups surrounded by shrubs were oval in plan and landed at small hillocks (0.7–1.0 m). In the placement of groups I. Bogovoy a certain regularity was discovered: they are distributed along curves that reflect the configuration of the region. The groups form a series of park paintings, rhythmically replacing each other (interval of 35–50 m). The proportions, color and volumetric composition of the Parade field changed somewhat due to the change of species, the growth of durable trees - oaks, lindens, elms, ash trees and framing shrubs.

 

White birch

The area is 265 ha. The area is created by the method of logging in the existing green area. P. Gonzago retained the layout of the area laid by Charles Cameron: 8 radial glades converging to the “round dance” of birch trees in the center of a round area. Просеки соединяются извилистой Английской дорогой, проложенной в основном по периферии района. Насаждения были вырублены более чем на 2/з. Оставленные древесные группы различных размеров составили основу объемно-пространственной структуры района. Территория оказалась разделенной насаждениями на 2 участка – Северное и Центральное поле. После завершения рубок была проложена еще одна круговая дорога – Константиновская, или Дерновая. Ее маршрут, в отличие от Английской дороги, прошел по открытому Центральному полю и приспосабливался к уже сформированным пейзажным картинам. Район решен крупномасштабно, в нем преобладают группы площадью 250–5000 м2. Обширное открытое пространство Центрального поля обусловило создание динамических картин, чередующихся с интервалом 50– 100 м. В отличие от него пейзажи Северного поля более четко ограничены подступающим лесом и имеют статичные картины, открывающиеся с определенных точек. Примером является «Самое красивое место» – фронтальная композиция. В прошлом в насаждениях преобладала сосна, в настоящее время – это смешанные, преимущественно лиственные насаждения с преобладанием березы.

Все районы парка пространственно взаимосвязаны; лесные массивы Большой звезды, Старой и Новой Сильвий обрамляют долину р. Славянки, Парадного поля и Белой березы, образуя живописные опушки; просеки Большой звезды и некоторые дорожки Старой Сильвии завершаются пейзажными картинами Славянки, развернутыми в ином ракурсе, чем с дорожек, идущих вдоль речного русла, и с более широким панорамным охватом. И наконец, дворец, находящийся как будто в стороне от основных районов, воспринимается из самых разных точек.

Во время Великой Отечественной войны ансамбль был разрушен, парковые насаждения вырублены. Большая звезда, Старая Сильвия и Белая береза уничтожены. Сразу же после изгнания фашистских захватчиков начались восстановительные работы. Поднялись из руин дворец и почти все сооружения, восстановлены дороги, путем искусственных посадок заново воссозданы лесные массивы Большой звезды и Старой Сильвии. За последние 15 лет были проведены реставрационные рубки, позволившие восстановить пространственную структуру района Белой березы. Из-за отсутствия в верхнем ярусе сосен и преобладания березы изменились колорит и объемная структура района, повлекшие утрату его первоначального «северного» облика. Однако работы продолжаются – ведется улучшение травяного покрова, строится дренажная сеть, формируются опушки, в куртины вводится сосна. Авторы – Е. Комарова и хранитель парка М. Флит.

 

Mon Repos

The park is located 2 km from Vyborg (Leningrad region). Currently, the area of ​​the historical part is 30 hectares. The park is located on the shore of the Gulf of Finland with rugged rocky shores in a picturesque corner of wild Karelian nature.

From 1700 to 1780, the territory was under the jurisdiction of military commander P. Stupishin. A small regular garden is created in the Shar – Lottenthal valley. In 1783–1787 The governor of Vyborg, Duke V. Vyur-Tembergsky, built here a country villa in the spirit of romantic parks with a network of free design roads, Paulstein Pavilions and the Temple of Cupid. Since 1787, the territory was owned by the barons Nikolai. In the 1820s, a modest manor house was built, and next to it was a library (architect Martinelli). In 1827, instead of the Temple of Amur, an obelisk was erected on the rock of Lechatishen in memory of the Broglio brothers who died in the war with Napoleon. In the 20-30s of the XIX century. the buildings of Marienturm, the Bel-vu tower, the Turkish tent, the Temple of Neptune, the Narcissus spring were erected, a hermit's dwelling in the forest, and a chapel on Ludwigstein Island. Fir trees were specially planted on the rocky slopes of the island, which gave it a mournful character.

The structures on the rocky peaks formed a peculiar series of interconnected park species, the leitmotif of which was the rocks and water surface of the Gulf of Finland. From the lower parts of the park, these species were already read from a different angle: with the inclusion of green glades, paths cut in granite rocks, separate stone blocks and their placers near the water framed by pine trees. In the coniferous plantations of the park were included and deciduous - birch, black alder, linden, maple, bushes.

The main artistic plan of the park is the union of two elements - water and stone, therefore plantings played a subordinate role here. The rocks were mostly bare, and the plantations were only to emphasize their power and tectonics, creating a common background.

As a result, Mon Repos Park became a synthesis of architecture, landscape art and the harsh poetry of northern Karelian nature. In the middle of the nineteenth century. he enjoyed European fame and was considered one of the best.

During the Great Patriotic War, the park was badly damaged, almost all the buildings were destroyed, the sculpture was destroyed, and the widespread distribution of self-sown hardwoods (and first and foremost maple) disrupted the appearance of the park. Currently, design work has begun on its restoration.

 

 

Tsaritsyno

One of the most interesting suburban ensembles, the former country residence of Catherine II with a romantic landscape park, is located in a picturesque area with gully relief and ponds. The time of its construction can be divided into two periods.

1) 1776–1785 - architect V. Bazhenov creates an interesting ensemble, a palace and main buildings: the Cavaliers' Corps, the Bread House, the Opera House, bridges and gates, the placement of which is subordinated to the terrain, visual connections with the park’s extensive ponds and the access road. Structures built in the same style and color (pseudo-gothic, red brick with white stone decoration of architectural details) defined the stylistic unity of the park. The ensemble is not complete. By order of Catherine II, construction was discontinued.

2) 1790–1793 - Architect M. Kazakov rebuilds the palace, two pavilions are erected on the bank of the pond: the temple of Ceres and Milovid, but in the style of classicism.

The palace and park ensemble, and left unfinished, at the beginning of the nineteenth century. becomes a favorite vacation spot. Nowadays, the park has been restored, elements of modern life have been transformed into it - dry closets, paving with new materials, a musical fountain - the park's popularity has increased, but disputes about the legality of such a restoration (the Appendix, Fig. B 14,15) do not subside.

Sofiyivka

The ensemble (Appendix, fig. A 30) is located in the city of Uman, previously belonged to the largest feudal lord of the end of the 18th century. in Ukraine F. Pototsky; the area is 127 hectares (together with the zoo - 500 hectares).

The park was set up on the site of the Wild Beam that existed here from the r. Kamenka, pronounced relief and picturesque landscapes, which were the basis of the composition.

In the history of the creation of the Sofiyivka park, there are two main periods:

1) 1796–1800 During this period, worked as a gardener Zaremba, a talented master, a man with great artistic taste, and the engineer de Metzel. Over the years, the overall appearance of the park. Most complex hydraulic structures were built and the Grotto of Venus, the Valley of the Giants, the Viscount Grotto, the Cretan Labyrinth, the Great Waterfall, the Grief Column were built.

2) 1836–1859 the park was transferred to the management of the military settlements. Worked Russian architect Makutin and academician of architecture A. Shtakenshneider. The entrances to the park, the Flora Pavilion, the Chinese arbor, the Stone Pavilion on the island, a waterfall, water stairs, bridges, and marinas were reconstructed. In 1859, the park was transferred to the school of gardening.

There is not a palace in the park. The compositional axis was determined by the channel of the river. Kamenka. With the help of artificial dams, 4 reservoirs were created, which provide water for fountains and waterfalls. On the territory of the park there are 2 ponds - Upper (10 hectares) and Lower, the difference of water surface levels is 22 m. This allowed to combine several cascades into the Great Waterfall. The lower pond is decorated with a snake fountain (jet height 20 m).

The shores, water devices and architectural structures are decorated with granite blocks, which were mined here during the construction of the water system. Such a design determined the figurative unity of the park, became its unique attraction. An integral part of the park was his marble and bronze sculpture, acquired mainly in Italy.

The park consists of 5 sections: the Main Alley, the Lower Pond, the Elizabethan Fields; The amphitheater with the underground artificial river Styx, 209 m long and the Dead Lake (32 × 25 m), which feeds the Semistrui Fountain, the Upper Pond with the Island of Love.

In 1889, a large number of exotic plants were planted in the northeastern region of the park by V. Pashkevich. This site is called the English Park.

During the occupation of the city of Uman, the German fascist invaders caused great damage to the park. After the war, the park is gradually being restored.

In the nineteenth century. Russian park building acquires a direction characteristic of European parks of this period, however, has the following features:

- large-scale solution of the space is subordinated to the nature of the region and reflects its characteristic features (for example, the parks of Znamenka, Mikhailovka, Alexandria near St. Petersburg are closely connected with the Gulf of Finland; Kolonistsky and Meadow parks are mainly represented by extensive open spaces of meadows and reservoirs). In this regard, our parks are closely related to landscape painting, reflecting the characteristic features of the native nature. This relationship in a certain way enriched both landscape art and painting;

- the introduction of exotic is mainly in new territories. These are separate new areas of the park (for example, the English park in Sofiyivka) or parks that are being created anew (parks Palanga in Lithuania, Trostyanets in Ukraine and all the Black Sea parks of the Crimea and the Caucasus). The active invasion of exotics into established parks is rare (Nikolskoe-Prozorovskoye Park near Moscow);

- flower design is characterized by ornamental flower beds and variegated compositions with a wide range. In the open spaces of landscape glades, flower gardens are rarely turned on; they are mostly to the palace, the house, and park buildings.

Below is a brief description of some parks.

Kolonistsky park (Leningrad region) - 30.5 hectares. Garden masters P. Erler, P. Arkhipov, architect A. Stackenschneider (1839–1841–1847). The center of the composition is the Olgin Pond and the Big Island with the Tsaritsyn Pavilion (1839–1844). On the island - Italian and landscape gardens. Nearby is Holguin Island and Pavilion (1846–1848). The range of trees - oak, poplar, willow, maple.

Lugovoy park (Leningrad region) - 85 ha. Garden craftsmen P. Erler, P. Arkhipov (1825–1857), architect A. Shtakenshneider, hydraulic engineer M. Pilsudsky. The fountain of the Peterhof ensemble is the axis of the composition, around it there are meadows, fields, ponds, separate gardens at the pavilions. The park extends from north to south to the Babigonsky Upland, in a strip of 400–800 m. The park has 10 ponds: Zapasnoy, Nikolsky, Samsonovsky (Small Zapasnoy), Orlinsky, Ruinny, Krugly, Mill, Saperny, Babigonsky, Tserkovny. Buildings: Belvedere, Pink Pavilion, ruins, etc. The park includes 4 landscaped areas: Nikolskaya Valley Gardens, Belvedere, Ozerki, Mill.

The range of tree species - birch, aspen, willow, poplar, maple.

Alexandria (Leningrad region) - 115 hectares, architects A. Menelas and A. Stakenshneider. The park is located on the shores of the Gulf of Finland, adjacent to Peterhof. The structures are created in the style of the new Gothic and freely located. The center of the composition is a cottage, traditionally located on the high terrace of the seashore, in front of it is a vast open meadow, at the foot of the upper terrace slope is a pond. (This technique varies in the nineteenth-century parks. Znamenka and Mikhailovna, as well as in other parks located on the southern shore of the Gulf of Finland.) Powerful groups of oak trees are the main accents of park space. The range of trees - oak, linden, black alder, birch, maple.

Trostyanets (Chernihiv region) - 207 hectares, 1834–1890s. The basis of the spatial composition is ponds with a total area of ​​10.5 hectares (Big, Swan, Kutsikha) and a series of glades, each of which has an individual solution - size, configuration, edge, composition of groups, range. In 1858, an “area of ​​Switzerland” was created on artificial hills up to 35 m high (area of ​​30 hectares). Landscapes are built on internal perspectives. The park was created in the conditions of the steppe, where, except for common oak and willows, all other species are introduced species. The range of trees - pine, birch (protective planting), various types of oak, linden, walnut, thuja, juniper, horse chestnut, etc. A total of about 500 species and forms. The combination of plants in groups is built according to the formal aesthetic principle - color and architectonics of the crown.

Alupka Park (southern coast of Crimea) - 40 hectares, architects E. Blair and V. Ghent, gardener Kebach. The composition center of the ensemble is the palace. The park includes natural formations (Big and Small Chaos, as well as coastal cliffs) and skillfully shaped glades (Platanova, Solnechnaya, Contrastnaya, Kashtanovaya). All nodes are connected by a network of freely traced roads. The range is exotics of predominantly Mediterranean flora, as well as East Asia and North America. The most typical are pines, cypresses, cedars, magnolias, oak, sycamore.

Palanga (Lithuanian SSR) - 86 hectares, architect E. Andre. The center of the composition is a palace with regular elements - a green orchestra and a rose garden. A series of individually designed glades, dune hills and a pond are composite nodes combined by a system of roads. Natural pine forests are the main landscape-forming elements that make up the structure and background of the park. A wide range of exotic plants, mostly hardwoods, totaling about 220 species and forms, was introduced into the park.

Thus, Russian landscape parks are characterized by the following features:

- obvious differences of early (romantic) parks of the 18th century. and later nineteenth century .;

- construction of space taking into account the conditions of the area, the inclusion of its natural advantages in the park environment and, finally, a figurative interpretation of native nature as the final result of the artistic decision of the park;

- the role of architecture in the figurative structure of the park as a compositional element that complements its paintings, harmoniously enhancing the sound of nature;

- the territorial division of the park for planning parts - landscape areas and areas characterized by common physiognomic features and their appearance;

- compositional interrelation and spatial indissolubility of areas and areas of the park;

- Compliance with the scale of the planning parts and the proportionality of their internal spatial elements;

- landscape diversity and landscape paintings - the main methods of spatial park construction [10].

 

avatar

Что бы оставить комментарий войдите


Комментарии (0)






Theory of Landscape Architecture