Architecture in a broad sense covers a large area of ​​human activity, in which landscape architecture occupies a special place as a separate section.

Landscape architecture includes the process of creating and optimally organizing the surrounding space, which helps to aesthetically competently design gardens and parks.

The main material for work in landscape architecture is vegetation and the surrounding landscape.

Often the concepts of landscape design and architecture are identified. But you need to understand that they carry a different semantic load. Architecture here is the organization of a favorable surrounding space, the external environment for the daily life of the population, as well as recreation. Elements of landscape architecture can be seen both in city parks and in rural areas, on a private plot of land. This sphere of human activity must meet aesthetic, functional and economic requirements.

Simply put, landscape architecture is a way of designing parks, gardens, and recreation areas for the population, in which a person will feel as comfortable as possible, and his aesthetic requirements will be fully satisfied.

Architectural specialists achieve their goals with the help of water, green spaces, stone, and special terrain.

Landscape design is more general concept which includes landscape architecture. Today it is difficult to separate one concept from another, because in fact they are inextricably linked. Modern educational establishments are engaged in the training of specialists of a wide profile - builders-designers, landscape architects, who are engaged not only in landscaping the territories of city parks or private household plots, but also participate in the development of projects for construction projects.

IN last years The demand for the services of professionals in the field of landscape architecture is growing steadily. This is due to the fact that an increasing number of people tend to live in well-maintained estates, parks, courtyards. In Europe, landscape architecture and design are at the highest level, domestic specialists can learn a lot from foreign colleagues, adopt a lot of techniques and ideas.

Modern landscape architecture should be environmentally oriented. This means that the original landscape must be preserved as much as possible. It is important to emphasize its beauty with the help of architectural objects and techniques, using environmentally friendly building materials.

In our country, the term "landscape architecture" was first used in the 70s of the 20th century. Then in 1961 the first All-Union conference on landscape architecture was organized.

Objects of landscape architecture

There are many approaches by which objects of landscape architecture can be classified. The traditional approach highlights the following elements:

• functional objects, for example, historical, cultural (reserves), as well as recreation parks;
• objects having a landscape-genetic origin, such as natural parks formed naturally and preserved by man as parks, water areas;
• urban planning objects - zones or corners of nature with a natural landscape in the city or in a suburban area.

Today, almost all objects of landscape architecture are located in cities.. Most of them are presented in the form of city parks, which can be conditionally divided into:

• multifunctional, which are used by several categories of the population at once, both for recreation and for various cultural and sports events;
• specialized, performing one specific function (botanical gardens and parks; zoological parks; complex exhibition parks, consisting of reservoirs, pavilions for exhibitions, green spaces; a museum under open sky; parks with an ethnographic focus that show life various peoples; arboretums).

Not a single landscape object can do without a communication network. For the convenience of visitors, transport roads, pedestrian paths, paths for cyclists and for walks are organized.

Since any object of landscape architecture involves the transformation and change of the natural environment to a greater or lesser extent, they distinguish:

• macro-level objects that occupy large areas on a national scale. They are of regional importance, and their design is carried out taking into account the rational use of natural resources. Usually such objects remain practically unchanged. For the convenience of visitors, a network of communications is laid in them. These are national parks, reserves, urban landscaping, reservoirs;
• mesolevel objects. They are located within a specific locality. Parks, water parks, gardens. Designed for recreation of the population, entertainment and sports activities;
• microlevel objects. Their design is carried out on the basis of reference to a specific architectural object - a building or structure. These are gardens, squares, territories at various institutions, terraces, boulevards, embankments.

Directions of landscape architecture

Modern landscape architecture consists of the following areas:

Landscape construction, its main task is the construction of landscape objects, around which there will be green spaces. These are reservoirs created artificially, alpine slides, waterfalls, rock gardens.

Landscape planning - involves such an organization and transformation of the natural environment on a national scale, which allows you to preserve it as much as possible in its original form.

Landscaping is a more detailed description of how the future objects of the landscaped area will look like.

The main tasks of landscape architecture are:

• preservation of the natural landscape in its original form;
• protection of natural monuments;
• improving the landscape and transforming it for the most convenient and safe human use.

Styles in landscape architecture

In architectural design, it is customary to distinguish two main styles:

regular style, which is characterized by the presence of the main smooth axis. It is around it that all the main elements and objects will be located.

Mirror symmetry is often used. As communications, I use tracks that are straight or made on a plan using a ruler and a compass. The regular style is characterized by the presence of strict geometrically correct lines, shapes and proportions. Often circle or square shapes are used. When choosing plants for plantings, preference is given to those species that are easy to cut and form the necessary shapes from them. Most often they are shrubs or small trees. When they land, they are guided by the alley type. In every corner of the garden, made in a regular style, there are decorative elements in the form of fountains, sculptures, pools, arbors and arches.

landscape style, the main task of which is the maximum preservation of the original natural appearance, features of the area. All natural elements are only emphasized with the help of landscape objects and ennobled in order to make them convenient to visit. There are no clear and regular geometric shapes and lines. The only requirement is that the final landscape must be completed.

The dictionary includes the basic terms and concepts of gardening art. In addition to the traditional range of terms and their definitions, the dictionary contains some new words that have come into scientific and practical use in connection with the problems of restoring historical parks, their inclusion in the structure of a modern city, the tasks of nature protection, and the organization of mass recreation for the population. Compiled by: Vergunov A.P., Gorokhov V.A.

outline- 1) the linear outline of an object, the outline of a tree or shrub; 2) a plan of the territory, made by hand, indicating on it the planting places of plants, the location of structures, roads, etc. Openwork is a property that characterizes the number of gaps in the crowns of both individual trees and shrubs, and the planting as a whole.

Agraf- stylized plant motif in the design of garden parterres of the 17th-18th centuries. Usually it looked like a bundle of branches, leaves, petals, emanating from one point at the edge of the parterre.

Aqueduct- a bridge for transferring a water conduit across a ravine, gorge, river valley. As an element of decorative design, it was introduced into the romantic gardens of the second half of the 18th century.

Accent- in landscape gardening art, emphasizing a detail (a group of trees, a tree or a shrub) in an overall landscape picture. The accenting detail of the landscape can be a sculpture, a gazebo and any other architectural form.

alley- a pedestrian or transport road in the park, lined on both sides with equally spaced trees, shrubs or their groups in a certain rhythm.

“First of all, when arranging the alleys, only the order was observed to plant them with a long and straight line and in two rows of trees, arranging them so that one tree was directly opposite the other. But in the end, it was noted that such a situation is very far removed from the natural, and the garden, which has nothing in itself but straight alleys, has the appearance of a uniform and not very pleasant; then, in order to correct this deficiency, in the newest gardens they stopped making alleys continuous, but began to cross them with platforms, shrubs and other decorations ... Regularity and symmetry can be interrupted most of all by interfering with a straight line sometimes with a curve. Moreover, the same intention can be helped by the difference of trees, in reasoning about their distance, height, growth and leaves, and therefore the trees can be ind closer to each other, and ind farther, in one place higher and in another lower, ind to mix with small and weak shrubs, and indus to be shy in heaps, connect their tops and make of them under them, as if a vault or a covered road; in another place, have an open top and be bright, and finally, in places have nooks and corners, and in places stretch out in a straight and beautiful line” [Osipov, 1793.Ch.I. S. 53-55].

rock garden- rocky garden, displaying the beauty of the mountain landscape and its flora. It is characterized by a combination of undersized alpine plants with rocks and water.

Altanka- see Arbor

ampelous plants- R. with curly or falling stems. Grown in amply (hanging flowerpots, baskets, etc.). Used to decorate gazebos, trellises, awnings, etc.

Amphitheater- in ancient Roman architecture, a spectacular building in the form of an ellipse with stepped rows of seats, in the 18th century. appeared in parks as a decorative structure for spectacles.

“Under the name amphitheaters, we mean spectacles located on the slopes of elevations. Slopes of slight steepness can be trimmed with ledges in several rows in a convex or convex semicircle, these ledges can be strengthened with piles and then dressed with turf: an amphitheater will remain. Such amphitheaters are decorated with figured trees, statues, vases. For sprouts, in conspicuous places they make stairs from hewn stones, wooden or from steps dressed with turf” [Levshin, 1805-1808].

English park- see Landscape park.

Ensemble- in landscape gardening art, a spatially and functionally connected set of structures, vegetation, reservoirs and other elements of the landscape, forming an integral architectural and artistic composition.

Entourage- environment, external environment, background. Plant compositions in gardens and parks are often an entourage in relation to the architectural structures and monuments located in them.

enfilade- in landscape gardening art, a number of separate enclosed spaces delimited by plantings, connected to each other by passages located along the same axis. The alternation of large and small glades often takes on the form of an enfilade (for example, in Trostyanets, Voronovo).

Arrangement- the art of making bouquets from individual plants, branches, green garlands, wreaths, flowers, leaves and placing them in vases and baskets in order to decorate the interiors and facades of park pavilions.

Arboretum- see Arboretum.

Architectonics- in decorative dendrology means crown structure; determined by its size, shape, nature of the branching of shoots and branches, the beauty of their relative position. Architectural and planning organization of the park - the procedure for locating the main park centers, functional areas, pedestrian and transport communications; compositional scheme reflecting the relationship between artificial and natural components of the ensemble (plantations, reservoirs, buildings, monuments, etc.).

Architectural elements of the park- buildings and structures (pavilions, amphitheaters, colonnades, gazebos, arches, stairs, retaining walls, balustrades, etc.) that are in harmony with the natural elements of the landscape. Dominant in the parks of the XVIII-XIX centuries. usually there was a palace, the main house of the estate, sometimes a place of worship.

“Different types of buildings have their own location and appearance, which distinguishes them from others, which architecture teaches. This art provides, if necessary, information on how to use different types of arrangement and decoration, decent for each building, teaches how to build stone and wooden structures, temples, civil houses and other buildings, gazebos, grottoes, galleries. Each building has its own outline. Beauty delights and attracts the eye, and a favorable location between all the buildings gives great pleasure, which is why significant decorations are necessary ... In all of these, whatever their kind, one should observe the strength, hardness, convenience and beauty that come from the location large and small pieces...

Buildings used in the garden for shelter and shelter from rain and for shelter from the wind, while serving as a pleasant retreat for those who love solitude ... In the garden, any architecture befits from Greek to Chinese and the choice is in power: to the eye in an open place, are not as pleasant as those that are visible on one side, extended and surrounded by forest, because they are shown between the trunks of trees. The building should be matched with other such items that would make it more visible. An elevated location usually has more majesty. If the building is placed in the middle of a very spacious large overhang, then it will seem to be bare, separated and little copulated with the land surveyor, not naturally surrounded by forest. It is better to build it on a slope below, so that it can be connected with a large number of touch points surrounding it ... ”[Lem, 1818. Part IV. S. 1; Part III. S. 7].

Asymmetry- a combination of volumetric and spatial elements, characterized by the absence of an axis of symmetry, a widely used method of park composition, especially in landscape-style parks.

Ahah- an external fence hidden in a recess, a technique common in landscape gardening art of the 17th-18th centuries. An unexpected revelation of the view from the park to the surrounding landscape (for example, the exit to the river canyon), causing admiration (exclamation ah-ah!). Balustrade - a through fencing of terraces, stairs, retaining walls, consisting of a number of figured columns - balusters; often arranged in gardens and parks flower vases, sculpture (for example, in the Arkhangelskoye estate).

Baroque - art style V European art from the end of the 16th to the middle of the 18th century, was reflected in the creation of gardens and parks in France, Italy and other countries, including Russia. Characterized by decorative splendor, plasticity, and sometimes pretentiousness of the composition, the desire to give natural materials (vegetation, water, relief) architectural forms (bosquets, fountains, terraces, retaining walls, etc.). Baroque compositions are partially preserved in the Summer Garden, in Pushkin, Petrodvorets, etc.

Berso- see bending roads.

Alcove- a garden and park structure, which is an open building for recreation, shade, protection from rain.

“The structure and arrangement of arbors depends for the most part on the Architect and also belongs more to Architectural art, but it’s not bad for the gardener to have an idea about them, so that he can, in case of need, make them on his own, without requiring the help of the Architect; and especially in places where it can not be found. And besides, as leafy and woody arbors belong directly to the gardener, then for this, some short and general rules about them are offered.

Leafy and woody arbors should never be made too small; for not only do they mean nothing in themselves, but very soon, from the increase in trees, they deteriorate and lose all their appearance and figure. On the contrary, the larger they are, the better and the more famous in the garden they can make a figure ... Arbors of this kind are made in many different ways and serve both to give the garden better beauty and pleasantness, and for peace and cool refuge and relaxation. They are round, oval, quadrilateral, polygonal, solid, half, hidden and semi-hidden, that is, having large holes; and moreover, some are made up of herbs alone, and others of trees and herbs. Finally, between them there is also the difference that some are made in such a way that human art is visible in them, while others are arranged as if they were produced by nature itself ... ”[Osipov, 1793. Part I. C. 90 -92].

Gazebo- a tower, a superstructure on a building, an arbor on a hill, from which a view of the surroundings opens (for example, in Arkhangelsk).

Bindage- See bending roads.

borders- narrow (10-30 cm) linear plantings of one or two rows of low (not more than 50 cm) flowering shrubs or decorative deciduous grasses of a certain type. They serve to frame flower beds, ridges or paths, highlight the pattern in flower beds and parterres.

Bosket- a closed area with plantings, of regular geometric shape, bounded by trees and shrubs in the form of a hedge. The spaces inside the bosquets (in the Baroque era) were called cabinets or green rooms. Historically emerged types of bosquets: sheared walls with open lawns inside, filled with free-growing trees, located inside a green theater, labyrinth, pond, fountains, flower beds, etc. The predominant range of species when creating bosquets in Russia: small-leaved linden, spruce common, yellow acacia, common barberry, blue honeysuckle, hawthorns, brilliant cotoneaster, Tatar maple, golden currant.

Brodery- see Parterre lace.

Bulengrin- a special sports-type lawn, the middle part of which is lowered in the form of a flat pit. B. is used to enhance the impression of the spatiality of parks and gardens.

“Bulengrin is nothing but a part or piece of a lawn, that is, a grassy place, remote and deepened in front of another place. Simple bulengrins are called having no other decoration, except for a sod platband; the parts that make up the bulengrin itself are arranged in some kind of pattern, with which the turf area is cut through. Sometimes narrow paths and platbands with crown trees and flowers are added to that. They do it in open places and among garden woods; they are often planted around tall trees. Bulengrins should not be consumed too much. Ten vershoks of depth is enough for small bulengrins, and a arshin for large ones” [Bolotov, 1786a. S. 156].

buffer zone(monument park) - a part of the peripheral territory of the park or additionally developed adjacent territory, where mass recreation and visitor services are organized in order to reduce the excessively high recreational load on the cultural and historical zone of the park.

Bouquet plantings- the method of forming tree groups by planting several seedlings in one nest in order to quickly create compact plantations. The creation of a bouquet group is possible by special planting "on the stump" of a young tree or by creating conditions for the development of side shoots.

Fan composition of the park plan- the connection of the radial alleys is usually at the main entrance to the park, from where they diverge throughout its territory. Architectural and landscape the construction develops along all rays in the direction from the center-entrance to the periphery. Semi-ring roads connect the beams with each other. The fan composition is formed by both regular and landscape-picturesque elements on flat or rough terrain. It is used as the basis for planning the park as a whole or part of it (Sokolniki Park).

Vertical gardening- a type of landscaping using vines or sheared trees, the purpose of which is to decorate, decorate the facades and walls of buildings, protect from overheating, noise, dust; the creation of green walls to isolate individual sections of the garden from each other or from the external environment.

Vertical layout- a set of measures aimed at transforming the relief for technical and compositional purposes, including the organization of surface runoff from the territory. Its specificity in the reconstruction and restoration of historical parks is the need to preserve the valuable existing vegetation and soil cover of terraces, stairs, retaining walls, descents to the water and other elements of the ensemble.

Vertograd- Old Russian name of the garden.

Vertugaden- a small terraced elevation of the amphitheater type with semicircular convex steps on the foyer of a sheared green wall. It is used as a stage platform, decorated with sculptures, vases, etc.

View- part of the landscape. A term widely used in landscape architecture. Skillful disclosure of individual artistically expressive views in the landscape is an important aspect of the design and restoration of gardens and parks.

“... the livelier a species is, the more beautiful it is, and there is no more worthy name of the amusement park, which is given to it because of the pleasure produced by art. It often happens that near a building or a pleasure house, nature forms beautiful carpets of greenery, surrounded by groups of trees and various bushes. Here are places illuminated by the sun, here its rays can hardly penetrate, and there dense trees give a gloomy, cool shade. Opposite the house itself there is a view of meadows and fields along which a narrow path meanders” [Collection of New Thoughts..., 1799. Notebook XVI, description for drawings I and VII].

view point- a certain place on the territory of a forest park, park, garden, the most convenient for the perception of the opening view; usually scheduled for artistic analysis and sketch study of the object as part of a whole series of successive visual "frames".

Vista- a view, a narrow perspective, directed by the framing planes towards an outstanding element of the landscape - the focus of the perspective. It includes a viewpoint (a place from where the perception is optimal), a frame (a “landscape frame” that fixes the view), a middle plan (usually these are backdrops of plants that should not distract attention from the main one) and the climactic viewing object that completes the whist. The visual focus can be, for example, architectural structures, monuments, a lake, a hill, a tree of unusual shape and color, a clearing illuminated by the sun at the end of a clearing or a shaded alley, etc.

hanging garden- a small garden located on the roof, gallery, special stone supports. It has a bulk soil layer for the growth of herbs, flowers, ornamental shrubs, and sometimes trees. Instead of a continuous soil layer, special portable containers for vegetable soil, small pools for aquatic plants are also used. The prototype of modern hanging gardens is the gardens of Babylon in ancient Babylon, which were located on multi-stage stone terraces. Hanging gardens are known in the Moscow Kremlin in the 17th century, on the terraces of the Catherine Palace in Tsarskoye Selo near the Cameron Gallery, in the Winter Palace. The Old Russian synonym for the term is "Horse Garden".

Waterfall- a natural or artificially arranged flow of water between two reservoirs located at different levels. Settles in gardens and parks on the differences in relief. It is especially typical for romantic parks of landscape style (Alupka, Sofiyivka, etc.).

“A waterfall, having a fall of several feet in height, not wide and properly arranged, makes it more pleasant, but a wide one will make up a threshold and incur ridicule, unless it is divided into different currents according to its breadth. Many waterfalls are small, one after another for the fall of water, preferable to a large reservoir, whose image and respect are too correct. If a great space is divided into many parts and length is more important than breadth, then a large stream will hardly give way to a river, because its inclination is more palpable and continues more uniformly; this is beneficial for waterfalls that follow one after another; moreover, less work and waste; when the river falls from a certain height, then it suffices to decorate and enliven a large stream along the whole length of its course; when we look at the low-lying waters, we will see that they consist in a reviving form, which they give to a solitary place” [Lem, 1818. Part III. P. 51 (see also Cascade).

overhead line- in perspective, indicates the general upper contour of the trees in a group or array (can be clearly defined, indented, blurry, etc.).

Railway station- the outdated name of the concert hall in the park (similar to London's Vauxhall). After the first railway was built to the "Vokzal" in Pavlovsk, the word acquired its modern meaning.

Volute- an ornament in a classical garden parterre in the form of a curl, a spiral. As a rule, it was placed in the corner or at the edge of the parterre.

Habit- appearance, shape of various trees and shrubs (see Architectonics).

Lawn- artificial turf cover, an area sown mainly with cereal grasses in order to create a uniform green-emerald background for sculpture, architectural structures, flower arrangements and tree and shrub groups; depending on the purpose of use, it is divided into decorative (including parterre), sports, flowering (Moorish), special

Harmony- in landscape gardening art, the proportionality of individual elements of the composition, specific unity in diversity (for example, harmony in proportionality, in color, texture of plants, etc.).

Geoplastics- architectural and artistic transformation of the relief, a kind of vertical planning.

germa- widespread in parks and gardens of the XVIII century. a kind of sculptural image in the form of a head or a bust on a tetrahedral support (for example, in Ostankino, Arkhangelsk). They first appeared in ancient Greece.

Heroon- a memorial grove with statues, "memorable" trees.

Nest landings- groups of 3-5 trees planted at a distance of 0.5-1 m from each other, forming a common crown of large diameter ("bouquet" type).

Glorietta- a building in the form of an open columned pavilion, usually located at the entrance to the park, on a hill or closing a deep perspective, appeared in the second half of the 17th century. in France. Gloriettes in the form of solemn gates, triumphal colonnades are characteristic of Russian parks late XVIII- early 19th century (Tsarskoye Selo, Kuzminki, etc.).

Grotto- a decorative park structure created in places where rocks come out at the foot of a hill or in heaps of stones; at a waterfall, pond, stream with cascades, etc.

“Grottoes are made in secluded places in the garden or in forests. The appearance of these in appearance should represent savagery; but the interior requires decoration with various shells, mirrors, crystallizations and other brilliant stones. The entrance to them, to increase the cold, is located on the north side. However, the frequent repair of the grottoes causes difficulties” [Levshin, 1795. Ch. 8. P. 163].

Group (plantations)- woody or shrubby plants planted at a close distance from each other, playing, in accordance with the designer's intention, a certain compositional role in building the landscape of a garden, park; are usually provided along the edges of the arrays, on lawns and glades, at the turns of the paths. G. n. subdivided: by species composition (single-species or multi-species), by size (small from 3-5 trees, large from 11 or more trees, but with an area usually not exceeding the height of the trees), by compactness and openwork (compact, bouquet plantings, through, loose landings, etc.). One of the best examples of the creation of G. n. is the White Birch area in Pavlovsk.

Palace and park complex- a large, historically formed ensemble, which includes a palace, a park, household and religious buildings. As a rule, it is a complex monument of architecture and landscape art, used as a museum-reserve (Petrodvorets, Kuskovo, Livadia, etc.).

Decorative qualities of plants- qualitative and quantitative characteristics of plants that determine their appearance, constant during the period of formed leaves, flowers, inflorescences or changing during the year, life (size, appearance, crown architectonics, etc.). D. k. r. are taken into account when choosing an assortment, placing plants, forming groups, curtains, arrays.

Dissonance- violation of harmony, manifested in the discrepancy between the form and content of objects and phenomena. Unsuccessfully selected groups of plants in terms of size, architectonics and color, disharmony of architecture and landscape, contradiction in the external appearance of new and historically established elements of the park, etc.

Dominant- in the park landscape, the main, most expressive element, to which other elements are subordinate. The dominant can be expressed in size and position, shape, saturated color, etc. For example, the dominant of the Vorontsovsky Park in Alupka is the top of Ai-Petri, the ensemble in Petrodvorets is the Grand Palace and the Main Cascade.

Recreational tank- a value that characterizes the ability of a park or recreation area to serve a certain number of visitors, subject to sufficient psycho-physiological comfort, without degradation of the natural components of the environment and damage to cultural, historical, architectural and artistic objects located on the territory.

Hedge- plantings of formed or free-growing trees or shrubs (or a combination of both) in order to obtain closed, impenetrable plantings. Usually they are cut into the shape of a green wall. Based on the purpose, hedges are one-, two-, three-row and of various heights. Plants that lend themselves well to shearing, climbing plants are used (hawthorn, honey locust, oriental biota, privet, brilliant cotoneaster, etc.).

thickened pellets- a technique for forming a park landscape in order to quickly create compact plantations with straight trunks. Subsequently, mandatory thinning is required.

Menagerie- a forested area, usually with specially arranged clearings, set aside for hunting in parks of the 18th century. (Gatchina, Kuzminki).

Green theater- a structure intended for outdoor performances, arranged in parks and gardens using the natural terrain. As walls, a fence made of hedges or climbing plants on special supports or frames is used.

water mirror- a shallow decorative reservoir, usually of a regular geometric shape with a low side-"frame". It was calculated on the effect of reflection (from an architectural structure, sculpture, trees, etc.).

Zoning (functional) territory- allocation in the park of areas that are different in functional purpose, for example, a zone of entertainment events, sports, walks and quiet recreation, cultural and historical, etc.

Plant introduction- the introduction of plants in areas where they were previously absent. A method of enriching our fields, gardens, botanical gardens and parks with valuable plant species.

Historical and architectural zoning- zoning of the territory of cultural monuments, identification of historical planning in order to create environmental conditions close to the original state.

historical park - an example of the culture of park construction of the past. As a monument, it is subject to state protection.

Office in the bosquet- a closed space formed by sheared walls of linden and other plants. Typical for regular gardens and parks in the 17th-18th centuries; some offices were decorated with pools, sculptures, pavilions (for example, in the Summer Garden in St. Petersburg).

Cascade- a special multi-stage structure made of stone or concrete, which serves for the fall of water jets in places of fast-flowing natural rivers and streams, as well as on the paths of artificial watercourses from a successive series of small terraces. One of the elements of the park composition, especially terraced parks (see Waterfall).

Cartouche- an ornament in the garden parterre of the 17th-18th centuries, resembling a half-folded scroll with curls in shape. In the center of the cartouche there was a monogram, the emblem of the owner of the garden.

rolling mountain- characteristic of Russian parks of the XVIII century. an artificial structure with a ramp for descent on a sled (in the parks of Lomonosov, Pushkin, etc.).

Quarter- 1) an element of garden and park composition, introduced back in the Middle Ages, with flower beds, gazebos, sculptures; 2) part of the forest park territory, limited by clearings.

Kenkons- a method of planting trees in shifted rows in a checkerboard pattern, with crowns cut along one line, with trunks open at the bottom. Forms one volume and provides visibility in diagonal directions between the trunks; the technique was used even when creating gardens in ancient Rome.

Chinese grove- planting trees, reminiscent of the placement of an amphitheater (used at the end of the 18th century in Moscow - in the Sheremetev estate. Ostankino).

Classicism- the artistic style of the 18th - early 19th centuries, referring to antiquity and ancient art as the norm and ideal model. In Russian park building, it is identified with the landscape style of planning, the rejection of regular constructions, as contrary to nature. Examples of park buildings in the style of classicism are the Temple of Friendship in Pavlovsk, the Cameron Gallery in the Catherine Park in Pushkin, the Flora Pavilion in Sofiyivka, etc.

Flowerbed- a group of trees and shrubs in open glades in landscape parks. Later, with mid-nineteenth in., K. called a flower garden of regular geometric (round, convex, flat, concave or rectangular) shape, usually placed in parterre compositions. K. differ both in color scheme and in the range of planted plants: K. from annuals, biennials and perennials; simple (from one plant species) and complex (from 2-3 species), single-color and multi-color.

Compartment- a separate garden and park composition in gardens and parks of the 17th-18th centuries, from the parts of which the entire ensemble was created; for example, a parterre compartment consisting of identical floral carpets placed symmetrically around a sculpture or pool.

Compositional zoning of the park- zoning according to the signs of planning and architectural and artistic organization on the basis of determining the principle of formation of various sections or areas of the park.

Composite node- a section or part of a garden or park, uniting and linking together several sections or parts, resulting in a single composition. For example, a body of water that connects viewpoints of the shores from which different perspectives are revealed, or a clearing that unites individual species in a landscape.

Composition in landscape art- construction (structure) of a separate landscape of a garden, park or the entire territory in a certain artistic system, ensuring the interconnection of the constituent parts (plantations, relief, water surfaces), due to the artistic conception and purpose of the object. Various means and methods of composition are used; among them - highlighting the main and secondary, scale and proportionality, proportionality, rhythm and change of impressions, symmetry and asymmetry, contrast and similarity, orientation, light and color, material texture, etc. (see Landscape composition; Free layout; Regular style) .

Conservation of ancient parks-monuments- preservation of the existing planning and spatial composition, valuable vegetation, architectural structures and small forms of the park to prevent further destruction. Measures are being taken to stop the decay of surviving plantations, erosion processes, a protective construction regime is introduced, etc. Conservation is the first stage of park restoration work.

Contrast- comparison of objects or phenomena that are opposite in their properties, for example, small is opposed to large, low to high, smooth to rough, dark to light, etc.

In gardening art, when creating the effect of artistic contrast, objects that are similar to each other in some features, but opposite in others are usually compared: the weeping shape of the birch crown is favorably set off by the dense pyramidal shape of the crown of fir or spruce. Not only trees are opposed to each other different types, but also vegetation of different tiers, buildings, reservoirs, relief lines, etc. The so-called successive contrasts perceived in time are also taken into account, for example: a wide panorama of the Moskva River valley, which opens after a walk through the regular garden in Arkhangelsky Park.

Guardhouse- the building of the guardhouse at the entrance to the estate. It often plays the role of the first architectural accent, preparing a consistent perception of the palace and park ensemble along the main compositional axis (Sofiyivka, Gorenki, etc.).

Cross plan composition- a composition based on the intersection of two planning axes and the selection of the center of the ensemble at this intersection or near it. The architectural and landscape construction develops from the periphery to the center in both directions (the main one is longitudinal and the subordinate one is transverse). Widely used in gardens of a regular type (Peterhof).

Red line- a conditional line separating the territory of the park from the street and buildings. It has regulatory value.

covered road- see Roundabout road.

Xist- a small space in front of the house in the form of a flat garden, divided into squares or rectangles, with a clear axial construction, a predominance of lawns and borders.

backstage- groupings of trees or shrubs (arrays, clumps, groups), located parallel to each other in space in order to create a multifaceted perspective, cover the insignificant or overly conspicuous, reveal the main thing in order to improve the perception of a part of the park or the surrounding landscape. They also serve to shade other plants from the sun or protect them from trampling.

climax- point (place, moment) of the highest rise in the development of the composition. In landscaping art, it can mean both the strongest visual impression obtained during sequential movement along the main compositional axis (for example, when entering a spectacular viewing platform or suddenly revealing a view of the facade of a building, a complex of fountains, etc.), and the highest degree of development of the ensemble in time, the stage of its greatest architectural and artistic completeness.

Cultural and historical zone of the park-monument- all or part of the territory of the park, where objects of historical, architectural, artistic or botanical and dendrological value have been preserved or will be restored.

Courdoner- a front yard in the form of a partially open U-shaped space, surrounded by buildings and separated from the street by a through fence.

curtain- 1) a separate area of ​​the forest, botanical garden, arboretum; 2) a large group of 20-90 or more specimens of trees and shrubs of the same species; 3) a sod-covered bed for flower plants.

labyrinth- tangled passages, appeared in the gardens of the Renaissance, became widespread in Russian parks of the 18th-19th centuries, in parks they are usually arranged from high sheared hedges (using hornbeam, linden, laurel). Until the 18th century had a symbolic religious meaning (difficulties on the pilgrim's way), later they acquired educational or entertaining meanings (for example, the labyrinths of the Summer Garden with sculptures on the themes of Aesop's fables, arranged under Peter I).

“This name is given to a part of the garden, consisting of a promenade filled with many curved, winding and entangled roads. This festivity is usually done with the thought that the walker would not be able to reach the middle without great difficulty, and having reached it, it would be impossible to quickly get out without getting confused several times in its various passages ...

Labyrinths are made of two kinds: the same is planted in one row with thorns or some other frequent shrubs ... Or double, which is planted in rows in two or three different trees, in the middle of which it is planted entirely with shrubs ”[Osipov, 1793. Ch. 2. S. 30-31].

Landscape- 1) a natural territorial complex, a section of the earth's surface bounded by natural boundaries, within which natural components (relief, soil, vegetation, water bodies, climate, animal world), as well as artificial, i.e. anthropogenic (buildings, roads, farmland, etc.), are in interaction and adapted to each other; 2) general view of the area, landscape.

landscape natural- 1) a landscape that has not been transformed by human activity, and therefore has a natural development; 2) relatively little transformed by man. The second meaning of the term is used mainly in relation to suburban and other developed territories, where natural landscapes in the full sense of the word have not been preserved. Some botanical gardens and large parks include individual tracts of the natural landscape, for example, a juniper grove (Nikitsky Botanical Garden), an oak forest (Main Botanical Garden), etc. In parks created at the end of the 18th century, the “naturalness” of park paintings was emphasized especially and even created artificially (for example, in Gatchina).

landscape architecture- architecture of open spaces, a branch of urban planning, the purpose of which is the formation of a favorable external environment for the life and recreation of the population in cities, suburban and resort areas, rural areas, taking into account functional, aesthetic, technical and economic requirements. The specificity of the industry lies in the fact that it deals mainly with natural materials and objects - the relief of the earth's surface, vegetation cover, water bodies when designing parks, gardens, squares, forest parks, suburban public recreation areas. The tasks of landscape architecture also include landscaping and external improvement of residential courtyards, industrial enterprises, transport and agricultural facilities. It historically arose at the intersection of landscape art and modern urban planning. Landscape area - a section, part of a landscape area, identified by landscape analysis on the territory, characterized by a uniform visual appearance. It is due to the same type of vegetation, species composition of trees and shrubs, age and quality classes, density and layering of plantations, relief, etc.

Forest park- a well-maintained forest area, organized into a certain landscape-space-planning system by the gradual reconstruction of plantings, the organization of passing roads, walking alleys, walking paths, lawns, drains, etc.; intended for free short-term recreation of the population in an environment close to natural.

forest park belt- part of the suburban area, adjacent to the boundaries of the city and used for mass recreation. Includes forests, meadows, forest parks, country parks, holiday villages, as well as orchards and some other agricultural land. It has an important health-improving, aesthetic, planning-regular and environmental significance for the city.

Loggia- a room open on one or more sides, usually in the form of a large covered balcony, decorated with arches, columns, a balustrade or a parapet. Connects the interiors of the building with the adjacent garden, park or other open space, often used to place sculptures, mobile flower arrangements, etc. (for example, in the parks of Pavlovsk, Alupka).

Lusthaus- a garden pavilion like a large gazebo, usually with lush architectural decoration. The term was widely used in the early 18th century. (for example, the lusthauses of the second Summer Garden in St. Petersburg are known).

Macrorelief- large landforms that characterize the appearance of a large territory of the earth's surface: mountain ranges, ridges, river basins, intermountain plateaus, plateaus, etc. Often they are an object of external spatial orientation park composition. For example, parks in Alupka and Gurzuf, the Nikitsky Botanical Garden, etc.

Small architectural forms- artificial elements of the garden and park composition: gazebos, rotundas, pergolas, trellises, benches, arches, plant sculptures, kiosks, pavilions, playground equipment, sheds, etc. (see Park facilities);

Park array- a section of the park with an area of ​​more than 0.5 hectares, consisting of trees and shrubs of horizontal or vertical density. There are pure (pine, spruce) and mixed massifs, such as birch-spruce; in parks, massifs with an area of ​​0.5-4 ha are accepted, in forest parks - up to 10 ha.

Spatial scale- the degree of size of the architectural and natural forms that make up the garden and park composition, the degree of compliance of their size with their purpose, the environment and the person. One of the most important means artistic expressiveness ensemble. The spatial scale changes depending on the nature of the environment (some monument parks, surrounded by modern multi-storey buildings, seem to change their architectural scale, for example, Ostankino).

Memorial Complex- the territory on which monumental architectural structures are located - mausoleums, pantheons, sculptural groups, obelisks of glory and monuments dedicated to outstanding events from the history of the people. Usually decided as a park with a strictly regular layout, including large stalls, wide alleys. Trees with a weeping or pyramidal crown shape are often used (for example, the Piskarevskoye cemetery, the Field of Mars, etc.).

Menagerie- a house for keeping birds. In parks, it has not only utilitarian, but also decorative significance; it is usually located on the shore of a reservoir.

"Dead" materials- multi-colored sand, crushed tiles, broken glass, crushed marble, anthracite and other materials with the help of which the drawing of garden parterres is made in kind. They are combined with "living" materials in the form of: lawn grasses, low cut shrubs, flowers.

microrelief- small relief elements in the landscape of the park, garden. They occupy small areas up to several hundred square meters. m, with fluctuations-differences in marks within 1-2 m, for example, the relief of curtains, flower beds, mounds (positive forms); hollow (negative form).

Milovid- in Russian parks of the XVIII-XIX centuries. an arbor from which a particularly picturesque panorama opens; viewing platform (park in Tsaritsyn).

Mixborder- a type of floral design, characterized by a multiple change of flowering during the growing season, created by selecting beautifully flowering herbaceous, predominantly perennial plants.

Diversity- a series of sequentially changing visual plans in parks, forest parks, separated from each other by the wings and perceived at a sufficient distance.

modular garden- reception of designing a flower garden, a small space of a garden or a fragment of a park, built on a geometric system of modules, repeating at certain intervals. For example, squares tiled along the edges, with different or uniform filling (flowers, ornamental trees and shrubs, lawn).

Mosaic sheet- the pattern of the arrangement of leaves on the plant, causes the formation of light and shade effects under the crown of the tree, gives picturesqueness and originality to the appearance of the plant.

Monogardens- gardens (rose gardens, georgiaria, sirengaria, etc.), in which any one plant is the leader.

Bridge park- a structure that has not only utilitarian, but also decorative significance as an element of the park landscape and a point from which views along the river, pond, ravine, etc. Vasilevo).

“It would be tiring for the eyes if all the bridges were built according to the same model. Nature and art provide many opportunities for the invention of change. Sometimes bridges can be simple and without any embellishment, sometimes elegant and decorated” [Levshin, 1805-1808. Part IV. S. 383].

upland park- a park located on the slopes of a mountain or hill, characterized by the complexity of the spatial solution, the presence of terraces on different levels, on which park structures are located, stairs and ramps serve as a connecting element, allowing to overcome the difference in marks (for example, Vorontsovsky Park in Alupka).

- the maximum number of visitors per unit area of ​​the park, recreation area, which ensures the preservation of the natural components of the environment and its cultural and historical (architectural, etc.) values. In case of exceeding the permissible load, degradation of the park landscape, deterioration of the psychophysiological comfort of visitors, partial destruction of small architectural forms, sculptures, plant compositions, etc. are observed (observed in the most visited monument parks, for example, in Pavlovsk, Kuskovo, Abramtsevo).

wall garden- a decorative structure of stacked stones in the form of slopes, retaining walls. Between the stones, vegetable earth is hammered into the crevices and ornamental herbaceous plants (xerophytes, less often inhabitants of wet rocks) are planted.

national park- a state protected area with a strict visiting regime, which has exceptional natural features, the presence of rocky mountains, forests with a rich floral composition, lakes, geysers and other objects of national value. Designed for nature protection, tourism, research work. Some national parks include within their boundaries historical parks, estates (for example, Gauja in Latvia).

neutral scenery- a part of the park area that does not attract attention with its appearance, decoration.

Nymphaeum- a sacred grove at the source, decorated with sculpture, a colonnade, a stele, etc. It is characteristic of the garden art of Ancient Greece, where it was considered the habitat of nymphs and muses. In the Russian garden and park art of the era of classicism, this form was used, for example, in the works of N. A. Lvov.

Nuance- a shade, a barely noticeable transition in shape, color, size, surface texture, pattern of individual elements that make up the park composition. With the help of nuanced relations, one can strengthen or weaken the meaning of one or another element, bring it closer to the background, “dissolve” it in space. With a nuanced solution of a group of trees and shrubs, the differences between them are smoothed out, and the similarity is more pronounced, which makes it possible to emphasize the common character of this group. Nuance differences appear differently under different weather conditions, depend on illumination, etc.

Obelisk- a rectangular, usually monolithic stone pillar, tapering upwards, with a pyramidal pointed top, was characteristic of Ancient Egypt. It is used as a decorative element of the park composition - a monument in honor of significant events (parks Kuskovsky, Pavlovsky, Yaropolets, etc.).

tricks- "deceptive" types. In Russian parks of the 17th century. picturesque images placed at the end of walking alleys and creating the illusion of a distant perspective, the facade of a magnificent architectural structure, etc.

The image of the park- inherent in landscape gardening art specific shape reflections of reality. In the composition of gardens and parks, the image is created by various means, but most often associated with some outstanding monument, building, expressive and characteristic panorama of the landscape. The symbolic meaning of such an object is correlated with one or another meaningful phenomenon, historical event, significant achievement, etc. The originality of the artistic image of the park is due to the socio-historical context, the natural features of the given territory, and the specific urban situation. For example, artistic image park in Petrodvorets found its most complete expression in the grandiose panorama of the Grand Cascade and its central sculptural composition "Samson tearing apart the lion's mouth", dedicated to Russia's victory in the war with the Swedes and its entry to new maritime frontiers. Here, the architecture of the palace and pavilions, the plasticity of the coastal terraces, the sea channel, water jets, flower parterres organically merged into a bright solemn artistic image.

loop road- in Russian gardens and parks of the XVIII century. a covered alley, arranged on a frame of wooden arcs connected by longitudinal ties, while the branches of trees (birch, linden, hornbeam, etc.), tied with wire to a wooden base, formed a green vault. Decorated with trellis gazebos, entrance arches.

“As the trees grow, it is necessary for them to bend around in arcs between every two pillars and untie the branches along the lattice arc made. After that, the superfluous and exposed branches are cut off and, however, the pillars and arcs are kept in an incessant haircut. It is possible, however, to make such galleries from linden, dogwood and other trees; but most beautifully they come out of the vines” [Levshin, 1795. Ch. 8. P. 140].

Garden- one of the names of the garden at the Russian estate of the XV-XVII centuries, in which mainly fruit trees and shrubs were grown, as well as vegetables and flowers.

Garden fence- a structure designed to restrict free access to the territory of the facility for people, animals, vehicles. In addition to stone, metal, wooden, low hedges, trellises and walls of climbing plants are used. Garden and park fences have not only a utilitarian or decorative value, they play a role in the architectural composition as elements that give the first visual idea of ​​the wealth of the ensemble as a whole, its style characteristics, and also determine the degree of visual connection between inside and outside the park space.

One-color parterre- floral design of the parterre, characterized by the dominance of one color, the selection of plants with similar shades (for example, light green, green, dark green).

Window- a gap in the array or curtain in order to give the landscape a picturesque look. Usually free from trees and shrubs, but has a grass cover up to 1 ha; contributes to the change of impressions when the visitor moves from the closed space to the open one.

edge- plantations bordering forests, clumps, large tree and shrub groups along the perimeter. It is an important element in the composition of lawns and glades. It requires careful selection and combination of species in order to create coloristic effects, smooth transitions from open to closed spaces.

Greenhouse- a structure under a glass roof with an artificially created climate, designed to grow a collection of subtropical [hence the name "orange" (orange)] and other exotic plants for the purpose of exhibiting them. Sometimes it becomes an important element of the architectural composition of the park (Kuskovo and others).

“The name greenhouses refers to buildings built for the maintenance and upbringing of foreign plants, which cannot endure the local winter cold without the help of the art of the heat produced by the art” [Osipov, 1793. Ch. 2. P. 107].

Ordinaries- see Solitaires.

Orientation- 1) placement of individual planning elements (avenues, sites) depending on the exposure of the slope and the position of the longitudinal axis relative to the cardinal points (north-south, east-west, etc.); 2) the spatial orientation of the composition of the park, garden to the objects of the external environment - a river valley, a mountain peak, an outstanding architectural structure, etc.

Axial composition (parka)- such a construction of the system of the main roads of the park, in which one pronounced direction dominates. The beginning, culmination and completion of the ensemble develops along the main axis, the main architectural structures, front alleys, fountains, pools, sculpture, etc. are concentrated here. Terraces, balustrades, stairs are often located along the axis, marking the elevation of the area to the planning center of the park estates) for example, in Arkhangelsk, Kachanovka.

"Island"- a place in the park, intended for secluded and contemplative relaxation, reflection. A particularly popular technique in the romantic parks of the 19th century.

Island (artificial)- an earthen or stone structure placed on a reservoir and serving to enliven the park landscape, creating various perspectives (for example, in a park in Gatchina).

Protected zone of the park-monument- the area adjacent to the park, designed to create a favorable environment and protect the park from the negative impacts of the urban environment. The boundaries, nature of landscaping and improvement of the buffer zone are determined in accordance with the urban situation, the size and significance of the monument, the conditions of its visual perception.

Pavilion- 1) a small covered building in gardens, parks, located in places of quiet rest on playgrounds, alley turns; 2) a separate exhibition space.

“The summer pavilion should stand in a place planted with trees and located according to the exact rules of good taste with possible diligence, whether it is necessary that the prospectus correspond to it. Thick and cool shadows, pleasant greenery, trees planted in various ways, but always in such order that they give a majestic and noble appearance, a vast pond, and all of them without any empty ornaments, will present a picture that will match the splendor and splendor of this building. ... Places and alleys nearby should be located so that this building can be seen from everywhere, but always from a different point of view and if there is a place, it is necessary that it can always be looked at only when you approach close to him” [Collection of New Thoughts..., 1799. Notebook XIV, description for drawing VI.

Palisade- 1) light wooden trellis fence. It is installed along the edges of rectangular or square bosquets; 2) a palisade of logs buried in the soil is used to secure the slopes. Palmette - a stylized palm leaf, one of the elements of the decoration of the garden parterre.

Ramp- a structure representing an inclined plane, replacing a staircase and serving for passages or entrances from one terrace to another, with a longitudinal slope of the surface of not more than 8 °. Introduced in the terraced parks of the XVII-XVIII centuries.

Panorama- a wide (sometimes circular) and multifaceted perspective, allowing you to freely view a large open space, usually from a height. It is calculated on the perception of it as a whole and sequentially fragment by fragment, which are separate compositionally complete pictures. High-rise dominants, accents, compositional pauses stand out in the panorama. With an increase in the vertical angle of view, which depends on the height difference between the point and the object of observation, the strength of the emotional impact of the panorama increases.

Paradise- ancient Persian garden, characteristic feature which was an abundance of roses, fountains, reservoirs.

A park- a vast (usually more than 10-15 hectares) landscaped area, landscaped and artistically designed for outdoor recreation. The term entered the Russian language in the 18th century. from England and originally meant a natural grove or a piece of forest with picturesque alleys, clearings, free-form ponds, gazebos, sculptures, etc. Currently, parks are considered as the most important element of the citywide landscaping and recreation system; they perform health-improving, cultural, educational, aesthetic, environmental functions. Parks are subdivided according to their purpose into parks of culture and recreation, children's, sports, walking, memorial, park-museums; by location and use by the population - citywide, district, suburban; by the nature of the relief of the territory - floodplain, ravine, upland, etc.

Park of Culture and Leisure- a new socialist type of park, city or district, cultural and educational institution in the open air among the plantations. The main purpose is mass recreation along with political and educational events, the exchange of best practices, and cultural entertainment. The planning of the PKiO includes green theater, library, sports complex, dance floor, children's sector. Plantings, meadows, reservoirs, lawns form the planning basis of the entire territory. The first PKiO were opened in our country in the 20-30s, many of them on the basis of manor and other historical parks (named after Gorky in Moscow, named after S. M. Kirov in Leningrad, etc.).

Park-monument- an old park of memorial, historical, architectural, artistic, scientific significance. It is subject to protection and restoration by methods of conservation, restoration or reconstruction.

Manor park- a historically established park at a city or country estate. The estate park ensemble usually includes the main house of the estate (palace, mansion), residential outbuildings, outbuildings, ponds, orchards, etc. It is smaller in comparison with the palace and park complex.

"Parnassus"- an artificial hill in the park with a scenic path and a platform at the top, open to the surrounding area, the symbolic abode of Apollo and the muses - patrons of the arts and sciences (for example, in the park in Ostankino).

Parterre- decorative open geometrically constructed composition of low plants in a horizontal plane, forms the front part of a regular park, breaks at the main buildings, at monumental structures and monuments. A large place is given to the lawn, a flower garden of carpet plants, which, in combination with ponds, sculpture, decorative paving, etc., form a single ensemble. It is characterized by the severity of lines and shapes.

“Parterre is a kind of flower garden, lying on level ground and decorated with flowers, herbs, bushes and other things. In the reasoning of its distinction it is divided into many different kinds. The grass parterre, consisting of low herbs, is considered the best and most convenient in terms of its simplicity and the small amount of labor required for it. As for the location of parterres in general, an oblong quadrangle is much more convenient for it than others, and that it should be twice the length against the width, but would never be three times. Parterres are usually made in gardens at the first entrance to them and occupy a whole area. Near the parterre, paths should be made, two-thirds wide against the real garden. Their decoration depends on the will and taste of the owner or gardener, but the simpler it is, the better” [Osipov, 1793. Ch. 2. S. 119].

“Since the real place for them is near the house, the width of them should be at least the entire length of the facade of the building, and the length is proportional to the possibility of viewing so that from the windows of the house one can discern the entire pattern of their outline with the eye. If space permits, the length of the parterre should be twice or three times their width: for the oblong forms are rather shortened in the eyes through the distance and are more pleasant in view of perfect quadrangles. Moreover, it is necessary to communicate to the parterres a figure and form appropriate to the place and structure of the house, cutting them into two or four parts ... ”[Levshin, 1795. Part 8. P. 14, 15].

Lace parterre- view of the garden parterre from intricate pattern made of "dead" materials, usually against the background of sand. It is characteristic of the heyday of classical garden art of the late 17th - early 18th centuries.

Parterre type-setting and ornamental- a kind of lace parterre, combined with the surfaces of a cut lawn. Pounded tiles usually served as a background.

Parterre English- a kind of classic garden parterre, which differs relatively more simple pattern made with lawn and sand, sometimes with flowers.

Parterre split- a kind of classic garden parterre, in which flowers against the background of sand are of primary importance (for example, near Monplaisir in the Lower Park of Petrodvorets).

Parterre garden- a garden of a regular style with the dominance of lawn areas, flower beds and ponds. Trees and shrubs are usually located along the periphery of curtains and flower beds; plants are subjected to regular shearing, they are shaped into a ball, cube, square, etc.

Patio- a small garden of Spanish-Moorish origin enclosed by walls or high stone fences. Compositionally related to the interiors of buildings and includes elements such as a fountain, a decorative pool, stone paving, etc.

Scenery- the general view of the area, the visually perceived part of the landscape, the park, limited by certain limits, evokes sensations and moods similar to the artist's canvas. According to the spatial principle, it is classified into open, half-open, half-closed, closed.

landscape art- the art of creating garden and park compositions, as a rule, based on a natural, free landscape layout. In a broader sense - the architectural and artistic organization of urban and suburban landscapes, improving the external appearance of the area by operating mainly natural landscape components (vegetation, water, relief, as well as roads, individual structures).

landscape layout- a technique in gardening art, which originated in the ancient gardens of China and Japan, developed in England, France, Russia and other countries of the 18th-19th centuries, is distinguished by the picturesque groups of trees placed on glades and lawns, the sinuous paths, the free outlines of reservoirs , watercourses, preservation (or imitation) of the natural, rural character of the area.

“A person with real taste, who lives in order to live, and who enjoys himself, knows how to arrange a garden for himself, so that he can like it and be pleasant at all hours of the day; but together it would be so simple and natural that it would seem that nothing has been done to them here; it connects earth, water, shadows and chills, because nature also connects all this. It does not produce symmetry anywhere, because it is an enemy to nature and multi-intelligence” [Bolotov, 1786. p. 93].

landscape park- a park (or part of it) for walking and contemplating pictures of "natural" nature. Differs in the free location of roads, alleys and other planning elements, usually includes extensive reservoirs, glades, groves, organized into a specific spatial system. Many palace and estate parks (Pavlovsk, Gatchina, Tsaritsyno), arboretums (Trostyanets, etc.) can be attributed to the landscape.

pergola- garden and park building, consisting of a wooden or metal frame, with a flat or vaulted surface, supported by pillars or stone columns; entwined with climbing plants (vines), forming a closed gallery. It is arranged at the entrance to the garden, above part of the alleys, etc.

Flow of spaces- in gardening art, the technique of compositional connection of adjacent spaces (for example, glades), in which one of them naturally and imperceptibly for the viewer passes into another. This technique was especially widely used in landscape parks (for example, in Sofiyivka, Trostyanets, Voronovo, Bogoroditsky, etc.).

Peristyle- patio with a swimming pool, a fountain and a flower garden, surrounded by a colonnade, is distinguished by a regular composition, isolation. In ancient Rome, the walls of the peristyle were often painted with park landscapes to create an illusory space.

aerial perspective- the property of the surface layer of air to color more distant objects in cold (bluish, blue) tones, soften their actual color and shape. With the appropriate selection of plants, you can illusory increase the depth of space, for example, using in the background landscape painting a variety of trees with a bluish-green color of foliage, needles or with soft and smooth outlines of crowns (Weymouth pine). The opposite effect is achieved when trees with light colored silver or golden foliage are used.

perspective linear- visual reduction of objects as they move away from the observer. This is the basis for the construction of deep multifaceted views of the landscape of the park along the axis of vision. In the past, park builders used the technique of illusory perspective, when alleys, clearings seemed longer than they actually are (side rows of trees are planted not on parallel, but on gradually converging beams). The distance between the viewer and the distant object is reduced if the terrain lying between them is hidden, on the contrary, the creation of new visual plans between the observers and the object, as it were, distances it. Large objects that needed to be hidden were covered by smaller ones, but standing closer to the point of view. These techniques were used to create parks in Pushkin, Pavlovsk, Kuskovo and others.

Pylons- monumental abutments or columns at the entrance to the park, on the central square and in other solemn places.

Park and garden layout- territorial structure of the object, its spatial and functional structure, placement of centers, roads, plantings, entrances, etc. It is determined by specific landscape, social, architectural, construction, economic, engineering and construction and other conditions.

Platband- flower framing of the garden parterre.

“Platbands, or flower hailstones, serve to encircle the stalls, which are decorated with flowers, yew and other stunted trees, so as not to obscure the drawings of the stalls. In the discussion of what, many advise to establish platbands between the house and the parterre, in this case deducing from them light figures, such as shells, sheets, and the like, as if scattered over a place strewn with sand. Small platbands are made one and a half arshins wide, while larger ones are two and three arshins wide...” [Levshin, 1795, part 8, p. 19].

glade- open space in a park or forest, mostly free from trees and large shrubs, but with grass cover. They are divided into small, medium and large (the width is respectively 1.5-2; 2-4; 4-6 the height of the surrounding tree and shrub vegetation). They unite in groups, enfilades and "chains". The space of large glades and exits to them are marked by tapeworms and groups of highly ornamental trees. The outlines of the glades in the plan are usually given indented contours (backstage). For better insolation, the longitudinal axis of the meadow tends to be located in a direction close to the meridional (glades in Pavlovsk, Voronovo, Tsaritsyn).

Portico- an open gallery protruding in front of the facade of the building, formed by columns that carry the ceiling, usually marks the main entrance to the building and supports the pediment or attic. It plays the role of a transitional link, compositionally linking the interiors of the building with the front yard - court yard, street, square or adjacent park; is often the architectural completion of the spatial axis passing through the central part of the palace and park complex ( Mikhailovsky Garden in Leningrad, in Ostankino, etc.).

belt road- a road laid along the perimeter of the park, a circular walking route. Typical for urban gardens and parks of the second half of XIX V.

Natural Park- a territory characterized by pronounced landscape features of the area (forest, steppe, mountains, rocks, river, waterfalls, interesting flora and fauna), subject to special protection and at the same time accessible to tourists and vacationers.

Propylaea- monumental gates in the form of a colonnade, arcade or a group of structures marking the main entrance to an architectural ensemble, a palace and park complex (for example, in Pushkin, Sofiyivka, Ostankino, Marfin).

Proportionality- proportionality, harmonious ratio of the components of the park ensemble to each other, important condition achieving its compositional unity. Proportionality is predetermined by the general proportions of the plan, the size of alleys, parterres, glades, arrays and other open and closed spaces. In regular parks (for example, in Petrodvorets), the so-called golden ratio, which is an equation where the larger line segment is related to the smaller one in the same way as their sum is to the larger segment.

pseudo-gothic- an artistic style, a kind of romanticism, which spread in Europe in the late 18th - early 19th centuries. It influenced the architecture of park structures that imitated medieval Gothic buildings - “knightly” castles, fortresses, etc. (for example, in Alexander Park in Pushkin, in Alupka). In Russia, it acquired specific features under the influence of ancient Russian architecture (in the park in Tsaritsyn, etc.)

Rabatka- a flower garden in the form of a narrow long strip placed along the alleys, paths; arranged by a multi-row planting of one or more types of letniki, bulbous.

Equilibrium- one of the principles of constructing natural landscape paintings, according to which objects on one side of the visual axis must be balanced in one way or another by objects on the opposite side. A regular layout is characterized by a symmetrical balance, while a landscape layout is asymmetrical or dynamic. This takes into account, in addition to the aesthetic value of objects and their semantic meaning, also the visible dimensions of objects, their color and illumination, texture density, etc. For example, a powerful oak is balanced by a young birch grove. The construction of balanced landscape paintings involves fixing certain viewpoints.

Radial-star composition of the park- the intersection of several planning axes at one point, at which the center of the park ensemble (or one of the park districts) is formed. Architectural and landscape construction develops in all radial directions from the periphery to the center. Ring links are usually organized, connecting the planning axes to each other (Pavlovsky Park).

Garden of Eden- the name of a small garden inside the walls of the monastery, which in ancient times had a symbolic meaning and was planted with "paradise" plants - apple trees, grapes, fragrant flowers and herbs.

Angle- an unusual angular perspective on the object, when the axis of vision is directed from below, above or to the side of it, creates the impression of dynamism in the garden landscape. Several sequentially opening views allow you to more fully connect architectural structures, monuments, individual groups of trees, etc. with the surrounding background.

plant community- a set of plants that occupy a homogeneous area of ​​the earth's surface and are in close interaction with each other and environmental conditions (phytocenosis).

Regular layout- a technique in gardening art, which originated in ancient times (in Babylon) and was widely developed in the 16th-18th centuries. first in the gardens of Italy, France, Spain, later in other European countries and Russia, it is distinguished by the use of regular geometric contours, straight alleys, roads, symmetrical compositions, terraces, row plantings of cut trees, an abundance of sculpture, water devices (Upper Park in Petrodvorets, in Kuskov and others).

regular garden- the basis for the solution of such a garden is the reception of a regular layout.

Redina- a park massif with a small vertical density of crowns, without undergrowth; used when transitioning to open space (for example, around a clearing).

Reconstruction of ancient parks-monuments- partial reconstruction of the planning and spatial composition and individual structures in accordance with the new purpose of the park. The remaining green spaces are being updated and new green spaces are being created, developing the spatial organization of the park in relation to modern use. In addition to the old ones, new roads and alleys, engineering networks, reclamation systems are being laid, reservoirs are being improved, etc. The appearance of the park is being restored according to the existing elements of the composition, special archaeological surveys, available descriptions and iconographic materials.

recreational area- a specially allocated area in a suburban area, in a city, intended for recreation in order to restore strength and health. City recreational areas are gardens, parks; suburban: forest parks, recreation areas. They are also considered as "buffer", i.e., protective areas that reduce excessive recreational load from heavily visited historical parks-monuments (in Moscow, Leningrad, Kiev, Riga, Tallinn and other cities).

Restoration of ancient parks-monuments- restoration, if possible in its original form, of the general planning and spatial composition of the park, its green spaces, architectural structures and small forms of historical value. Alleys and roads are being reconstructed with the organization of sightseeing routes and improvement of coatings, water spaces are being restored, partially preserved plant compositions. If necessary, instead of the destroyed elements, new ones similar to them are created.

Rhythm- uniform alternation of elements of the composition, the order of recurring visual and other impressions when moving through the park or sequentially contemplating a landscape picture. The simplest manifestation of spatial rhythm is the alternation of trees, shrubs, sculptures, benches along the path of a pedestrian. The techniques for enriching the rhythmic pattern are diverse - an increase in the number of elements involved in multiple repetition (including both natural and artificial components), the introduction of a complicated rhythm, in which the repetition is accompanied by a gradual increase or weakening of one or more features, the use of unpredictable compositional effects that "knock down" the usual arrangement of objects, etc. Although in parks with a landscape layout, rhythmic constructions are less pronounced than in regular ones, they also manifest themselves there by alternating meadows, groves, characteristic bends of the river, hills. For example, a certain compositional rhythm is "read" when moving along the banks of the river. Slavyanka in Pavlovsky Park, where architectural accents are linked to the natural environment.

Rose garden- 1) a collection or decorative area (part of a park, garden) intended for growing and exhibiting various types and varieties of roses; 2) a thicket of wild rose hips.

Rosetta- a stylized drawing of a flower in a classic garden parterre.

rose garden- a garden dominated by roses; the layout of such a garden is decided in a regular style. Known since ancient times (Persian paradises).

rockery- a landscape gardening structure, which is a rocky section of the park, where ornamental plants are combined with stones.

Romanticism- a style in landscape art that imitates idyllic rural and "heroic" landscapes. Romantic parks are characterized by artificial ruins, stone "chaos", "ancient", "Gothic" buildings. Found reflection in gardens and parks of the XVIII-XIX centuries. in Russia (Pushkin, Pavlovsk, Tsaritsyno, a little later - Sofiyivka, Alupka, etc.).

Rotunda- a building, round in plan, covered with a dome and supported by stone or wooden columns. Design element of landscape gardens and parks (for example, in the Nikolskoye estate).

Grove- an array of plantations, an element of a park landscape with an area of ​​1-1.5 hectares, consisting of trees predominantly of the same species (pine, beech, oak, birch groves), taking into account the obligatory visibility of the space between the trunks.

“Pleasure forests serve as a great decoration of the garden, and no garden can be called perfect, whether it has one or more ... Pleasure forests serve not only to decorate the garden, but also to cool during great solar heats: for they form a shadow when during the hot hours of the day other parts of the garden are inconvenient for a walk" [Levshin, 1805-1808. Part I. S. 28].

Ruin- an element of landscape design in romantic parks of the 18th century, which is artificially created (rarely "real") ruins of ancient temples, tombs and other buildings (for example, in parks in Tsaritsyn, Sofiyivka).

“The ruins are objects that make up great beauty in gardens and very expressively, especially contribute to it in combination with other random decorations consisting of various piles, representing the irregularity of the land surveyor, which, when they are disordered, makes considerable prettiness: trees and trees are included in the composition of their decorations. forests, and their discontinuity is still beneficial ... In general, be that as it may, the ruins arouse in us curiosity about the ancient state of the building. The imagination of an ancient dwelling brings to mind the immaculate pleasures that were enjoyed in those centuries” [Lem, 1818. Part III. S. 8].

“Nothing excites our thoughts so conveniently, nothing makes our solitary thoughts so useful as the sight of such a structure, which time could not yet completely destroy” [Collection of new thoughts ..., 1799. Book VI, description for drawing I ].

Rust- a roughly hewn stone, widely used in monumental garden and park structures. Rust masonry - "rustic" resembles natural stone and thus, as it were, brings architecture closer to the natural environment.

Garden- area with cultivated plants. In the modern sense, a landscaping object, which is an area of ​​​​at least 5-10 hectares, occupied by tree and shrub plantations, alleys, lawns, flower beds, small architectural forms. Usually includes a stage, playgrounds, children's sector, reservoirs; represents a certain planning composition. Designed for short breaks.

winter garden- space in the interior of buildings (hall, extension, heated galleries), artistically decorated with various, mainly tropical, plants in tubs, containers or planted in the ground or special pallets; also includes decorative elements: ceramics, stone, miniature pools, sculpture (for example, a winter garden in the Vorontsov Palace near Alupka).

Garden of Continuous Bloom- a specially designated area in a park or botanical garden, on which plants are arranged - herbaceous perennials, shrubs, trees, selected according to the timing of flowering throughout the year.

Gardening system- a territorially and compositionally interconnected group of parks, gardens, forest parks, reservoirs, embankments and other open spaces that, together with the surrounding buildings, form a single architectural and landscape ensemble (for example, a park in Ostankino, the Main Botanical Garden of the USSR Academy of Sciences, VDNKh, a television center complex, etc.). in Moscow, the Summer Garden, the Field of Mars, the Mikhailovsky Garden, etc. in Leningrad; the water-green "diameter" of Kiev). Monument parks often become the historical core of a developing landscape gardening system.

Landscape art- the art of designing and creating parks, forest parks, gardens, squares, boulevards and other landscaping objects. Based on the ability to use the laws of composition, perspective, theory of light and color when using natural (plant, soil, water, stone) and other materials; as a field of art expresses a certain ideological content in artistic images.

“Garden art captivates our attention with a multitude of pleasant objects arranged in a contour connected with beauty: alleys, portals, idols, sculpted statues, arbors, grottoes and other decorations produce such actions in us that the garden seems to extend beyond real objects ... Skillful the gardener, in arranging plants, imitating nature, produces beauty by his order, which, captivating us, delights us” [Lem, 1818. Part III. S. 1].

“The art of decorating nature purely achieves its goal, whether it can at the same time arouse thoughts in us. The most beautiful solitude has its disadvantages: our weakness and lack of strength require that we mix our rest after long-term reasoning with those feelings that the spectacle of nature instills in us ”[Collection of new thoughts ..., 1799. Book VI, description for drawing I] .

Landscape gardening- a kind of cultural or natural landscape transformed as a result of directed human activity, within which spatially organized natural elements (relief, water, vegetation, soils) in combination with artificial (small architectural forms and structures), rationally placed, form an interconnected and interdependent unity .

Gardens are portable, mobile- landscaping objects, representing small areas, decorated with portable containers, vases made of ceramics and concrete of various sizes with plants planted in them, mainly annuals, climbers, shrubs.

Chiaroscuro- the ratio of light and shadow on objects, revealing their shape and affecting the perception of the landscape as a whole. The necessary ratios between light and shadow are achieved by the appropriate arrangement of tree and shrub groups, individual trees, lawns, ponds, buildings. Water areas, glades, flower beds form light spots, trees (for example, spruce, fir) contribute to the creation of dark spots. The combination of light and dark spaces, the distribution of falling and own shadows leave a certain imprint on the character of the composition, emphasize or hide elements of the landscape. The correct organization of chiaroscuro is one of the leading tasks of creating a park (for example, a statue illuminated by the sun at the end of a dark alley, a wide shadow of a tree on a lawn as a frame for a distant landscape illuminated by the sun). There are conditions of morning and evening lighting, which are radically different from each other (in the length and direction of shadows, lighting intensity, tonality, etc.).

Free layout- acceptance of planning of gardens and parks; characterized by the free placement of plantings and structures in space with the maximum use of the terrain, water bodies, vegetation, suggests a landscape style as a whole, but may also include elements of regular compositions.

Serpentine- winding tracing of roads on steep slopes, in forest parks, parks, on the pass sections of hills and mountains.

Nurse- a garden chair for solitary observation of nature in Russian gardens of the 17th century. Forged iron chairs - "sofas", "thrones" were preserved in the everyday life of parks in the 18th-19th centuries.

Silhouette- a generalized contour, the outline of individual specimens of plants, groups, curtains against the sky, water surface or urban development.

Symmetry- reception of such a balanced arrangement of the elements of the ensemble in space, in which one half of it is, as it were, a mirror image of the other. It assumes the presence of a central axis in the form of alleys, stalls, canals, etc., which usually connects the space of a garden, park with the main building. It is especially typical for compositions in a regular style (for example, in Petrodvorets). In landscape parks, the technique of dynamic symmetry is more often used, when the elements of the ensemble are balanced without mirror matching of the sides.

Sculpture- a type of spatial art that creates a three-dimensional image carved from stone, cast from bronze, etc. In parks, it has not only decorative, but often also symbolic meaning, inspiring the landscape, giving it a certain ideological and artistic meaning (for example, in the area of ​​Staraya Sylvia in Pavlovsky Park). Some types of sculpture are specific to parks, including fountain complexes, figures made from sheared plants (see Topiary Art).

“Touching monuments excite us. love of the arts, constitute the best decoration of gardens; but in choosing and using them one must act very judiciously. It is necessary that the objects surrounding the monument and the location that it occupies correspond exactly to the feelings that it can arouse in us. And therefore, only in gardens of extraordinary size, replete with various paintings, can several such monuments be erected, but where there are too many of them, we will always notice an unpleasant and often ridiculous counter-thinking ”[Collection of New Thoughts ..., 1799. Notebook VIII, description of the drawing IV].

Change of aspects seasonal- change in the appearance and condition of plantations during the season, for example, the color of leaves from the beginning of their blooming to autumn leaf fall.

Tapeworm- the technique of placing single plantings in an open space (trees, shrubs or large herbaceous plants), which stand out for their architectonics or attract special attention.

“One standing tree, distant from the others, has the greatest value in the eyes of the artist, because trees are the main materials that he must turn into work to form his landscapes. Trees are also interesting separately, both in terms of their size, thickness, beauty and flexibility, as well as in color, and growth, and vibration. Each tree, in addition to its inherent beauty, borrows a new pleasantness from the place in which it grows, and itself imparts beauty to the place itself. The benefit that one tree can deliver to an artist is not limited to this; here it connects distant parts of the landscape and covers them with its shadow; there he gives color to a large meadow, there he separates the pieces of trees and puts them back together. Many trees, planted side by side, or one behind the other, not so close as to almost represent a group, make various appearances, according to the place in which they are planted, and pleasant ornaments of a spacious meadow; and for this you do not need a measuring instrument or a rope. Curved lines in this case are preferred by everyone else; for they produce variety. A majestic tree standing apart from others, surrounded by young trees of the same kind, can make pleasant impressions in us” [Collection of New Thoughts..., 1799. Book XVIII, description of drawing I].

Style- in landscape gardening art, a stable set of compositional-planning, construction and agrotechnical principles and techniques prevailing in a given historical period. It reflects the aesthetic ideals and artistic tastes of society. It is customary to distinguish between two main traditional styles: regular and landscape (“French” and “English”).

Texture- characteristics of the deciduous cover of trees and shrubs, determined by their size and location, the method of attachment to shoots and branches, the shape of the leaves. Large leaves form a rough texture (oak, some poplars), small cut, pinnate, pinnate leaves - a finer and more elegant texture (willow, honey locust, sophora, ash, white acacia, larch). The degree of leaf mobility also affects the nature of the texture (aspen, willow). Textural differences between plants make it possible to group them using contrasting or nuance comparisons (trees with fine texture of leaves against the background of foliage with rough texture and vice versa, their alternation, equilibrium arrangement, etc.).

Terrace- a horizontal or slightly inclined platform of natural origin or artificially arranged, forming a ledge on a slope of the terrain; typical for gardens of antiquity, parks of the Renaissance and Baroque, located on the slopes along the ravines, in mountainous conditions (on the relief).

“Terraces in gardens are called planes raised up to some elevation and places where the edges, instead of a ledge and slanting, are surrounded by a stone wall in case of steepness, and in sloping ones they are covered and wrapped around with turf. These walls are made partly for beauty, and partly so that the scarf does not take up space, which is sometimes very necessary. Is there a ledge not stone, but earthen, then it is necessary to make it from clay, not sandy earth and kill much more; and then, having mowed, properly cover it more closely with turf, and mow it more often” [Osipov, 1793. Ch. 2. S. 175-176].

Identity- one of the means of harmonizing the garden and park ensemble, in which the complete similarity of the commensurable features, linear and volumetric dimensions of a certain spatial composition comes to the fore. The identical alternation of architectural and other components of the park (for example, sculptures, fountains, molded trees along the alley, flower beds, etc.) establishes their metric regularity in space, gives the composition the properties of balance and static. It is used mainly in the central and most solemn parts of garden and park ensembles, designed in a regular style.

topiary art- the art of curly cutting trees and shrubs, which arose in antiquity, giving them geometric and fantastic shapes (for example, animals, architectural structures, etc.). For example, noble laurel, biota, privet and other plants with a fine crown texture that tolerate shearing are used.

point of perception- see view point

Herbalist- pharmaceutical garden of the 17th century. (often near the walls of the monastery)

trellis- vertical plane support (frame) for climbing plants (roses, clematis, etc.) It is made in the form of an openwork lattice made of wood, metal with different sizes of nests; length and height depend on the type of intertwining plant and the nature of use; installed in gardens, on the streets, along bridges, stairs, at the same time serves as a fence.

tendrils- a small detail in the design of the garden parterre, which looks like a stylized stem, an elongated and curved leaf.

crown texture- feature, structure of the structure of the surface of a tree, a bush. Depends on the size of the leaves and their placement on the branches. For example, the fine texture of the crown is characterized by boxwood, snowberry; large - catalpa, gray walnut, fragrant sumac.

Physiognomic principle of plant material composition- a harmonious combination of shape, texture, color and other external features of plants included in certain compositions, as a result of which they differ in aesthetic unity. When selecting plants according to the physiognomic principle, their ecological compatibility is also taken into account. In this case, one of the species should occupy a dominant position, while the others should be concomitant or subordinate.

flanking- symmetrical placement of some objects along the sides of the central compositional axis (for example, garden pavilions at the main house of the estate). The technique was widely used in regular park compositions.

Fleuron- one of the leading motifs in the drawing of a classic garden parterre, it resembles a whimsically curved branch of a plant and is placed in the central part of the parterre.

Background- surface or space on which the main elements of the composition, the external environment, the environment of the object stand out (in the park, architecture is revealed against the background of trees, a flower garden against the background of a lawn, etc.). An important compositional requirement is, on the one hand, a sufficient color, textural contrast of the background in relation to the object, and on the other hand, its relative uniformity, which makes it possible to reveal the silhouette of the object, emphasize its significance without distracting the viewer from the main thing.

molding- type of pruning, shearing in order to give the plant a certain habit that is not inherent in the plant (haircut in the form of a ball, cube, one-three-row stepped hedge).

french style- see Regular style.

Functional organization of the territory- division of the park, recreation areas into parts intended for different types of use (see Zoning).

"Chaos"- a random pile of wild rocks, large boulders. In romantic parks of the XVIII-XIX centuries. symbolized the abyss, the initial state of the material world, from which all things came (for example, the Big and Small Chaos in Alupka Park).

flower arrays- large scale flower arrangements with an area of ​​80-150 m2 and up to 1000 m2 in glades, meadows, created from perennials. Arrays are usually performed in one tone (fiery red, white, golden yellow). Contrasting combinations of 2-3 tones are practiced. Often located in the parterre part of the park, in front of public buildings.

Cyclopean masonry- masonry of large stones, gigantic boulders. Monumental compositions with the use of such masonry are typical for the parks of the period of romanticism of the late 18th - early 19th centuries. (Sofiyivka, Vasilevo, Mitino, etc.).

Circumferences- low (sometimes semicircular) service buildings surrounding the front courtyard in front of the palace and separating it from a park or street (for example, near the Catherine Palace in Pushkin).

tea garden- the garden adjacent to the tea house is adapted for relaxation and the tea ceremony (originally in Japan, China).

Attic (in Russian gardens of the 17th century)- an open wooden garden arbor, usually on pillars.

Chalet- a rural house in the romantic parks of the 18th century, a garden pavilion that brought a pastoral shade to the landscape (Pavlovsk).

Trellis- a row of densely planted low-growing trees or shrubs, sheared into the wall or on supports. The support is a wooden or metal lattice or a wire stretched in several rows attached to the poles.

“Tapes, both high and low, are a necessary thing in gardens. Can be made from different trees and shrubs; and the more different and varied the trellis in the garden, the better. Tall trellises are the best of all spruce, because they do not lose their greenery even in winter. They are followed by lime trees, which are more common than all others, and then birch and rowan trees, made from acacia or pea wood and sometimes from bird cherry. Finally, they can be made from the most fruitful trees, that is, apple trees and pears, and require special education, supervision and diligence. All trellises are planted in dug ditches, and usually from young trees, which are cut very low for the thickest foundation of the trellis. However, in order to get a tapestry in all perfection, it is necessary to use trees of two ages and plant high and low ones through a tree, and then cut off their tops equally, that is, the tall ones are higher, and the lower ones are lower ... This shearing must be repeated every year without fail , and both in the top and in the thickness, do not let them grow; for otherwise it will not be possible to cope with them soon. All the beauty of the tapestries depends on a clean and diligent shearing” [Osipov, 1793, part 2, pp. 203, 204].

Shtamb- leafless part of the trunk cleared of branches from the root collar to the first skeletal branch of the crown. As a rule, standard trees are formed for alley plantings or as tapeworms.

Cracker- an entertainment device in the form of a fountain with a "surprise", was especially popular in Russian gardens of the 18th century. (for example, at the Monplaisir Palace).

exotic- a term used for introduced plants (usually subtropical or tropical) that do not grow wild in a given area and are distinguished by valuable decorative qualities (for example, araucaria in Alupka Park).

emblematic sculpture- a sculpture that has an allegorical, conditional (sometimes moralizing) meaning, a symbolic image of some abstract concept, idea, natural phenomenon, etc. In the gardens of the 17th-18th centuries. it was customary to install entire complexes of such sculptures, for example, in the form of mythological creatures, naked human figures (for example, in the Summer Garden, Peterhof, Pavlovsk).

Hermitage- a building characteristic of the era of development of landscape gardening and palace art of the 17th-18th centuries, representing an architectural building located in the depths of the park, away from the palace, the main house of the estate and intended for secluded relaxation, reflection, as well as meetings, demonstration of collections, organizing concerts, etc. The original meaning of the term is the habitat of a hermit.

Esplanade- a wide undeveloped space in front of public buildings in the squares, in large parks. Parterres, wide alleys with fountains and sculpture are arranged on the esplanade.

Ephemeris- temporary light structures in parks of the 18th century, designed for an illusory or fleeting effect (for example, a tent depicting a stone building, a footbridge made of living trees, etc.).

Japanese garden- a traditional work of landscape gardening art, characterized by a symbolic reproduction of nature in small spaces, fine elaboration of details, creating a certain state of contemplation in the visitor.

As can be seen from the previous presentation, the content of the concepts of "monument of architecture" and "restoration" has changed over time. These concepts, having arisen relatively late, were interpreted differently depending on the philosophical, artistic and other ideas of each individual period. At the same time, they tended to become more complex, enriched due to more and more multifaceted consideration of the connections that arise between the architectural work of the past and the world of modern man.

In different European countries, the terms “monument”, “historical monument”, “architectural monument” are used to designate what we call an architectural monument. In our country, the term "monuments of antiquity and art" was used in the past, and at present the concept of "monument of architecture" is included in the more general concept of "monuments of history and culture", or, even more broadly, "cultural heritage". These terms reflect the dual value of the buildings that we classify as monuments - historical and artistic. In order to imagine the fullness of the significance of monuments for modern man, such a division is still insufficient, since each of these two main aspects of the value of monuments is far from elementary, representing a very complex combination of various aspects.

Thus, the historical value is manifested not only in cognitive terms, but also in terms of emotional. The fact that this building is a witness to events either very distant or significant for the history and culture of a given area, country or humanity as a whole, gives it a special significance in the eyes of contemporaries. This side of the value of old buildings is reflected in the recognition by the existing legislation of a special category of monuments - the so-called "historical monuments". Historical monuments may include structures that do not have architectural and artistic value and are of interest only as a reminder of certain historical events or persons. However, this special value no less often extends to artistically valuable buildings included in the state lists under the heading "monuments of architecture." Thus, the Assumption Cathedral of the Moscow Kremlin, built by Aristotle Fioravanti during the formation of the Russian national state, is not only an outstanding monument of architecture, but also the most important monument of the formation of Russian statehood. The ensemble of Tsarskoye Selo is inextricably linked with the names of Pushkin and many other figures of Russian culture and is valuable for modern people for this memory no less than for high artistic merit. A special category is represented by structures erected in memory of a certain event ( triumphal arches, obelisks, memorial temples, etc.).

In cognitive terms, the historical value of a monument is expressed primarily in the fact that it serves as a carrier of information about the past, i.e. historical source. This information has versatility and manifests itself in very different areas, which allows us to consider the monument as a specific and complex historical source. From the point of view of historians, direct evidence of the monuments about the social structure of society is of paramount interest. Thus, on a huge scale, the southern Russian churches of the 10th-11th centuries, towering among small wooden and wood-and-earth buildings, the essential features of the social structure of Kievan Rus were clearly manifested.

The specificity of architecture as an art, which includes engineering and technical aspects, allows us to see in the works of architecture a direct reflection of the level of development of production forces: the embodiment of engineering knowledge, the product of material production. The typological features of the surviving buildings of the past carry precious information about the way of life of remote eras. From this point of view, the ancient structure is considered as a monument of material culture. But since architecture is to the same extent an art that operates with an ideological and figurative language, monuments serve as the most important historical evidence of the ideology and spiritual culture of various eras.

Not being a fine art, architecture does not express ideas in such a direct form as painting or sculpture, therefore, in architectural monuments, for the most part, one can find a reflection of the most general features of the worldview of any historical period. However, this expression can be exceptionally strong and striking. Suffice it to recall a Byzantine temple or a Gothic cathedral. The information delivered by monuments as works of art is also very diverse. For example, the Romanesque building technique of the buildings of Vladimir-Suzdal Rus' of the XII century. and the similarity of their sculptural decoration with Western monuments provide important historical evidence of the cultural ties of this era and the migration of artels of builders and sculptors, characteristic of the Middle Ages.

It is quite clear that all the listed aspects of the significance of a monument as a historical source are valid when considering not only parts of the monument dating back to the time of its appearance, but also all later layers, each of which reflects the features of its historical era in many ways.

No less obvious is the presence of artistic value in architectural monuments. The works of architects of the past, whether they are buildings of the ancient, medieval period or modern times, are capable of evoking a keen aesthetic experience in a modern person. Previously, in the evaluation of ancient buildings as monuments, it was precisely this side that prevailed, although the concept of artistic and, accordingly, the criteria applied to individual buildings changed significantly. Classicism proceeded from the idea of ​​the existence of unshakable timeless laws of beauty, comprehended by the mind and embodied in samples. ancient art. When applied to specific monuments, this meant recognizing the right to such a title only for the buildings of classical antiquity and removed the question of the significance of the layers of subsequent eras. Romanticism was more flexible in assessing the works of the past as monuments, transferring this concept to more later eras and manifestations of national stylistic features. At the same time, however, the poeticization of individualism, and in particular of the artistic and creative person, characteristic of romanticism, gave rise to a tendency to see in the monument not so much a given historical concreteness, but the author's intention distorted by time and even perhaps not yet embodied behind it. Arguing with the romantics, the supporters of archaeological restoration, without denying the artistic value of the monument, nevertheless brought to the fore the historical value, the significance of the monument as a document. At present, the tendency to see in the monument the unity of the artistic and the historical prevails, which in reality can not always be quite clearly divided.

Modern approach to consideration artistic value of the monument is based on the position that the monument always carries out its emotional and aesthetic impact in a certain context. First of all, it's context. modern culture, which includes a developed attitude to art in general and to the art of the past in particular. The historicism of thinking inherent in the consciousness of the people of our century allows us to perceive phenomena that belong to very different artistic systems much more widely and more flexibly than it was in the past. The world of a modern cultured person includes the obligatory knowledge of art samples from different countries and eras, with which he involuntarily compares the work being evaluated. The assessment of an architectural monument inevitably includes associations related to familiar phenomena related to the sphere of not only architecture, but also literature, painting, music and other types of art. This causes the complexity of the aesthetic perception of the monument as a work of architecture, and our perception cannot claim to be adequate to the perception of contemporaries of its creation, which took place in a different context and included a different circle of associations.

But the monument is not only included in the context of modern culture. A monument that actually exists today, with all the changes and additions accumulated during its centuries-old life, can itself be considered as a context in which artistic elements of different times are combined. Rebuildings, additions, and even losses by no means always lead to the destruction of a monument as an artistic whole, sometimes modifying it, creating a new whole with new esthetic qualities. The Moscow Kremlin with towers crowned with high stone tents 200 years after their erection is no longer a work of architecture of the 15th century, nor is it a work of architecture of the 17th century, but a unique alloy artistic elements of both centuries, and in some parts even later. The Winter Palace of Rastrelli with the later interiors of the classicism era, despite the loss of the author's interior decoration, despite the difference in styles, is an artistically integral building, the image of which is built on complex system interactions of different elements. The examples given are the most obvious, but in many other buildings that have undergone one or another change in the later years of their existence, parts of different times and different styles enter into one or another relationship, which ultimately determines the unique individuality of each monument. This also applies to outstanding structures, and to the so-called ordinary buildings. Later layers should be assessed not only as having or not having artistic value in themselves, but also as elements included in the overall art system monument. In this regard, it is not only the changes made by the hand of man that are significant, but also those that bear traces of the destructive action of time. Thus, the ruins of an ancient building have a great aesthetic expressiveness, different from that which this building had many centuries ago. Traces of the long existence of the monument, the so-called patina of time, not only obscure and distort information about the work of art of the distant past, but also carry their own emotional information about the life of the monument in time, which is an important part of its current aesthetic perception.

For an architectural monument as a work of art, there is another context, outside of which it is unacceptable to consider it, according to modern concepts. This is the context of its architectural and natural environment, the environment that the monument forms and on which, in turn, its artistic perception depends to a large extent. The context of the environment is no less subject to transformation in time than the context of the monument itself. Changes in the material conditions and social way of life of people inevitably affect the appearance of their environment. The older the monument, the less, as a rule, the character of its contemporary environment corresponds to that which existed at the time of its creation. This is especially evident in large cities involved in the process of urbanization. Irreversible changes take place even where, it would seem, there are no cardinal redevelopments and restructurings. The appearance of asphalt instead of wooden or stone paving, the installation of modern street lighting, the introduction of urban vehicles actively influence the perception of both the environment and the individual monument. The natural environment of the monuments is by no means stable either: the trees grow, the landscape is constantly changing.

Changes in the architecture of a separate building occurred in parallel with changes in its environment. Later stratifications of the site reflect this relationship in different ways. Many alterations of ancient buildings were dictated by compositional considerations caused by a change in the nature of the relationship between the monument and its environment. Thus, the appearance of high onion domes on the Kremlin cathedrals is certainly associated with a general change in the silhouette of the Kremlin, in particular, with the superstructure of the towers. In turn, the appearance of high tent tops on the towers was largely due to a change in the urban situation, the transformation of the Kremlin from the fortified center of Moscow, surrounded by a relatively small suburb with low buildings, into the central ensemble of a large and densely built-up city. The color scheme of the Kremlin ensemble has also changed: the colorful combination of red-brick and white coloring of the central cathedral group with the inclusion of polychrome gave way to the predominance of plain white, which corresponded to a larger urban planning scale. Such compositional connections must be taken into account in the artistic evaluation of the monument.

In addition to compositional connections between the layers of the monument and the elements of its environment, there are connections of a stylistic order. Both the alteration of the monument and the change of buildings around it, not always connected with each other by an obvious compositional dependence, were carried out to a certain extent synchronously, due to which the monument received layers that, to one degree or another, corresponded to the style of the new elements of its environment. Sometimes at the same time architectural language Attempts were made to completely bring the monument to the character of the architecture of the new period, sometimes they were limited to individual additions that introduced new stylistic features into the architecture of the building. As a result, very complex combinations of stylistic order arose between the monument and its architectural environment, far from the embodiment of any one style. The complexity of such relationships does not mean the absence of artistic unity. In the course of the long life of a monument and its surroundings, harmony of a higher order is sometimes created. Of course, completely different situations are possible and actually occur, when there is not an artistic connection, but an irreconcilable dissonance. In this area, as in others, an individual assessment is required based on a comprehensive consideration of various aspects.

Such a complex understanding of the aesthetic nature of the monument is largely due to the historicism of consciousness inherent in the modern worldview, which manifests itself not only in the sphere of theoretical thinking, but also in the artistic and emotional sphere.

The main goal of carrying out any work on an architectural monument is to extend its life as a structure of multilateral value. Most directly, this task is reduced to conservation, i.e. to a set of measures aimed at protecting or strengthening the structure in its current form. Conservation is unanimously recognized as the main type of work to be carried out on monuments.

An important condition for extending the life of a monument is its active inclusion in life. modern society. This goal is achieved in two ways: by emphasizing the artistic and historical value of the monument (restoration) and by endowing it with a practical function (adaptation).

Unlike conservation, restoration (the literal translation of the term into Russian means “restoration”) involves the introduction of certain changes into the structure, dictated by the awareness of its special significance like a monument. Because of this, restoration is always a violation of the existing system of relationships. Therefore, it is customary to consider it as an exception, due to a number of limitations.

One of the main theoretical premises on which modern ideas about restoration are based is the recognition that the artistically valuable object that determines its direction is not the creative concept of the ancient master, but the monument that exists in our time with its losses, later stratifications and established links with architectural and spatial environment. The old system of ideas, according to which the restoration was understood as a new adequate embodiment of the idea, is completely rejected. The idea of ​​a repeated creative act, in which the restorer is identified with the creator of the restored work, is an illusion that does not take into account the huge difference in the artistic worldview of the masters of past eras and modern man. The restorer influences not the ideal artistic image of the monument, but its material structure. The monument in its reality appears as a keeper of artistic and historical information, which, however, can be present in it not only explicitly, but also in a hidden form, as if potentially. The intervention of the restorer is able to reveal the hidden part of this information, at best, with more or less exhaustive completeness. Referring to an example from an adjacent area, one can recall an ancient icon that preserves the remains of ancient painting under a late record. The value of the monument belongs to this pictorial layer revealed by the restorer, and not to the author's intention of the icon painter.

From the position that the restoration is focused on this existing building, and not on the plan, it follows that its goal should not be either a return to the original appearance, or the restoration of a later formed, but also lost appearance (the so-called "restoration at the optimal date" ), but the maximum disclosure of the artistic qualities of the monument that has come down to us and its historically valuable features. Artistic qualities are understood in this case in the sense that was mentioned above, i.e. they include the entire context of artistic relationships that have arisen between the original parts of the building and later layers, as well as between the monument and the historically developed architectural and spatial environment.

For the same reason, it is fundamentally not allowed to erect parts of the structure that were not carried out at the time, even if they were part of the likely author's intention. This provision remains valid not only when the original plan is reconstructed on a guess (as was often the case in the restoration practice of the 19th century), but also when we have seemingly indisputable materials in the form of author's drawings. There are many examples of how the final formation of the architectural appearance of buildings of the past took place during the construction process, when the architect himself refined and revised the previously drawn up project. This is confirmed, in particular, by comparing the design drawings of Bazhenov and Kazakov with the buildings of the Tsaritsyno palace complex erected under their leadership. The unrealized version of the project retains its independent significance for us as a monument of the artistic thought of its era, but only a really embodied work can be considered as an architectural monument and as an object of restoration.

Modern theory establishes a fundamentally different attitude towards stratification than that which took place during the period of dominance of stylistic restoration. They are recognized not only for their own historical and artistic value as independent works reflecting the peculiarities of the culture of their time, but also for their role as components of the monument as a whole. They not only obscure and distort the original artistic design of the structure (according to previous ideas, it was predominantly, if not the only valuable one), but they are also capable of complicating and enriching the artistic structure of the monument. The Venice Charter clearly indicates that the cleansing of the monument from complicating layers, the unity of style is rejected as the ultimate goal of restoration.

Recognition in theory of the value of later layers should not be dogmatically perceived as the need to preserve any additions to the monument. Late plaster covering the ancient painting, a faceless utilitarian extension to the facade, the newest laying of an arched passage not only do not carry artistic information, but in the most direct sense obscure, distort the valuable that is really present in the monument. The Italian Charter of 1931 described this kind of stratification as "devoid of meaning and meaning." Not always, of course, the differences between valuable and non-valuable accretions are quite obvious, and a carefully balanced, differentiated assessment of each individual case is necessary.

Another general requirement for restoration is maximum preservation of authenticity. Authenticity is important from many points of view. An ancient building, replaced by a new copy, loses its value as a historical witness of the past, retaining only the value of a visual illustration. As a monument of material culture, it no longer exists. But even as a work of art, a copy cannot claim to be adequate to the original, no matter how perfect it may be. Moreover, an indispensable condition for the full perception of a work of art is the viewer's awareness of its authenticity. The partial loss of authenticity, to one degree or another, is almost inevitable during restoration, is also sensitive. From this, first of all, follows a special attitude to the replacement of damaged elements of the building. Contrary to the usual repair and construction practice, priority should be given to special strengthening methods, and only in extreme cases is it allowed to replace the original material, which should be considered a necessary evil. This general position is true to varying degrees in different cases. It is not indifferent whether we are talking about a centuries-old building or a relatively recent building, about the most artistically active elements of the monument - carved details, murals, ordinary wall laying or hidden structures. The greater historical or artistic information carries in itself this or that element of a monument, the requirement of preservation of authenticity becomes more obligatory.

Recognition of the value of authenticity imposes restrictions not only on the replacement of dilapidated elements, but also on new additions made to the monument during restoration, which should not have the character of falsification. The fundamental solution to the problem was suggested by the theorists of archaeological restoration of the late 19th and early 20th centuries: the use of a system of techniques for artificially highlighting new inclusions, the so-called signation. But since the distinction between the original parts of the monument and restoration additions is carried out due to one degree or another of the integrity of its perception, determining the methods and measures of signification is far from a simple problem. In each individual case, an individual approach to the system for identifying restoration additions should be developed based on the specific situation.

Even under the condition of a conscientious signing, new additions made during the restoration, depending on their quantitative ratio with the preserved ancient elements, may have bad influence on the perception of the monument as a whole, to "compromise" it as a genuine work of antiquity. In order to avoid this undesirable effect, it is necessary that the original prevail over the restoration in the monument, and not vice versa. In the practical implementation of this requirement, however, it is important to take into account what we mean by a monument: a fragment of an ancient building, a structure as a whole, an architectural ensemble. Depending on this, the same action of the restorer can be considered as unacceptable, lawful or even necessary. Thus, a significant restoration of one of the symmetrical outbuildings of the estate, bordering on its complete reconstruction, if considered only in relation to this outbuilding, would probably be a violation of the norms of restoration in its modern sense; at the same time, being correlated with the restoration of the estate as a whole, it will turn out to be just as legitimate as the restoration of the lost column of the portico would be. Thus, the inclusion of the assessment of the monument in the ensemble and urban planning context can lead to an expansion of the area of ​​possible restoration solutions, while allowing to remain within the framework of the previously formulated general principles of restoration.

The possibility of restoration additions is also limited by the condition of the reliability of the reconstruction, which must be based on a strict documentary basis. According to the Venice Charter, restoration must stop where the hypothesis begins. Documentation of restoration has two sides. First of all, this is proof of a fundamental order, confirming that this element of the monument really existed and existed in the exact edition that was provided for by the restoration project.

However, even with an impeccable fundamental justification for the restoration, determining the size, pattern, texture of the lost element is possible only with varying degrees of approximation. The building culture of the past, based on artisanal methods of production, is characterized by deviations from the ideal geometric shape, individual interpretation of each individual detail. Less or more, but in any case, the fixation drawings also have a finite degree of accuracy. From this point of view, the documentary justification of the restoration always remains relative, and the criterion for the admissibility of recreating the lost elements is not absolute accuracy, but only relative, the degree of which depends on the conditions of visual perception. The notion of a monument as a real structure makes it necessary to give preference to direct material remains over all other types of sources when evaluating the documentary justification for restoration. On a par with them, fixation data can be put, performed in accordance with modern standards of scientific research. But in all cases, a comparison of the entire complex of materials remains a prerequisite.

Invading the existing system of artistic relationships in order to identify certain important qualities of the monument, the restorer must carefully consider what the new artistic whole created as a result of restoration will be like. At the same time, it is necessary to take into account the integrity of the perception of the monument, taken separately, and its connection with the architectural and spatial environment. In this respect, restoration includes elements not only of scientific analysis, but also of creativity. The means available to the restorer to achieve a new artistic unity are relatively limited, but should not be underestimated. First of all, this is a correctly found ratio of the measure of disclosure and recreation. Much in the perception of a monument also depends on the skillful use of modern elements introduced into the monument, which serve to ensure preservation, fill gaps, etc. The height and extension of the roof, the design of the joinery, the color scheme, in cases where they are not unambiguously determined by the actual restoration requirements, should be used as a means of creating artistic harmony.

The above provisions fix only the most general principles restoration. In almost all theoretical works in this area, it is noted that monuments and cases of restoration have an infinite variety that does not allow for a dogmatic approach. Therefore, there is not and cannot be a set of strict requirements that the restorer must mechanically comply with. Restoration should be considered as a specific creative process. At the same time, the decision on the fate of the monument cannot be entrusted to the judgment of one person, no matter how highly qualified he may be, but is confirmed by an authoritative circle of specialists.

Preservation of objects of historical and cultural heritage has long been declared a task of national importance.

Preservation of objects of historical and cultural heritage has long been declared a task of national importance. However, examples of successful "adaptation" of old buildings to the modern context are still rare. How to put historical buildings into business and economic circulation and motivate owners to care and cheer? This question is relevant for all regions of Russia. And everyone is looking for their own way.

The object must live

According to the regional department for cultural heritage, there are more than 2,000 monuments of history, culture and archeology in the Ulyanovsk region. On state protection It costs about 1.5 thousand monuments of culture and history and 500 monuments of archeology. At the same time, 80% of buildings recognized as objects of cultural heritage are privately owned. And of the remaining 20%, regional and municipal property account for approximately the same amount - 10% each.

How to use these buildings? What needs to be done so that they are preserved, restored, and at the same time not violate their visual perception and basic characteristics, thereby not damaging the object of protection? Questions more painful than one another. Two positions: "not to let go" and "to encourage" - coexist for a long time and with variable victories. However, recently the point of view still dominates that to preserve an object of historical heritage means to maintain it and use it competently.

I am for the fact that the architectural monument lives, and that this building is used. Including for business purposes. If the building is not used, it begins to collapse, - says the director of the department, Sharpudin Khautiev.

And continues:

I am often surprised by the comments in social networks, on the pages of online publications, when they write: what right did they have to sell an architectural monument! Monuments of history and culture are the same real estate objects. They can be rented, sold, donated, inherited. The question is: how to use them? Of course, we prohibit placing production in a cultural heritage site: if machines are placed in a building that is over a hundred years old, vibration will lead to its gradual destruction. We are very careful about the objects in which catering points are located. These are under our special control. But we do not impose bans on business. We just say what can and cannot be done. And be sure to prescribe this in security obligations.

However, businesses are very cautious in acquiring buildings included in the register of historical and cultural heritage. A modern sign of a crisis economy is the rejection of these objects - with reference to strict and financially capacious security regulations.

Khautiev's counterarguments are quite reasonable. Any building requires maintenance and repair, its good condition must be maintained. But if you own an architectural monument, then in addition to you, the state also takes care of your property. It is interested in the preservation of these objects, and, therefore, in the fact that the owner takes measures to preserve the unique object that he owns.

Question - how much does a good condition of a building cost? And is it always necessary to hold on to the last, defending the right of an old house to exist?

Who needs it, special status

Disputes of historians, architects, developers and townspeople about the preservation of the historical appearance of Simbirsk-Ulyanovsk either subside, then flare up with renewed vigor. Sometimes developing into conflicts, victories in which, with varying degrees of success, go to each of the parties. Does the city really benefit from this? There is no single answer to this question.

They demolished a practically erected four-story residential building next to Livchakov's "Teremkom", they did not allow the construction of the Marriott hotel next to the Church of All Saints on Minaev Street - this is from the recent. Lost whole pieces of the historical streets of Radishchev, Krasnogvardeyskaya -
from the modern, but already past. For example, where the regional children's hospital stands, there were two historical buildings that belonged to the photographer Gorbunov. Many family photos of Simbirians and Ulyanovsk residents were taken here. What is more important - to keep these two houses or to build a modern hospital? This question is hardly rhetorical.

Starting from the corner of Krasnogvardeiskaya and ending with the turn to Goncharov, to Plastov Boulevard, there was also an ordinary building, - says Olga Sveshnikova, chairman of the board of the Ulyanovsk branch of the VOOPiK. But ordinary doesn't mean bad. There were two or three monuments, but they were. The main thing is that the line was saved. It is necessary to remove one or two houses from this line, and the meaning of preservation is immediately lost. Just like the famous "Teremok". Outbuildings appeared, two or three historical buildings remained. So what?.. Or take the house where Dmitry Ulyanov lived. It was put on guard as historical. The owners live in Kazakhstan, they come to Ulyanovsk periodically. And they can’t sell the house, because the sale is together with the load - security, and they can’t maintain it, because it’s a big expense. You look at the house, all skewed, and think: maybe it’s better that it doesn’t exist? ..

And the townspeople, including interested entrepreneurs, remember the failed pedestrian streets in modern Ulyanovsk. The intention to close part of Karl Marx Street from traffic, from the intersection with Goncharova Street to Karamzinsky Square, was perhaps a project. But the pedestrian street of the Federation could take place. The first attempts to implement this project are almost 20 years old. At that time, many historical buildings were still preserved on the Federation, and the business located here was ready to invest both in the repair of facades and in its conceptual development - with a tourist and entertainment bias.

Today there is an object of regional significance - the landmark "Fair Quarter". The project was developed by the architectural workshop "Simbirskproekt". In fact, a place of interest is one integral monument of history and culture, within which certain urban planning regimes are allowed. However, this has stalled so far.

There are boundaries, regimes are defined, but in order to fill all this inside, at least some big concept is needed, in the development of which museum workers, architects, art historians, and tenants should participate, - says Olga Sveshnikova. - Not yet.

Meanwhile, there is an interesting experience of Samara. At the Moscow Urban Forum in October, Vitaly Stadnikov, the former chief architect of this city, and now the deputy dean of the Higher School of Urban Studies, spoke about him:

We once created a public organization "Samara for people" -
in order to help the residents of the historical part to register the land as their property, because this is the only protection against the construction of some objects there ... In fact, the mechanism for creating alternative programs for the development of territories has matured. A master plan for the historical part of Samara is currently being developed. As a result, we managed to enter the strategic planning group, and this is the law of the city of Samara, adopted until 2025. And through this group of so-called spatial development, a mechanism has emerged for projecting solutions that are developed in an alternative way.

The principle of "stick" and "carrot"

In the Ulyanovsk region there is an interdepartmental working group to counter illegal construction on the territory of places of interest.
And to promote legal inclusion historical buildings in modern business circulation? ..

Of course, we are well aware that the principle of business is to make a profit. Entrepreneurs need to demolish a rotten one-story house and build a multi-story building with a large area. There is a “stick” for violators (serious penalties), but there should also be a “carrot”, - said the director of the Middle Volga branch of the Federal State Unitary Enterprise “Institute “Spetsproekt-
restoration” Yuri Kozlov. - Indeed, in fact, now it is sometimes more profitable to ruin an object than to carry out repair and restoration work.

With the proposal of Yuri Kozlov - to introduce tax and other benefits for the owners of cultural heritage sites, if they invest in their preservation - both entrepreneurs and historians are in solidarity. However, despite the fact that the federal law on cultural heritage objects will soon be 20 years old, a clear mechanism for preferences has not yet been developed.

Such a mechanism could well be a public-private partnership, fortunately, there is already an Ulyanovsk regional law on PPP, and a federal one. For example, a concession agreement: an entrepreneur assumes the obligation to restore a cultural heritage site, and the building is provided to him by the city (if it is municipal property) for rent at a minimum fixed price, taking into account all repair costs. At the end of the agreement, the building must be returned to the city. If the parties fail to agree on an extension of the contract.

Today, the city of Cherepovets tells about an example of such agreements. Not forgetting to emphasize that these are the first concession agreements in Russia that were concluded with the aim of restoring a cultural heritage site. Are they the first? It remains to believe in the word.

In Ulyanovsk, according to a similar scheme, ten years ago, it was returned to active life building at 50 Goncharova Street. The Ulyanovsk-GSM company reconstructed and restored it: it improved its conditions and preserved the historical appearance of the city. To this day, when it comes to a successful example of the “integration” of commercial structures into the historical environment, most business owners and officials remember this very object.

Meanwhile, a rather attractive mechanism has been proposed for objects of federal property. Since September, a decree of the Government of the Russian Federation has come into force, which makes it possible to hand over objects of historical and cultural heritage requiring restoration into private hands for 49 years for one ruble.

A huge block of federal monuments, thousands and thousands, are in a deplorable state! Now, thanks to this decree, if you have repaired it, you can do whatever you want there, you can develop a business there. Forty-nine years is two generations. Almost eternal possession, - said the Minister of Culture of Russia Vladimir Medinsky at the September congress of restorers in Kazan.

However, we are talking about a conditional price: one ruble is the starting price of the auction, as a result of which the real rental price will appear. It is clear that the conditions for terminating the contract will be specified in the standard contract if the tenant fails to fulfill its obligations. The criteria for an object that is in an unsatisfactory condition are determined by another government decree.

But, again, this is a decision for federal property. And what about the regional and municipal?

The Department of Cultural Heritage of the Ulyanovsk Region says that, together with the administrations of the districts, the issue of selling architectural monuments at the lowest price was worked out, but with the condition that the new owners would invest in the preservation of these objects and sign security obligations. The initiative did not take off. First of all, because such objects are interesting not in the outback, but in large cities, where you can really do business on them.

According to regional patterns?

However, the first measures of regional support have already appeared. In 2014, the Government of the Ulyanovsk Region adopted a resolution on the provision of subsidies for reimbursement of costs associated with the preservation of cultural and historical heritage sites of regional significance. Individuals, public, non-profit organizations, individual entrepreneurs can count on state support. To do this, a number of conditions must be met. The project of restoration or repair work must be coordinated with the regional Ministry of Arts and Cultural Policy. The contractor must be an organization that has the appropriate license from the Ministry of Culture of the Russian Federation
(there are 15 of them in Ulyanovsk). The requirements of the contractor must be open and understandable (an estimate must be provided). The fact of payment for the work must be documented. And then 50% of the cost of the work performed is reimbursed by the state.

The Simbirsk Metropolis of the Russian Orthodox Church and the Regional Spiritual Administration of Muslims of the Ulyanovsk Region have already appreciated this measure. With individuals it is more difficult. The owners of buildings recognized as objects of historical heritage are often elderly and low-income people. Payment after the fact is unacceptable for them: they are simply not able to cope with the costs of project documentation, repairs and restoration “according to the rules”. Therefore, in 2016, the region plans to approach the situation differently - not to reimburse costs, but to provide funds in advance.

I am most afraid that such objects in the regions are doomed to death, - says Sharpudin Khautiev. - Therefore, it is very important for us that people live there and preserve these buildings.

A person lives in a house and wants to save it for posterity, says Olga Sveshnikova. - For example, a wooden house, with an interesting beautiful decor, the author of the project is also known. The owner maintains its historical appearance on its own. But as soon as the building is put on guard as an object of cultural heritage, a security obligation is concluded with the owner. And from now on, he is obliged to carry out any repair and restoration work through projects and examinations, which requires a lot of money. I sometimes think: perhaps this legislation is designed for solid cities in terms of historical heritage -
St. Petersburg, Pskov, Vologda, Vladimir, where considerable funds are allocated from the state budget for the preservation of cultural heritage, including the restoration of immovable monuments.
Our facilities are more “modest” by metropolitan standards, but this is our history, our monuments, and we must preserve them.

Everything related to the protection of cultural heritage sites has already been adopted at the legislative level, experts say. It's time to think about the support of those who own them. It is impossible to equalize all the objects classified as monuments of history and culture, as well as the requirements for these objects. The price categories of buildings that are located in Moscow and, say, in the Sengileevsky district of the Ulyanovsk region, are seriously different. The wealth of the people who live in these buildings also varies.

Protection and protection of objects of historical and cultural heritage is regulated federal law No. 73-FZ "On objects of cultural heritage (monuments of history and culture) of peoples Russian Federation» dated 06/25/2002. Legislation classifies objects older than 100 years as archeological monuments. Architectural monuments - buildings that are at least 40 years old. A historical monument may be younger than 40 if it is associated with a famous person or has a memorial character.

For those who live in the village, these houses are the usual place of residence, and it is impossible to drive them into a dead end with severe restrictions and burdens, -
considers Sharpudin Khautiev. - In my opinion, there is a big gap in the legislation. These people should be approached differently. We need to think about serious measures to stimulate them, about how they can be helped. To bring to justice a person who lives on one pension, to fine him - sometimes the hand does not rise. He will simply leave this object, he does not need such a house. What will happen to the building then?

How to work with the cultural environment

There is one more question "in the subject": how successful are the attempts to preserve the environment at the expense of pseudo-historical remakes? At city planning councils, there is often a conflict of opinions about the central part of the city. And it concerns not so much the preservation of historical heritage as the architectural appearance of new objects.

If you look at modern architecture that tries to claim to be historic, there are no good examples. Neither in the center of Ulyanovsk, nor in the city in general. In the country - there is, but in Ulyanovsk somehow it did not happen, - Sergey Frolov, deputy chairman of the Ulyanovsk branch of the Union of Architects of Russia, is categorical.

In a large part of the architectural community, the opinion dominates that any building should correspond to its time. Pseudo-historical remakes often cause nothing but rejection.

Russia has enough bright patterns such “historicism,” notes Sergei Frolov. - I was struck by the picture in the Moscow Pykhov-Church passage. The neoclassical building of Mikhail Filippov, with columns, balusters, cornices - it seems to be beautiful. But when the gaze slid to the right at the real Stalinist Empire style, everything fell into place! Simple, natural architecture overshadows the modern pattern - a living classic! I believe that a modern building should speak modern plastic language. It can be a modest glass facade that will set off the object of historical heritage. No need to play hide and seek with him, you need to have your own face.

Everyone who is interested in preserving the historical heritage should, first of all, work with the cultural environment, with the formation of citizens' interest in historical and cultural monuments, understanding their value and significance, according to the Union of Architects. Unfortunately, rich people do not yet have the desire to show off not just expensive beautiful house, but the fact that this house is with some kind of cultural layers, historical layers. Yes, and business structures for the most part consider placement in historical buildings not a plus for business, but a burden.

It is necessary to somehow introduce a fashion for living in a historical building, for working in a historical building, - says Sergey Frolov. - So that a person, equipping an office in such a building, not only sees the problems and burdens, but feels familiarity with the culture of the nobility or some layer of historical heritage. To make it cool, prestigious.

Of course, this process is not fast. But you have to start small. In the Ulyanovsk branch of the Union of Architects of Russia, for example, a cycle of lectures on urban planning was held in October. For everyone.
On the basis of the construction lyceum in Ulyanovsk, the architectural school of Sergei Kangro has been operating for the third year. And excursions to the architectural monuments of Simbirsk-Ulyanovsk, organized by the creative space "Kvartal" on the site of the museum courtyard of the House of Goncharov, have become a real event today.
outer summer.

A few years ago, at one of the round tables of "DO", a proposal was made to make Ulyanovsk, following the example of Moscow and St. Petersburg, the Day of Historical Heritage. What it is. People who are in historical buildings understand the prestige of this building for their business. Once a year, the doors open - it doesn't matter if it's a construction company, a treasury or a bank - and everyone is invited to a tour. The hosts tell the guests about their building, its history, how they carry out the succession. The Day of Historical Heritage can be designated as a single day in the city. Or everyone would choose this day for themselves. The proposal seemed interesting, but the Day of Historical Heritage in business and cultural life Ulyanovsk never entered.

However, residents of the city and anyone interested in its history and architecture should know that you can visit any object of historical and cultural heritage that arouses interest.
In the security obligation for each such object, it is mandatory to provide: to ensure unimpeded access to the building for everyone on the set days or hours. This is done to popularize the historical heritage.

With any appeal from citizens who are not indifferent to their history, architecture, we coordinate all actions with the owner and provide access to the building they would like to visit, - the Department of Cultural Heritage told DO.

Ludmila Ilyina

Photo: S. Larin

Any city in the world has its own architectural face. Cities built several hundred years ago can boast of something that modern, young cities do not have: their history and unique architectural appearance, a certain special spirit, the imprint of people and events that is characteristic of this particular place. Arriving in a resort or historical city, we start our walks from the historical center, from the "old town". Old, not big houses, narrow streets, local flavor… No one goes anywhere to see sleeping areas or identical panel high-rise buildings. Skyscrapers are interesting only where they really impress with their grandeur: in the emirates, New York, Shanghai, for example. That is why it is so important to preserve what already exists, what has come to us from the past, what has a history, a special unique aesthetics and uniqueness. For yourself, your self-consciousness, for the continuity of generations, for the preservation of the beauty of the past. Cities that understand this become attractive to tourists and loved by their own residents. Many times in Ufa and other Russian cities, I heard words of admiration from foreigners about our historical and architectural monuments, in particular, wooden architecture.

There is an opinion: wooden houses a short age, and there is no point in restoring them, because they do not live long. However, scientists from Tomsk State University, together with scientists from Stuttgart and Darmstadt, conducted a study of one of the wooden monuments of federal significance in the city of Tomsk and found that the duration of operation of this wooden building, which is more than 100 years old, with proper operation can be up to 400 years. What can we say about stone monuments of architecture, if, with proper care, wooden structures can last up to 400 years?

The oldest surviving wooden monument in Russia, the Church of the Deposition of the Robe from the village of Borodava, erected in 1485 and moved to the city of Kirillov, stood almost without restoration until 1950, and after restoration it is now in excellent condition. Over 500 years!

So to say that the age of century-old wooden houses has already passed is not true. They can and should be preserved, the only question is proper care and restoration.

In Europe, the attitude towards historical and architectural monuments is much more careful, they honor and are proud of their history and cherish its architectural heritage. Probably, many watched the program "Eagle and Tails", where they showed houses in Lithuania, in Vilnius. These houses are very reminiscent of Ufa, and cost more than a million dollars, because it is a cultural heritage.

Houses in Vilnius

In Norway and Finland, only objects of national importance are restored exclusively from the state budget (there are only 200 of them in Finland), while the rest, as a rule, are preserved by the joint efforts of the owners and the state. In the Bulgarian city of Nesseber and the Finnish Rauma, included in the UNESCO World Heritage List, 600 wooden monuments are preserved, in Swedish Bergen - 40.
In the ancient Finnish town of Rauma, quarters of wooden historical buildings have been preserved. Old Raum is the largest historical wooden town in the Nordic countries. In total, there are about 600 buildings of the 18th and early 19th centuries, most of which are privately owned. Here, a mechanism has already been worked out for providing state assistance to owners of buildings for their repair and restoration. As a rule, state aid is 40% of the cost of the work.
In order to support the preservation and development of Old Rauma, the Old Rauma Foundation has been established, which collects funds for the preservation and development of the old city, and also offers loans for the renovation of historical buildings at central bank rates.

Old Rauma, Finland

Trondheim, Norway

This speaks of respectful attitude to architectural monuments of both the state and the people themselves, in whose private ownership most of these houses are located.

But in Russia there successful examples preservation and restoration of historical and architectural monuments.
As, for example, in Tomsk. The city, founded in 1604, is home to 500,000 people. The uniqueness of the historical heritage of Tomsk lies in the preservation of urban wooden buildings dating back to the 19th-20th centuries.
In total, there are about 3 thousand wooden buildings and structures in Tomsk. Of these, about 1.5 thousand are objects of historical, architectural value or forming a historical environment as a background building. The program for the preservation and revival of wooden architecture in the city of Tomsk and the Tomsk region, which originated as a civic initiative, then taken under the patronage of Governor Viktor Kress and received the status of an official document 5 years ago, includes 701 objects. For comparison: in the Bulgarian city of Nesseber and the Finnish Rauma, included in the UNESCO World Heritage List, 600 wooden monuments are preserved, in Swedish Bergen - 40. Thus, in terms of the number of preserved wooden buildings, Tomsk is ahead not only of domestic Vologda and Irkutsk, but also of the world centers of wooden architecture. Although, of course, there are problems here too.

Since 2005, about sixty wooden buildings have been restored. About 380 million rubles were spent from the budget for this. At the same time, there was no separate article in the budget for the restoration of wooden houses. Little by little, the money was being squeezed out. Another 70 million were raised from investors and another 20 million from the federal budget.
And here is such a case: the Sapozhnikova House, a monument of wooden architecture in Tomsk, was resettled, set on fire several times and finally burned down completely - the next day after the completion of the Russian-German summit and the departure of VIPs from Tomsk. The public then made a big scandal with a rally near the burned house and a letter that collected one and a half thousand signatures. There are almost 2 times more residents in Ufa, but when the Archdefense collected signatures for the preservation of architectural monuments, there were only about 200 of them. Maybe we, as residents of our city, need to become less indifferent to our cultural heritage? After all, there is still something to save. Some corners of the city have remained almost the same as 100 years ago, and there are still wonderful monuments of wooden architecture.