The concept of an architectural ensemble. Architectural ensemble of the Moscow Kremlin: description, history and interesting facts Ensemble of architectural supports

Russian poets dedicated many lines to the Moscow Kremlin. Many paintings by famous artists depict this masterpiece of medieval architecture. The Moscow Kremlin is an outstanding architectural ensemble in Russia. And this is exactly what we will talk about in this article.

The architectural ensemble is...

The word "ensemble" is of French origin. It translates as “unity, integrity, connectedness.”

Architectural ensemble- these include public buildings, as well as other structures (bridges, roads, monuments, etc.), which form a single spatial composition. Its elements can be not only houses and buildings, but also sculptures, monuments, works of art, squares and gardens. The perception of a particular architectural ensemble largely depends on the time of year and the level of illumination. The presence of people, as well as the volume of traffic, also weigh.

The most important component of any architectural ensemble is the surrounding landscape. Here, a huge role is played, first of all, by the terrain, as well as the presence of reservoirs (rivers, lakes, reservoirs).

Quite often, the compositional center of an architectural ensemble is a monument or obelisk. Among such examples are the Vatican or the Round Square in Poltava. To honor the memory of an outstanding personality or to emphasize the historical importance of an event - this is the main goal pursued by such an architectural ensemble. You can see a photo of such a complex below (this is St. Peter's Square, Vatican).

Types of architectural ensembles

Some architectural ensembles are created immediately and comprehensively, according to a pre-prepared master plan. Others take shape over decades, gradually being supplemented with new buildings and elements. By the way, the second option is much more common in the world.

There are several various types architectural ensembles. Among them:

• ensembles of squares;
• fortresses;
• prospectuses;
• palace and park;
• estates;
• monastery ensembles.

The Moscow Kremlin is an outstanding architectural ensemble of Europe

The Kremlin in Moscow is the largest fortress in Europe among those that have been fully preserved to this day. This architectural ensemble is located in the very center of the Russian capital, it is the main social and political complex of the city, as well as a kind of sacred symbol for the entire country. This is where the main residence of the President of the Russian Federation is located.

The architectural ensemble of the Kremlin in Moscow was built at the confluence of the Neglinnaya River into the Moscow River. The fortress, triangular in plan, occupies an area of ​​27.5 hectares. On one side, the Kremlin borders on Red Square, and on the other, on

In the early 90s, a large-scale reconstruction was carried out within the architectural complex: in particular, the Senate building was restored, as well as several halls of the Bolshoi. At the end of the 20th century, the fortress walls and towers of the ensemble were also restored.

By the way, not everyone knows that the walls of the Moscow Kremlin were not always red, as we are all used to seeing them. Throughout the 18th-19th centuries, according to surviving paintings and descriptions, they were white (until the 1880s). Today, the walls of the Kremlin are painted red from time to time.

Another interesting one historical fact about the Kremlin dates back to the Great Patriotic War. So, in 1941, an order was given to add windows to the fortress walls so that the structure would look like a residential building.

Brief history of the architectural ensemble

Defensive structures on the site of the modern Kremlin have existed in Moscow for a long time. However, in ancient times they were made of wood, and therefore suffered greatly from fires. Therefore, in the 14th century it was decided to surround it with walls (made of limestone).

The most outstanding architectural ensemble in Russia was formed in its current form at the end of the 15th century. The first tower was built here in 1485. Italian architects actively participated in the construction of the complex, however, the appearance of the fortress looks very “Russian”.

The huge clock placed on the Frolovskaya tower is very interesting. Throughout history they have been changed four times. The ones that show the time today were installed in 1852. of which decorate the Kremlin towers were installed in 1937.

The Moscow Kremlin was heavily damaged during Civil War 1917. In particular, several towers of the complex were damaged, as well as all of its temples. But in the Second world war The Kremlin survived. Thanks to the competent camouflage that Soviet architects managed to carry out, the ensemble was not subject to bombing.

Walls, towers and temples of the Kremlin

The architectural ensemble of the Kremlin in Moscow includes 20 towers (three of them are round in plan, the rest are square). The highest of them is Troitskaya, its height is 79 meters. All Kremlin towers were built in the same architectural style, except for the pseudo-Gothic Nikolskaya.

And also the fortress walls were built at the turn of the 14th-15th centuries, and were finally decorated in the 17th century. The total length of all the walls of the ensemble is more than two kilometers. Their thickness ranges from 3.5-6.5 meters, and their height ranges from 5 to 19 meters. The tops of the fortress walls are decorated in the form of teeth, which are shaped like the tails of swallows (their total number is 1045). They also have preserved loopholes and embrasures, reminiscent of the main purpose of this structure.

On the territory of the Moscow Kremlin there are seven temples and one bell tower, five palace buildings, as well as two famous monuments - the Tsar Cannon and the Tsar Bell.

Conclusion

The Moscow Kremlin is a unique architectural ensemble of Russia, the largest fortress in all of Europe. For Russians, it is a sacred place and a symbol of Russian statehood. For foreign tourists, this is the number one object that they strive to see when they come to Russia.

Novosibirsk Academy of Water Transport

Omsk Institute of Water Transport

Architectural ensemble

Moscow Kremlin:

Old Russian features and Italian influence.

Completed: student Pylina N.Yu.

Faculty: economics and Management

Group: EK-10-49

Teacher: Grebennikova O.M.

Omsk 2011

1. History of the creation of the Moscow Kremlin…………………………….….2

2. Italian influence on modern look Kremlin…………….…….. 3

3. Walls and towers of the Kremlin…………………………………………….…….5

4. Conclusion…………………………………………………………….9

5. References……………………………………………………………..…10

The history of the creation of the Moscow Kremlin

The history of the Kremlin is closely connected with the history of Moscow, and not only Moscow, but also the Russian state as a whole. The Kremlin arose on the high Borovitsky Cape, well protected by the Moscow and Neglinnaya rivers from enemy attacks. This place was inhabited by the East Slavic tribe of Vyatichi long before the emergence of the Kremlin. In 1156 Yuri Dolgoruky erected a wooden fortress with an eight-meter rampart and a powerful, at that time, wooden wall, reaching 3m in height and 1200m in length, to protect against raids. The fortification existed in approximately this form until the winter of 1237-1238, when the hordes of Khan Batu plundered and burned Moscow, and with it the Kremlin. But along with the city, the Kremlin is growing and strengthening. In 1339-1340 Under Ivan I Kalita, the Kremlin territory was expanded, new oak Kremlin walls were built, powerful defensive fortifications were erected, and behind them were the mansions of the Grand Duke and white-stone cathedrals. Moscow becomes the political and spiritual center of Rus', and the Kremlin becomes the residence of grand dukes and metropolitans.

In 1367-1368, shortly before the Battle of Kulikovo, Prince Dmitry Donskoy, fearing another Mongol-Tatar invasion, surrounded the fortress with white stone walls and towers located approximately 60m from the previous oak fortifications. The Kremlin area reaches almost modern sizes. On the side of the Moscow River, the wall was erected at the foot of the hill so that the enemy would not have a springboard here for deploying his troops during the siege of the Kremlin. In 1368 and 1370 The Kremlin successfully withstood the siege of the Lithuanian prince Olgerd, and in 1382, 1408 and 1451. turned out to be impregnable for the Tatar-Mongol troops. The white stone Kremlin of Dmitry Donskoy served for more than 100 years. During this time, numerous enemy sieges and frequent fires severely destroyed the Kremlin walls and towers.

Italian influence

on the modern view of the Kremlin

The era of the rise of the Moscow Principality in general and the Kremlin in particular was the reign of Ivan III; it is already surrounded by a halo of glory, power, prosperity and rapid success in everything. Ivan III is already called “Sovereign Grand Duke”.

In the second half of the 11th century, the Grand Duke of All Rus' Ivan III Vasilyevich launched a grandiose construction project in Moscow, because he was no longer satisfied with its previous appearance with small cathedrals built at a time when the Moscow principality was one of many small Russian principalities. The dilapidated white stone wall no longer corresponded to the role that Moscow, the capital of one of the strongest states in Europe, was now supposed to play.

Ivan III, having cleared the walls of the Kremlin for 110 fathoms in circumference from wooden dwellings piled up without any order, ordered to begin building a stone wall with towers, loopholes, and gates around the Kremlin in a new place, already occupying a larger space. To do this, we had to break a lot and move some things to other places.

The first to be erected was the majestic cathedral in the name of the Assumption Holy Mother of God - main cathedral the entire Moscow state. The construction of the new temple was entrusted to the masters Myshkin and Ivan Krivtsov. They were instructed to take the Assumption Cathedral in Vladimir as a model, but at the same time surpass it in length and width. Krivtsov and Myshkin began construction of the cathedral in 1472. In 1473-1474, the walls of the cathedral were built and the vaults were built. But when they started laying the top, the cathedral collapsed. The reasons for the destruction turned out to be the irrational design of the staircase leading to the choir and the poor viscosity of the solution. The destruction of the almost finished cathedral made an extremely painful impression on Muscovites. Ivan III invited craftsmen from Pskov, who were then considered the best architects in Russia, to resume construction. But the Pskovites who came to Moscow, having examined the ruins of the cathedral, flatly refused to complete it. This prompted Ivan III to make unconventional decisions. For the grandiose reconstruction of the capital he planned, he invited architects from Italy.

In 1475, the Italian Aristotle Fioravanti came to Moscow, who had previously carried out orders from the Duke of Milan, the King of Hungary and the Pope. A foreign architect was commissioned to build the Assumption Cathedral. As a result, the Italian master built a unique building. In its architectural forms, the sophistication and sophistication of Vladimir architecture, laconicism and austere simplicity of Novgorod buildings were combined with the artistic vision of the architecture of the Italian Renaissance. The Assumption Cathedral was built using mixed technology: the lower parts are made of white stone, the upper parts are made of brick. The cathedral was built on the basis of precise mathematical calculations - that is, using a compass and ruler, and not by eye, as before. Fioravanti taught Russian builders how to make higher quality red bricks and how to prepare special lime mortars. Thanks to innovative design solutions, the temple acquired a majestic and austere appearance and became a symbol of the unity and power of the Russian state.

Next to the Assumption Cathedral on the territory of the Kremlin, under the leadership of other Italian masters, the Archangel Cathedral was erected (Aloisio da Carcano, 1505-1509); the famous bell tower of Ivan the Great (Bon Fryazin, 1505-1508, the bell tower pillar was completed in 1598-1600). Perhaps the most unconventional of the Kremlin churches was the Archangel Cathedral, reminiscent of Italian palaces (“palazzos”). It became the tomb of Moscow princes and kings right up to Peter I. The residence of the Grand Duke of Moscow was built next to the temples. The first building of the ensemble was the Chamber of Facets. It was built in 1487-1491. Italians Marco Ruffo and Pietro Antonio Solari (he also supervised the construction of the walls and towers of the Kremlin). Throughout the 16th century. More and more new palace buildings were erected. The appearance of the Moscow Kremlin was distinguished by picturesque contrasts; it was characterized by the juxtaposition of buildings of different styles and eras. The architectural complex of Cathedral (Ivanovskaya) Square with a necklace of churches and the Faceted Chamber - the most important secular building - embodied the most important spiritual ideals of the Muscovite kingdom.

Some towers and temples of the Kremlin were built by Russian craftsmen, since their forms bear the character of wooden structures. Our masters could not abandon the forms of wooden towers they had mastered to perfection, which, as is known, were built in great numbers along the walls surrounding the then city of Moscow, and were distinguished by their enormity, complexity of design and skillful execution. Carpentry skills reached possible perfection in ancient wooden Rus', since their wonderful material and constant, thanks to fires, abundant work greatly contributed to this. It is precisely this circumstance that should be attributed to the shape of the current small Kremlin towers.

By the end of the 15th - beginning of the 16th century. The Moscow Kremlin becomes the most significant fortification in Europe. Moreover, its towers, cathedrals, and civil buildings are perfect not only in their architecture, but also in their interiors and decoration. In the 17th century The Kremlin towers, except Nikolskaya, are decorated with multi-tiered tents made in the traditions of ancient Russian architecture. Bright green tiles, white stone edges, gilded weather vanes - all this created the impression of festivity and elegance. Civil and religious buildings are also being erected: Terem Palace(1635-1635), Amusing Palace (1651-1652), Patriarchal Chambers with the Church of the Twelve Apostles (1642-1656).

The mixture of heterogeneous architectural styles was an obvious innovation, overcoming the usual canon of temple architecture.

walls and towers of the Kremlin

Currently, the Kremlin walls stretch over 2235 m, thickness from 3.5 to 6.5 and height from 5 to 19 m and, as if following the outline of the Kremlin hill, they either descend into the depths or rise to the hill itself, forming an irregular triangle. Along the top of the wall there is a battle passage 2-4 m wide, along which you can walk from tower to tower. It is laid with square slabs with a slope and stairs at the break, and in the very thickness you can often find corridors even now; and in the old days they also housed the so-called dungeons, chambers, pits for criminals. At the inner sole there were sheds and cellars for shells and gunpowder. The combat is based on rhythmically alternating arches (“pechura”). On the outside it is covered with 1045 two-horned teeth (the so-called merlons, or “swallowtails”, 2-2.5 m high, 65-70 cm thick), on the inside - a parapet. Once upon a time there was a gable wooden roof over the wall, which sheltered the archers in bad weather and protected the wall from rain, snow and wind. In the 18th century it burned down and was no longer restored as unnecessary.

The Moscow Kremlin has 20 towers. The oldest of them is Tainitskaya (1485), the youngest is Tsarskaya (1680).

Let's look at some of them:

Vodovzvodnaya Tower

In the southwestern corner of the Kremlin is guarded by the Vodovzvodnaya Tower. This is one of the most beautiful buildings in the entire ensemble. The tower was built in 1488 by the architect Antonio Gilardi. At first it was called Sviblova, named after the boyars Sviblova. The tower received its modern name in 1633 after the installation of a water-lifting machine and the construction of the first pressure water pipeline in Russia to supply water from the Moskva River to the Kremlin.

Borovitskaya Tower

At the foot of one of the seven hills on which Moscow stands, there is a tower that differs from the others in its stepped shape. This is the Borovitskaya Tower. Its name comes from an ancient forest that once covered the entire hill. The Borovitskaya Tower was built by the Italian architect Pietro Antonio Solari in 1490. It has the shape of a stepped pyramid. The tower had 5 combat tiers. Mounted battle loopholes were located on the upper platform. The archer in this tower is not in front, as in other towers, but on the side, taking into account the rotation of the wall.

Commandant's Tower

This is a small, blank, austere tower. Its construction was completed by 1495. Previously, it was called Kolymazhnaya - from the Kolymazhny yard in the Kremlin, where the royal carts and carriages were kept. It received its current name in the 19th century: the commandant of Moscow lived next to it in the Poteshny Palace. Like all the Kremlin towers, it was built with a tent with a tower in 1676-1686. The height of the tower from the side of the Alexander Garden is 41.25 m.

Weapon Tower

This is a small tower. Its construction was completed by 1495. Yours modern name it received in the 19th century the Armory building built on the territory of the Kremlin. Before that, it was called Konyushennaya, since in ancient times there was a royal stable yard behind it.

Trinity Tower

With this tower, the architect Aleviz Fryazin the Old completed the construction of fortifications on the side of the Neglinnaya River, later the Alexander Garden. The tower was built in 1495-1499. The significance of the tower for the western facade of the Kremlin is the same as Spasskaya for the eastern. The architect who built the tower in 1685 took this into account and gave its hipped roof almost the same decorative decoration as Spasskaya. The tower is six-story, with deep two-story basements that served for defense purposes, and later in the 15th-16th centuries were used as a prison. The tower gates served as a passage to the mansions of the queen and princesses, to the court of the patriarch. The Trinity Tower is the tallest tower in the Kremlin, its height is 80 m.

Nikolskaya Tower

The passage tower, located on the eastern wall (height 70.4 m), was built by the architect Pietro Antonio Solari in 1491; the name is associated, according to one source, with the icon of St. Nicholas the Wonderworker, which was placed above the passage gate of the strelnitsa. In the 17th century, the Nikolsky Gate served mainly as an entrance to the boyars and monasteries in the Kremlin.

Senate Tower

The tower is located immediately behind the Spasskaya Tower, behind the Mausoleum of V.I. Lenin. The tower was built in 1491 by the architect Pietro Antonio Solari. The Senate Tower performed purely defensive functions, protecting the Kremlin from Red Square. The height of the tower is 34.3 m.

Spasskaya Tower

It is rightfully considered the most beautiful and slender tower of the Kremlin. The architect Pietro Antonio Solari, who built it in 1491, essentially laid the foundation for the construction of the eastern line of the Kremlin fortification with the Spasskaya Tower. From time immemorial, the gates of the Spasskaya Tower have been the main main entrance to the Kremlin. In the 50s of the 27th century, a coat of arms was erected on top of the Kremlin tower Russian Empire- double-headed eagle. Later, similar coats of arms were installed on the highest towers - Nikolskaya, Troitskaya and Borovitskaya. The Spasskaya Tower has 10 floors. Three floors are occupied by the mechanism of the Kremlin chimes - the main clock of the state. Tower height - 67.3 m.

Tsar's Tower

This is the youngest and smallest tower. It was built in 1680. More precisely, it is not a tower, but a stone tower. Once upon a time there was a small wooden tower from which, according to legend, Tsar Ivan IV the Terrible loved to watch the events taking place on Red Square - hence the name of the tower.

Alarm tower

This tower was built in 1495. It got its name from the alarm bell, which notified Muscovites about impending events or danger. The tower was placed on a hill, and from it there was a view of the southern surroundings. Guards were on duty on the tower around the clock, monitoring the roads.

Taynitskaya Tower

The “oldest” tower of the Moscow Kremlin is Tainitskaya. The construction of the Kremlin fortifications began with it. A secret well was dug under the tower, to which the tower and its gates owe their name. In the event of a siege, the Kremlin could be supplied with water through this well and underground passage. Unfortunately, the tower, built in the 15th century, has not reached us. In 1770, it was demolished, as the Kremlin began construction of the Kremlin Palace according to the design of V. Bazhenov. However, already in 1771-1773 the tower was restored according to the measurement drawings of M. Kazakov with the subsequent addition of a hipped top. Its height is 38.4 m.

Nameless Tower

In the 1480s, next to the Taynitskaya Tower, the Nameless Tower was built, distinguished by its spare architectural forms. She always performed purely defensive functions. The tower has a difficult fate. In 1547, the tower was destroyed by a gunpowder explosion, and in the 17th century it was rebuilt. At the same time it was built with a tent tier. In 1770-1771, the tower was dismantled to make way for the construction of the Kremlin Palace according to the design of V.I. Bazhenov. When construction of the palace was stopped, the tower was built again in 1783 somewhat closer to the Tainitskaya Tower. The height of the tower is 34.15 m.

Annunciation Tower

The tower was built in 1487-1488. This is a low tetrahedral tower. At its base there are slabs of white limestone. They are preserved from the ancient white stone Kremlin of the 14th century. During the time of Ivan the Terrible, the tower was used as a prison. The height of the tower is 30.7 m.

According to their configuration, Kremlin towers are divided into round and quadrangular. This is not a whim of the architect, but a kind of fortification technique. Located on Borovitsky Hill, the Kremlin has an irregular triangle with an area of ​​27.5 hectares, washed from the south by the Moscow River, bounded by the Alexander Garden from the northwest, and Red Square from the east. At the corners of the triangle there were round towers - Corner Arsenalnaya, Vodovzvodnaya and Beklemishevskaya, which were the most durable and allowed all-round shelling. In the place where important strategic roads approached the Kremlin, powerful quadrangular towers with passage gates were erected - Spasskaya, Nikolskaya, Troitskaya, Borovitskaya, Tainitskaya, Konstantino-Eleninskaya. From the outside they were protected by archers. The remaining towers were located between the corner and passage towers and were of a purely defensive nature. Until the 17th century (when tents appeared) the towers ended with battlements, under which there were machicolations - hinged loopholes for close combat. They have survived to this day on almost all the towers.

Conclusion.

Undoubtedly, the Kremlin is valuable not only from a historical perspective, but also as a greatest work of art. Moscow Kremlin is the oldest building Moscow and is a magnificent architectural ensemble that has evolved over several centuries. The architecture of the Kremlin clearly reflected many stages of the historical development of the Russian people and the Russian state, and the characteristic features of national culture found brilliant expression.

The architectural complex of the Kremlin is formed by temple and palace buildings, beautiful tiered Kremlin towers and the Ivan the Great pillar dominating them. The Kremlin with the adjacent Red Square is the compositional center of Moscow, with which the city's architecture and its largest architectural ensembles are associated. New buildings, bridges, stone-lined embankments, asphalt squares merged with the Kremlin into a single architectural whole.

The Kremlin, despite the constant reconstruction of parts of its ancient fortifications, as a whole has not lost its artistic qualities as a single ensemble. Each Kremlin tower is beautiful on its own, but their combination with each other, with other Kremlin buildings and with the city creates the most impressive images.

Eight hundred years ago, Moscow was born on the site of the Kremlin and grew around it, just as Russia grew around Moscow. The Kremlin determined the radial-centric development of the plan of the ancient capital. Being the compositional center of Moscow, it not only gathered the huge city around itself into a single whole, but later itself was organically included in its picturesque silhouette. It is difficult to imagine Moscow without the Kremlin. This Holy place expensive for all Russians. The Kremlin is the heart of Moscow and Russia.

Literature

1. Kantorovich I.V. “From the history of Moscow”, M., 1997

2. Ivanov V.N. “Moscow Kremlin”, State Publishing House “Art”, M., 1971.

3. Surmina I. O. “The most famous fortresses of Russia » . – M., Veche, 2002

Main buildings:

Peter and Paul Cathedral with the tomb of the emperors

Grand Ducal Tomb

Mint

Guardhouse

Botny house

Engineering house

Cavalier

Treasury Department

Carriage maker

Commandant's house

Kronverk

Prosecutor's House

Trubetskoy Bastion Prison

Vasilievsky

Neva Gate

Ioannovskie

Kronverkskie

Nikolskie

Petrovsky

Bastions:

Gosudarev

Naryshkin

Menshikov

Trubetskoy

Golovkin

Ravelins:

Alekseevsky

Ioannovsky

Ekaterininskaya

Kronverkskaya

• Nikolskaya

  Petrovskaya

Engineering structures:

Nevskaya pier

Description of fortifications

Through the John's Gate we enter the territory of the fortress. The date on them is 1740. This is the year the construction of Ioanovsky ravelin was completed. Ioanovsky Ravelin was built in the 30s of the 17th century during the reign of Empress Anna Ioannovna. In the 17th-19th centuries, the territory of the ravelin was separated from the fortress by a moat that connected the Neva with the Kronverk Strait.

Behind the Ioannovsky ravelin there is the Petrovskaya curtain - a wall connecting the bastions of the Sovereigns and Menshikov. It was built in 1707-1708. St. Petersburg is being built next to the fortress on the city (Beryozovy) island. The first buildings were built on Troitskaya Square in front of the fortress. They contained government institutions. From this square one could enter the fortress through the Petrovsky Gate.

Petrovsky Gate was built in the form of a triumphal arch. This is the only triumphal building from Peter's time that has come down to us. They were created in 1707-1708 according to the design of D. Trezine and were originally wooden; in 1718 they were rebuilt into stone ones.

Turning left from the Petrovsky Gate, you can approach the Sovereign Bastion. The Sovereign Bastion is connected to the Naryshkin Bastion by the Neva Curtain. There were several dozen casemates in it.

From the Neva side, the Neva Gate clearly appears against the backdrop of harsh granite walls. They were built in 1730-1731. It acquired its modern appearance in 1787 according to the design of N. A. Lvov.

The granite pier was built in the second half of the 18th century. From it to the shore there is a three-span bridge. People called these gates “the gates of death”; prisoners sentenced to death were taken out through them.

The Naryshkin Bastion is the central of three bastions overlooking the Neva. It was built in stone between 1725-1729. In 1731, according to the design of D. Trezine, a stone tower with a flagpole was built on the bastion. Between the bastions of Naryshkin and Trubetskoy stretches the Catherine Curtain. The casemates of this curtain were used as places of detention.

The Trubetskoy bastion faces southwest. It was built in stone in 1708-1714. In the Trubetskoy Bastion there were premises that were used as places of detention. The Trubetskoy bastion and the Zolotov bastion are connected by the Vasilievskaya curtain. It faces west, towards Vasilyevsky Island, which explains its name. In 1709 it was rebuilt in stone. At the end of the 18th - beginning of the 19th century, the casemates of the northern part of the curtain were occupied by the archive, the southern ones - by the Mint.

Through the Vasilyevsky Gate of the Vasilievsky Curtain you can enter the territory of the Alekseevsky Ravelin.

Zotov's bastion is located in the northwestern part of Zayachiy Island. The bastion of Zotov and Golovkin is connected by the Nikolaevskaya curtain. Its reconstruction in stone was completed in 1729. The gate in the curtain is called Nikolaevsky. Through them you can go to the Kronverk Strait. The Golovkin Bastion faces north and was rebuilt in stone in 1730.

The Kronverk curtain connects the Golovkin and Menshikov bastions. It contained the Decembrists P. I. Pestel, K. F. Ryleev, S. I. Muravyov-Apostol, P. G. Kakhovsky, M. P. Bestuzhev-Ryumin, sentenced to death. On the eastern rampart of Kronverk, on the night of July 13, 1826, the Decembrists were executed.

In the northeastern part of Zayachiy Island there is the Menshikov Bastion. The first pharmacy in St. Petersburg was located in its casemates.

Along the main alley leading to the center of the fortress from the Petrovsky Gate, there are two one-story buildings. On the right is the former Artillery Zeich Gauz, built in 1801. On the left is a building with a high roof, a former engineering business yard or Engineering House. It was built in 1749. Since 1971, the exhibition “Architecture of St. Petersburg - Petrograd of the early 20th century” has been open in the engineering building.

On the left side of the main alley, in the depths of a small square, there is a two-story building with white columns. This is a former guardhouse. The building acquired its modern appearance after its reconstruction in 1907-1908. Then the second floor was erected and a 4-column portico was built. In front of the Guardhouse, on the site of the existing lawn, at the beginning of the 18th century there was a square that served as a place for punishing soldiers.

On the square in front of the cathedral there is a two-story stone building built in the 40s of the eighteenth century. This is a former commandant's house. Its main façade faces east towards the guardhouse building. The commandant of the fortress was a special confidant of the king

The only industrial building on the territory of the fortress and the oldest industrial enterprise in St. Petersburg is the Mint. In 1724, by order of Peter I, the Mint was transferred from Moscow to St. Petersburg. The premises of the Trubetskoy and Naryshkin bastions were adapted for its work. In 1800-1805 A special Mint building was built. It is assumed that it was designed by the architect A. N. Voronikhin, but the drawings were signed by the architect A. Porto.

Until recently, all metal coins, all orders and medals (with the exception of handmade orders) were produced only here. Since the late 1990s, coins began to be minted in Moscow.

The Mint, together with the Peter and Paul Cathedral, the Boat House and the Commandant's House, forms the main square of the Peter and Paul Fortress.

Outstanding Russian medalists S. Yudin, T. Ivanov, V. Krayukhin worked at the Mint.

On the square in front of the Mint there is a small elegant pavilion with white columns. This is an allegory of navigation. The pavilion is called the Bot House. It contains the boat of Peter I, on which he sailed along the Yauza River and Lake Pereyaslavl as a child. The boat house was built according to the design of A.F. Vistav 1762–1766. It was originally made of wood, but later converted into stone. The house was built for the boat of Peter I - “Grandfather of the Russian Navy”. The ship was presented to the royal family by the English embassy. It was found by Peter in the village of Preobrazhenskoye, he personally restored it, and as a child Peter sailed on it along the Yauza. The boat was transported here from Moscow in 1723, immediately after the end of the Northern War. A pier (Komendantskaya) and a gate (Nevsky) were built especially for his meeting. At first, a simple shed was built for the vessel. When a special house was built for him, it turned out that the doors of the building were too narrow to carry the boat inside. Then I had to dismantle part of the wall. They say that after this A.F. Vista was expelled from Russia forever, remembering also the collapsed bell tower of St. Andrew's Cathedral, which he himself had built.

In 1724, Peter I staged a naval parade, that is, he showed the “grandfather of the Russian fleet” the entire Russian fleet then available. This was later repeated by Alexander I. There was a guard at the Botny House. Anyone could examine the boat under the supervision of an officer, so the first memorial museum in Russia was organized here. The guard officer was obliged to tell the visitor about the exhibit.

In 1891, a statue of Navigation by D.I. appeared on the Boat House. Jensen. In 1940, the bot was moved to the Naval Museum, which opened in the Exchange building; there is a copy of it in the Boat House. A copy was made in 1996 at Petrozavod; the new ship took part in the celebration of the 300th anniversary of St. Petersburg.

The Peter and Paul Cathedral, a unique monument of Russian architecture and art of the first half of the 18th century, has retained its original appearance almost unchanged. Already during the construction of the earthen fortress on June 29, 1703, where a small wooden church in the name of the Apostles Peter and Paul was founded on the site of the existing cathedral.

Since 1712, St. Petersburg became the capital of the Russian state. The capital needs a chief Cathedral. And here we are wooden church According to the project of D. Trezine, the construction of Peter's Cathedral begins. It took 21 years to build (1712-1733). Peter's Cathedral was built in the early Baroque style. Strictness and simplicity in planning and exterior decoration of the building are the most characteristic features of this style. The cathedral is an elongated rectangular building, its walls are decorated with pilasters and cherub heads on the windows.

The most interesting part of the cathedral is the bell tower. Tier by tier it rises up. The tiers are connected by curls - volutes, which create a smooth transition from the main building of the cathedral to the high balina. The spire of the cathedral rose above the city as a symbol of Russia’s establishment on the banks of the Neva, as a symbol of its access to the expanses of the Baltic. The cathedral is the tallest building in St. Petersburg. (Except for the television center tower). Its height is 122.5 meters, the height of the spire is 1.6 meters, the height of the angel figure is 3.2 meters, the wingspan is 3.8 meters. The plan of the cathedral is not similar to the traditional plans of Russian churches. This is a rectangular structure of a “mirror” type. The interior of the cathedral is divided into three parts by powerful pylons. The interior of the cathedral is festive and elegant: the room is spacious and bright (length 61 meters, height about 16 meters), huge windows flood it with light. Peter's Cathedral served as the tomb of Russian emperors for several decades. They began to bury in the cathedral on the instructions of Peter I. Peter I himself was buried near the southern wall of the cathedral. He died on January 27, 1725, early in the morning. 30 graves are marked with white marble headstones.

1 Features of the aesthetics of mass housing.

2 Requirements for the architectural and planning structure of a residential area.

3 The concept of an architectural ensemble.

4 The ensemble, as the highest goal towards which the architect’s formative activity is directed.

5 Spatial structure of the ensemble.

The aesthetics of mass housing has a number of inherent features. In home architecture, when solving artistic problems, it is necessary to take into account the interaction of a complex set of factors. These include: social necessity, consumer and performance, natural and climatic conditions, economics, modern technology and production technology. In a full-fledged housing construction project, each of these factors must be resolved at the highest level of modern knowledge and requirements. First of all, the architecture of a home is the environment that surrounds a person every day, which should be harmonious, unobtrusive, and providing psycho-physiological comfort. It should take into account the natural environment as fully as possible, be adapted to regional conditions, national and everyday traditions, as well as the existing scale and color of the city, and linked to the accompanying mass public buildings. Compliance with these requirements is one of the most important criteria for assessing not only the functional, but also the aesthetic merits of the development.

Based on the orderliness of urban planning systems, it is possible to create a harmonious environment with a certain level of aesthetic qualities. In modern urban planning, the architectural and artistic concept subordinates not a separate object - a building, but an organized system of many objects, an ensemble.

Architectural ensemble- this system of buildings, structures and open spaces, naturally organized in accordance with the needs, worldview, aesthetic values ​​of society and embodying an artistic image. The ensemble is the highest goal towards which the architect’s formative activity is directed. In the creation of architectural ensembles, architecture and urban planning are combined together, urban planning becomes urban art.

The most important, universal property of the ensemble is the unity of artistic and figurative expression. The form of the ensemble should have not only signs of unity, but also diversity. Thus, the main principle of the architectural ensemble is diversity within unity.

Groups of structures that are naturally organized according to functional, technical-constructive and formal-aesthetic characteristics, but do not have artistic imagery, are called complexes. The complex can be purposefully formed and harmonious, but it does not carry ideological content embodied in an artistic image.

The difference between a complex and an ensemble is not in the type of organization but in quality. Thus, many residential neighborhoods have a good functional organization and a certain level of aesthetic value, but do not have artistic imagery. They are classified as complexes.

The ensemble not only unites a group of structures and organized spaces, but also extends its influence outward, beyond its physical boundaries.

Ensembles, naturally placed on the territory, can subordinate it all to their artistic and figurative influence. Then a large part of the city or even the entire city begins to be perceived as an integrity that has the characteristics of an ensemble. An example is the historical core of St. Petersburg, which includes the mainland between the Neva and the Fontanka River, the eastern part of Vasilyevsky Island, southern part Petrograd side.

Architectural ensembles do not exist in isolation; they are always part of a larger spatial system (urban area or city as a whole) and exist as parts of this system.

The spatial structure of the ensemble, on the basis of which the image is formed, is determined by the function. Semes are distinguished: linear, deployed along the main direction of movement of the human masses; closed, creating a frame for the concentration of people and activities, a kind of hall under open air; open, in which the space seems to “flow around” the main building or group of buildings freely standing in the middle. In addition to the above, an architectural ensemble can be formed as a system of interconnected spaces, as if “flowing” into one another.

Ensembles with a linear spatial structure have become important for centers modern cities, which are characterized by dynamic activity. The lines of movement along which the various functions extend become the basis of the structure; such ensembles, as a rule, are created open for further growth, meeting the increasing needs of the urban organism (Krasnoyarsky worker ave., Krasnoyarsk).

The main properties of a closed spatial structure are the absence of end-to-end perspectives, the integrity of the undivided main space of the ensemble, and the organization of passages along its sides. In modern practice, powerful traffic flows make it difficult to create closed structures. The areas built up along the perimeter sometimes turn out to be so vast that they are no longer perceived as closed. It is possible to achieve closed space if the passages are moved outside and the area is formed as a pedestrian island, “washed” by traffic flows. A similar character is typical for shopping and cultural centers in some cities. Western Europe and the USA.

The third type of structure is open, in which a single space “flows around” volumes freely placed in the middle of it. The basis of the aesthetic effect of closed structures is determined by the relationship between space and the surfaces that limit it; in open compositions formed by freely placed volumes, the aesthetic effect is determined by the relationship between volumes and their shape.

Systems of interconnected spaces usually underlie the composition of modern residential complexes. Each part of such an ensemble is perceived in visual connection with its neighbors, in unity with them. However, the entire system, as a rule, cannot be perceived from one point of view. The idea of ​​the composition as a whole is formed gradually, from successively accumulated impressions that arise when moving through the complex. Connections between parts are expressed in cross-cutting perspectives. Buildings that limit space are perceived in their volume. The organization of form must obey the laws of perception of space, volume and plane in their interaction.

Architectural ensemble architectural ensemble

(from the French ensemble - a collection), a number of structures forming a harmonious whole, i.e. subordinate to a single rhythm, placed taking into account certain points of viewer perception, scaled and proportionally correlated with each other and forming a balanced composition. The ensemble can be built both on the principle of symmetry ( Versailles, 17th–18th centuries) and asymmetry (Athenian Acropolis, 5th century BC BC), to unite buildings of the same era and style (Smolny Monastery in St. Petersburg in the style baroque, B.F. Rastrelli, 1748-54) or different styles (Novodevichy Convent in Moscow, 16th–17th centuries).

Main types of ensembles: city square ensemble; ensemble of the main building (palace, public) and adjacent wings; palace and park ensemble.
In the ensemble of the square of St. Peter's Cathedral in Rome (1656-65), D. L. Bernini closed the space on the sides with semicircles of colonnades, which echo the columns on the facade of the cathedral, their frequent rhythm seems to urge the visitor to the entrance to the temple. The space of the square took on the shape of a trapezoid, which created the effect of reverse perspective; the temple seemed to be approaching the viewer. Its dominance in the space of the square is emphasized in every possible way. The movement to the entrance develops along the central planning axis: from the street leading to the square, through its center, marked by an obelisk, to the stairs and portico of the main entrance, above which the gigantic dome of the cathedral rises. The ensembles of Red Square in Moscow and Palace Square in St. Petersburg combine buildings of different periods and styles into a harmonious whole. The buildings in the square of the Italian city of Pisa (cathedral, bell tower and baptistery, 12–14 centuries), decorated with arched galleries with thin columns, are designed in the same Romanesque style.

The ensemble of the Admiralty building in St. Petersburg (A.D. Zakharov, 1806-23) is located on the Neva embankment. The extended facade is formed by central and side buildings, united by links connecting them. The subordination of the side parts to the center is emphasized by the rise of the tower with a high spire, placed above the massive center of the building with a high semicircular arch.
In palace and park ensembles (Pavlovsk, Tsarskoe Selo, Peterhof near St. Petersburg, Sans Souci in France, Katsura in Japan) the forms of buildings and “green architecture” - the design of the natural environment (trees, lawns, alleys, etc.) correspond to each other in figurative structure, presenting harmonious pictures from certain vantage points. An important role in aesthetic perception palace and park ensemble, in understanding its figurative content, the viewer’s movement in space and the change of visual impressions play a role.
Of great importance in the architectural ensemble is the artistic organization of the adjacent space and the interaction of buildings with it. Medieval squares in Europe are closed complexes, while monuments of ancient Russian architecture (Kolomenskoye, 16th–17th centuries) and ensembles of the Baroque era open outward, actively interacting with the surrounding landscape. Thus, three rays of wide avenues go from the main facade of the Palace of Versailles into a vast park, three streets run away from Piazza del Popolo in Rome, the perspective of the main canal of Peterhof ends with a view of the sea. An important role in the architectural ensemble can be played by sculpture and architecture of small forms (gazebos, pavilions), as well as fountains (the fountain in Piazza Navona in Rome, D. L. Bernini, 1647-52; fountains of Peterhof, 18–19 centuries), green spaces, lawns and flower beds.

(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)

See what an “architectural ensemble” is in other dictionaries:

architectural ensemble- A group of structures united with each other and with the environment into a common artistic composition, perceived as a single whole [Terminological dictionary of construction in 12 languages ​​(VNIIIS Gosstroy USSR)] EN architectural ensemble DE... ... Technical Translator's Guide

A group of structures united with each other and with the environment into a common artistic composition, perceived as a single whole (Bulgarian language; Български) architectural ensemble (Czech language; Čeština) architektonický soubor ( German; … Construction dictionary

Architectural ensemble- (from the French ensemble together, at once, totality, harmonious whole) harmonious unity of buildings or structures, connections. unity of facades, style, time or place of construction. M. b. deliberately created or developed during the process of evolution. In Europe… … Russian humanitarian encyclopedic dictionary

See architectural ensemble. (Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.) ... Art encyclopedia

- (French ensemble together). 1) correspondence, proportionality of parts among themselves and in relation to the whole, general appearance, harmony. 2) in music: the combination of instruments and voices in the performance of a musical composition; slender, precise and consistent... ... Dictionary of foreign words of the Russian language

Ensemble (French ensemble, a harmonious whole). Wiktionary has an entry for "ensemble" ... Wikipedia

Ensemble of St. Isaac's Square ( Saint Petersburg) ... Wikipedia

Modern encyclopedia

ENSEMBLE, ensemble, men. (French ensemble). 1. Harmonious unification, coherence of all parts of some whole (book). Architectural ensemble. 2. Artistically coordinated, friendly performance by all artists of a dramatic or... ... Dictionary Ushakova

Ensemble- (French ensemble, a harmonious whole), 1) mutual consistency, a harmonious combination of parts that form a whole (for example, an architectural ensemble). 2) In performing arts, the artistic consistency of all... ... Illustrated Encyclopedic Dictionary

Books

• Architectural ensemble of the Savior-St Andronicus monastery, N. Merzlyutina. The release of the album is timed to coincide with the 70th anniversary of the founding of the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev. The publication opens a series that will be dedicated to the unique museum…