Автор текста:
М. Н. Гурари
Архитектор:
Мастерская:
Есть некоторая общность этих двух объектов, назначенных доминировать в историческом центре. В облике обоих закреплена уже намечавшаяся смена архитектурной стилистики, отразившая, по-своему, поворот направленности на тот момент государственно-идеологической политики. Возможно, излишняя декларативность этих преобразований в архитектурном решении в некоторой степени определила недостаточно высокий уровень архитектуры обоих зданий.
Возведение Дворца, прозванного «кафедральным собором Коминтерна», после войны не возобновилось, сам Коминтерн распустили еще в 1943 г. Однако в проекте «сталинских высоток» Дворец Советов сохранен как некий идеал. В реальной жизни утопический Дворец как бы разделился на семь высотных построек - коллективный монумент Победы в Великой Отечественной войне – но с меньшими габаритами, со ступенчатыми силуэтами и выразительными навершиями. «Семь сестер» закрепили ландшафтно-градостроительные узлы выросшей Москвы, три из них встали на кольце Земляного вала, акцентируя центральное расположение Кремля. В сочетании новейших конструктивных решений с историческими элементами фасадов своеобразно отражены общие проблемы поиска дальнейшего пути. Эта ре-эволюция завершилась восстановлением храма Христа Спасителя. Так само время возродило композиционное и духовное главенство исторического центра столицы, теперь поддержанное «сталинскими высотками».
Palace of Soviets and its role in Moscow city planning evolution.
The dominance of the Kremlin and Red Square in the urban ensemble of Moscow began to weaken towards the end of the ninenteenth century. Objects of the Kremlin and Red Square were still visible from the river valleys and central streets, but new buildings erected at elevated levels of the periphery invaded the city panoramas, and high-rise buildings also grew inside the White City. The new dominant was the Cathedral of Christ the Savior, more than 100 m high; its large-scale dome was visible from afar. The Palace of Soviets, replacing the temple, was supposed to strengthen the dominance, saturating the sacred space of the capital with new meanings in accordance with Berdyaev's formula of the ‘Third Rome – Third International’. In the competition projects of the palace made by B. Iofan, a gradual movement from a spread-out group of buildings to a compact tiered volume with a height of 200 m can be observed. Then, the co-authors V. Schuko and V. Gelfreich, appointed by B. Iofan, hastily erect a monument to Lenin on the top. The crosses over the temple, which consecrated the vastness of Moscow, were replaced with a giant pagan statue. According to the General Plan of 1935, that product of collective creativity, a hybrid of a hall and a monument with a total height of more than 400 m, would become the absolute dominant of the capital. The volume of the Palace of Soviets, a reminiscent of New York skyscrapers, was close, oddly enough, to the architectural tradition of Russian tower churches, of course, without its exaggeration.
There is some commonality between these two objects, designated to dominate in the historic centre. In the outlook of the both buildings, the already outlined change in architectural style was fixed, reflecting, in a certain way, a turn to the state-ideological policy of that time. Perhaps, the excessive declarative character of those transformations in the architectural solutions determined to some extent the insufficiently high level of architecture of the both buildings.
The construction of the Palace, nicknamed ‘the cathedral of the Comintern’, did not resume after the WWII, the Comintern itself was dismissed in 1943. However, in the project of the ‘Stalin's skyscrapers’ the Palace of Soviets was preserved as a certain paragon. In the real life, the Utopian Palace seemed to be divided into seven high-rise buildings – a collective monument to the Victory in the Great Patriotic War (WWII) – but in smaller scale, with stepped silhouettes and expressive tops. The ‘Seven Sisters’ secured the landscape and town-planning units of the grown Moscow, three of them stood on the ring of the Zemlyanoy Val, accentuating the central location of the Kremlin. In a combination of the latest design solutions with historical elements of the façades, the general problems of finding a further path are uniquely reflected. The re-evolution ended with the restoration of the Cathedral of Christ the Savior. This is how time itself revived the compositional and spiritual supremacy of the historical centre of the capital, now supported by the ‘Stalin’s skyscrapers’.
Архитектор:
Мастерская:
Похожие статьи
Технологии и материалы
Сейчас на главной
«Афиша Daily» поговорила с автором проекта Софьей Веренниковой и выяснила, что проект храма — «бумажный», его цель привлечь внимание к проблеме застройки Охтинского мыса.
