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does not tear and glides instead but does not disappear. He continues an endless conversation of the ornament from the plans of the building to the facades, from the facades swirling inward in a stormy stream of associations and images and telling the story of people who built a fairy tale for themselves who became part of this story for good, connecting their world with a huge world through their home established by their own "I" among others (Fig. 10).

Conclusion. At the moment, we should distinguish between the concepts of “artistic interior design”, decorating an already existing space, i.e. what we call “decorating” an interior, which allows us to focus on the image and basic idea of a space already formed by the artist, and “renovation”, which, in fact, implies the concept of "interior design". “By the middle of the twentieth century, the housing construction in the United States was moving to the methods of automobile production and was beginning to break away from architecture. The science of the rational plan of the home begins to be designed, which contradicts what is commonly referred to as architecture (in the sense of the classical form) and detached from it” [1], i. e., the functional construction of space with maximum ergonomics and convenience, with no unnecessary decorative details and without any whatsoever. The twentieth century with its modernist and postmodern trends was practically able to convince the mankind of the growing need to live under concrete ceilings, among white walls interspersed with “primrose”, and use furniture of an absolutely primitive silhouette, i.e., a silhouette, but not a design. It is beautiful, indisputable, elegant, if performed at a high professional level, infinitely expensive (since it is unrealistic to track the costs of polishing metal, concrete or wood, it is impossible to understand the cost of manufacturing the item, and combine the “primitives” and the basic colors, creating the so-called color-units, it is difficult without the highest level of processing and a piercing eye for combinations).

A revolution always devours its children. The economy took over, and here we are –– a miracle! –– minimalist pieces of furniture and interior details soon equaled in value with the Raphael paintings. There are two problems emerging: first, without genuine art objects such interiors are dead and reveal nothing meaningful about whoever owned them (they are just an impersonal owner of square meters) neither in a social, nor in a psychological sense; secondly, the best and greatest manifestations of modernist and postmodern interiors is an invariably clearly traceable structure of the ornament which comes from the Art Nouveau era and entered it from more archaic periods of the art history.

A combination and balance of a spot and a straight line is brought to the point of the highest pure, ringing expressiveness. In other words, the pendulum swung in the opposite direction: in

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the near future we will finally enjoy the subtle tints of color on the surfaces created by craftsmanship in a single copy for a unique customer, and then we will not have to come up with a story created and living in space, decorate the staging scenes and bring "for the time being" "for camera" someone else's furniture, vases and paintings.

The outer and inner shells will finally begin to live in harmony and the customer and the owner will finally be able to see their outer world through the prism of their interior every day and not on camera (Fig. 11).

Fig. 11. Private interior. Author L. Podolskaya. Photo by Ye. Luchin. Artwork by L. Podolskaya, 2019

The interior will no longer be a shell, art objects will become the protagonist (does anyone remember whar Rafael's rooms “stanzas” look like without his paintings?), part of daily life, expressing the essence of a person, giving them joy of possessing, contemplating and comprehending art. In the impending era of metamodern, in our increasingly diffuse society, owning something completely unique will become the highest value and almost the only anchor of the inner world.

References

1.Burov A. K. Ob arkhitekture [About architecture]. Moscow, Stroiizdat Publ., 1960, pp. 16, 18––148.

2.Burov A. K. Pis'ma. Dnevniki. Besedy s aspirantami. Suzhdeniya sovremennikov. Seriya — Mir khudozhnika [Letters. Diaries. Conversations with graduate students. Judgments of contemporaries. Series –– Artist's World]. Moscow, Iskusstvo Publ., 1980. 297 p.

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3.Podol'skaya L. V. Rol' i mesto ornamenta v kompozitsii fasadov i inter'erov chastnykh rezidentsii na primere osobnyaka S. P. Ryabushinskogo [The role and place of ornament in the composition of facades and interiors of private residences on the example of the mansion S. P. Ryabushinsky]. Nauchnyi zhurnal stroitel'stva i arkhitektury, 2019, no. 2 (54), pp. 145––148.

4.Podol'skaya L. V., Ryabova O. V., Berezin I. O. Obosnovanie zatrat i arkhitekturno-khudozhestvennaya kontseptsiya realizatsii proekta skorostnogo rel'sovogo transporta v g. Voronezhe [Cost justification and architectural and artistic concept of the project of high-speed rail transport in Voronezh]. Nauchnyi zhurnal stroitel'stva i arkhitektury, 2019, no. 2 (54), pp. 169––180.

5.Pace Anthony. The Hal Saflieni Hypogeum. Paola. Malta, Heritage Books, 2004.

6.Nizovskii A. Yu. Velichaishie chudesa sveta. Entsiklopedicheskii spravochnik [The greatest wonders of the world. Encyclopedic reference book]. Moscow, Veche Publ., 2007, pp. 5––8.

7.Paul Rainbird. The Archaeology of Islands. Cambridge University Press, 2007, pp. 73––74.

8.Official website of Villa Maison bulle. Available at: https://www.palaisbulles.com/explorer.php.

9.De Botton Alen. Arkhitektura schast'ya. Kak obustroit' zhiznennoe prostranstvo [The architecture of happiness. How to arrange a living space]. Moscow, KlassikaХХI Publ., 2013, 240 p.

10.Borisova E. A., Sternin G. Yu. Russkii modern. Al'bom [Russian art Nouveau. Album]. Moscow, Sovetskii khudozhnik Publ., 1990. 360 p.

11.Kirichenko E. I. Problemy razvitiya russkoi arkhitektury serediny XIX — nachala XX v. Avtoref. diss. d-ra iskusstvovedeniya [Problems of development of Russian architecture of the mid-XIX –– early XX century. Dr. of art criticism diss.]. Moscow, 1989. 61 p.

12.Nikolaeva S. I. Estetika simvola v arkhitekture russkogo moderna [Aesthetics of the symbol in Russian modern architecture]. Moscow, Direktmedia Publ., 2003.

13.Sarab'yanov D. V. Modern. Istoriya stilya [Nouveau. The history of the style]. Moscow, Galart Publ., 2001.

14.Lifar' Sergei. Dyagilev. S Dyagilevym [Lifar Sergei. Diaghilev. With Diaghilev]. Moscow, AST Publ., 2018.

15.Ikonnikov A. V. Funktsiya, forma, obraz v arkhitekture [Function, form, image in architecture]. Moscow, Stroiizdat Publ., 1986.

16.Vseobshchaya istoriya iskusstv: v 6 t. Tom II: Iskusstvo Srednikh vekov [General history of art: in 6 vol. Vol. II: Art of the Middle ages]. Moscow, Iskusstvo Publ., 1956––1966.

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CITY PLANNING,PLANNING OF VILLAGE SETTLEMENTS

DOI10.25987/VSTU.2019.44.4.009

UDC712.00.01.03.2

T. I. Grosheva 1

THEORETICAL FOUNDATIONS AND PRACTICE OF RECONSTRUCTION

OF LANDSCAPE-RECREATIONAL SPACES

Voronezh State Technical University 1

Russia, Voronezh

1 Lecturer of the Dept. of Fundamentals of Designing and Architectural Graphics, e-mail: tfs007@mail.ru

Statement of the problem. A systematic approach to the problem of reconstruction of public recreational spaces as one of the main elements of urban form allows one to define and justify the scientific value of this specific and place and under-studied type of activities to harmonize the relationship and mutual influence of the population and its recreational environment. In today's world, new technologies and automated processes any space is complete provided there are four processes occurring, i. e. industrial, household, recreational and communicative. The aim of the study is to identify the relationship between these processes taking place in landscape-recreational spaces and choice of techniques and methods using the specific project examples.

Results. The algorithm of designing a functional model, which is essentially a formalized theory of investigating an object of a landscape-recreation space is developed.

Conclusions. The relationship and mutual influence between the processes occurring in landscaperecreational spaces and their components, the application of a system of methods and techniques of forming an artificial (architectural) environment of landscape recreation are the prerequisites for sustainability of a landscape-recreation space as a demoecosystem.

Keywords: landscape-recreation space, systemic approach, system analysis, demoecosystem, model, method.

Introduction. The logic operating the society these days calls for the development of new approaches, methods, methodologies for thedesign ofdemo-ecosystems,i.e.,objectsofanewdirec- tion in urban development, to demo-ecology as an activity to harmonize the interconnection and mutual influence of the population and its surrounding architectural and natural environment.

There have been some theoretical developments to confirm that the object architects’ and urban planners’ job is not technical environment (artificial) but the ecological system critically

© Grosheva Т. I., 2019

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defined by population (individual), i.e. a certain number of citizens united by a range of factors (socio-economic, socio-cultural, etc.) [15].

Landscape and recreational spaces (LRS) of the city of Voronezh as a subsystem of landscape recreation in the last few years have undergone major reconstruction. The application of a systematic approach and analysis in the study of LRS with the identification of the major components and the relationships between them as well as the determination of critical factors at different time intervals enables one on the one hand, to systematize data on the existing historical and cultural heritage of preserved historical landscape complexes, to evaluate the possibilities of their preservation, to provide recommendations for their subsequent use, on the other hand to develop an ontological (essential) model of LRS as a form of organization of a specific demo-ecosystem that would be viable and sufficient for modern conditions [4, 7, 11]. Knowledge of the topic is determined by studies of urban environment mostly dealing with analysis of processes in public spaces (A. L. Gelfond, A. E. Gutnov, Ya. Gale, V. L. Glazychev, A. V. Krasheninnikov, etc.). Issues regarding architectural and urban typology of public spaces are addressed in the works of A. L. Gelfond, N. N. Shesternev, O. Yu. Leptyukhov, L. Ya. Herzberg, Ye. A. Wagner. Obviously, studies of interdependence of ecological foundations and systemic principles of integrity of public urban spaces (e.g., see G. I. Lavrik, N. A. Vasilenko, V. A. Nefedov, J. Clement) do not suffice.

The "portfolio" of necessary research into architectural and urban planning theory was supplemented by another fundamental problem which is creation of scientific foundations of a systematic approach and analysis in research, design and prediction of architectural and urban development objects, i. e.: 1) need to uniquely determine the essence of the object of architectural activity as a system; 2) determination of systemic methodological principles of research and design of architectural objects; 3) development of functional models and algorithms for tackling research and design problems from the perspective of OTC [8].

All of these are applicable to analysis of design proposals on reconstruction of some landscape recreation facilities (LRS of the city of Voronezh).

1. The Concept of "Literary Square" in Childre’s Square in Voronezh (Fig. 1, 2), or rather, two architectural concepts and a design proposal.

But if it were not for the author’s approach indicated on the opening pages, it would be rather challenging to tell the concept from the project proposal as the former did not sufficiently reflect the innovative “conceptual” attitude to design while the latter has little specificity and elaboration which is fundamental for this particular project. Uncertainty as to what exactly constitutes a concept may have caused a fairly standard approach to designing the literary

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square. In general, in all of the three proposals a multifunctional public space with a mandatory set of functional zones and elements was designed. If some literary allusions are substituted by a different set of elements, what we get is a Russian space or art park or something else which is equally conditional caused by an urge to provide the object being designed with some content using some formal decoration.

Fig. 1. Children’s Square in the city of Voronezh (courtesy of the Head Architect of Voronezh)

It is also common to have the urge to make use of the existing compositional structure as a framework for the scenario organization of the space in question. In the case of a formal approach in conceptual design, this cannot be interpreted either as a advantage or a flaw.

9. Bunin Square. 10. Marshak Street.

11. Platonov Street. 12. Nikitin Street.

13. Koltsov Square. 14. Krylov Street.

15. Troyepolskiy Street. 16. Korablikov Street.

17. 12 Months Merry-Go-Around.

Wheelchair access

Fig. 2. Scheme of a general plan (courtesy of the Head Architect of Voronezh)

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A possible advantage of all the projects is the universality of the designed space as monoconceptions increase the likelihood of surviving in modern reality only provided that very bright, self-sufficient, relevant ideas and bases are employed.

Thus, it should be noted that since at the beginning of the work there have not been a really inspiringly striking idea that would lay the foundation of the concept, formal attempts to give a “literary character” to the public garden could discredit the whole undertaking as a whole. For instance, what about those attempts to connect the writers of the Voronezh land with the theme of the Russian village (Fig. 3)? A brief explanatory note to the concept reads “... The conceptual level of the public garden was based on the most popular topic in the works of these writers, i.e., the theme of the Russian village, as well as the fabulousness of the works by Marshak. The task of the design solution was to convey the atmosphere of such a village with its fields and birch groves, its originality, simplicity and sincerity in a refreshingly modern manner. The romantic trends of prose and poetry of Voronezh-born writers are also reflected in the layout and landscape solutions of the square ... ”.

Associative emotional component of the Voronezh writers’ literary work

Modern interpretation

Fig. 3. Association row (competition entries are courtesy of the Head Engineer of Voronezh)

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The refined European I. A. Bunin, who, was always regarded as a very biased writer for the Russian countryside even by benevolent Russian critics. A. P. Platonov, whose most famous novel, “The Pit,” is an anti-utopia telling a story of the death of illusions and even more so, that of the Russian village. S. Ya. Marshak, who might even have seen the Russian village, did so from the veranda of his summer house in a writers’ village. The writers V. A. Korablinov and G. N. Troepolsky cannot be called masters of village prose either. It should be noted here that rye as an element of landscape design (the one that grows in winter or spring) is a technique that rather simplifies the work with such a direct reminiscence (Fig. 4).

What nobody will be able to guess is the shape of the spinning wheel in the construction of the gazebo (a shadow canopy) which again indicates a formal approach to the search for design forms (Fig. 5). This is common for a student’s work when the teacher requires an imaginative approach to design and the former fails to understand what exactly is asked of him. Apparently, this also accounts for the use of birch trees, a cliche that is as commonplace as replicated. For Voronezh, a city with one million people, that potentially fits into the paradigm of the modern metropolis, the use of such provincial template techniques is unacceptable.

The two remaining proposals seem to look more relevant (Figs. 6–7, 8).

The main idea of the proposed concepts is to design a universal public space that would cater for a maximum set of needs of a modern urban resident of any age and social status.

The zoning of the territory of the Literary Square relied on the existing layout of terraces and alleys leading to the city Palace of Children and Youth.

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It is proposed that the authors of the concept fill the central alley with a navigation function. Once they enter the alley, a visitor will find themselves in a bright multi-colored square where each color denotes a certain functional of the park space and directs to a corresponding level of the terrace.

Fig. 8. Scheme of functional zoning, general view

(courtesy of the Architecture and Urban Planning Department of the Voronezh Region)

Functionally five main zones can be distinguished in the Literary Square:

–– recreation area which includes a literary cafe (with the possibility of organizing entrances from three different levels) and open multipurpose areas;

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––a public communication zone that is proposed to house an amphitheater for holding various educational and discussion events with the possibility of transforming it in the evening into an open-air cinema theatre, as well as two concert venues which in line with the spirit of the Literary Square will become a place of creative sales of young poets, writers, musicians;

––an open reading zone is designed in a way to provide the most comfortable conditions for immersion in the "world of books." Separate “reading boxes” serve not only as a place for reading, but also as an indoor space for book exchange and storage;

––children's development zone is a universal platform, mainly a interactive development of children, consistent artistic and cultural education through game-playing. For this purpose, a large children's playground with modern gaming complexes and multimedia panels with the Internet access is provided;

––trade and exhibition zone –– depending on the scenario, it can be a platform for regular book fairs and for various creative exhibitions.

Although the use of colored navigation strips in paving is a technique which is more suitable for shopping centers with their rigid “paternalistic” structure rather than for a park space, which implies rest and relaxation. All in all, even though it cannot be said that an integral structurally developed concept has been obtained, one cannot but note some attempts at moving in the right direction. At the very least, one can more accurately formulate those expectations that could lay the foundation for the concept.

The analysis showed the importance of the territory as the most important element of the established urban environment of the center of Voronezh. It is necessary to develop the idea of transforming a “non-working” urban area into a popular public space using the best available practices from domestic and global experience. The main role in the new concept must be assigned to designing a universal, socially motivated space taking into account the interests of different age groups at different times of the year. This is all the more important, since today public spaces are, among other things, a factor in the economic growth of cities and serve to improve the quality of life and update the urban environment.

Due to the multifunctionality, it is necessary to create a place where it is not only pleasant and comfortable to be, i. e., a space of meetings, socializing and relaxation, but also a place that will become one of the city’s attractions, part of touristic itineraries.

In order to implement this idea, it is vital to use the possibilities of the internal (underground) volume of the stylobate which can turn into a public year-round space serving a variety of functions: a children's entertainment and educational center, catering facilities, sports facilities, underground parking. In the external environment, development will carry on as exploi-

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