Authors

Dormidontova Victoria V., Trofimova Ekaterina A., Ignatyeva Sofia D.
Vertical elements in architectural landscaping spaces

Architecton: Proceedings of Higher Education №2 (86) June, 2024

The complex urban setting surrounds a person with different-scale and different-sized volumes and spaces, which form a human environment, friendly and comfortable or antagonistic and uncomfortable. The most important means of harmonizing the environment is scale – the proportionality of forms to space and people. The achievement of proportionality is facilitated by horizontal and vertical divisions of forms and spaces. Unlike horizontal ones, vertical divisions of spatial architectural and landscape compositions have the ability to dominate in our visual field, rendering them more influential. Using examples from international landscape architecture, such as Grand Canal Square (Ireland), Hashomrim Park (Israel), Solhagaparken (Sweden), Vilnius Plaza (Lithuania), and Zigong Dongxingsi (China), we studied the influence of vertical elements on the visual perception of architectural landscaping spaces and identified their possible functional and aesthetic functions.

Dormidontova Victoria V., Arkharova Anna A., Nedel’nitsina Ekaterina V.
Comparative analysis of architectural and landscape solutions of the Norra Djurgårdsstaden district in Stockholm and the residential complex “Scandinavia” in New Moscow

Architecton: Proceedings of Higher Education №1 (85) March, 2024

The reorganization of industrial clusters, the development of new territories attached to cities is a dynamic process of expansion, development and improvement of urban spaces in modern conditions. This process is typical for both European capitals and the largest cities in Russia. The article provides a comparative description of the architectural and landscape solutions of the implemented projects of development and improvement of the North Jurgardstaden district in Stockholm (Sweden) and the residential complex “Scandinavia” in New Moscow (Russia). Similar climatic conditions of the two capitals, the presence of complex terrain and water bodies in the built-up areas made it possible to study the techniques of the so-called Scandinavian "style" on the basis of architectural and landscape analysis of these urban quarters. The study of the functional organization, architectural and landscape solutions, spatial and coloristic expressiveness of the North Jurgardstaden district in Stockholm and the Skandinavia residential complex in New Moscow allowed us to critically evaluate the copying of design solutions without taking into account the specifics, urban context and scale of a specific territory.

Dormidontova Victoria V.
MINIMALISM IN LANDSCAPE AND GARDENING ART

Architecton: Proceedings of Higher Education №2 (38) June, 2012

At the turn of the 21st century, the functionalist and modernist ideas of the early 20th century
have combined with naturalism, resulting in an exquisite formal expression of the garden
space in minimalism. The new style is successfully spreading across gardens in Europe and
America. The range of compositional methods available in this style makes it possible to lay
out both small residence gardens and monumental multifunctional urban spaces.
The works of Andrea Cochran demonstrate high artistic control of the material. The model
garden experiences of G. Guevrekian and M. Ruys in the early 20th century has been enriched
with installations by M. Schwartz and Ch. Breadly-Hole. Whereas the works of Schwartz
present a continuation and development of American modernism, Ch. Breadly-Hole channelled
traditional naturalistic British garden design into minimalism. French gardens, too, have
simple plans resembling suprematist works. However, their spaces are filled with a lot of elements
with artistic features that are not always in harmony, and materials are passive compositionally
and emotionally. In Germany, the new style found wide use in urban landscape
design: plazas, squares, riverbanks, and courtyards of office buildings and hotels.
Compositional analysis, covering a broad range of gardens created in different countries and
in different manners, scales, tones and decorative arrangements, has allowed the author to
ident i fy the compositional techniques of the style. The garden and park compositions of the
turn of the 21st century present a new type of space – without any axes and hierarchy of centres
or visual systemic organization of traffic. These open balanced spaces rest on contrasting
combinations of simple geometric shapes (square, circle, triangle, line, point) and linear
diagonal elements. Their compositions demonstrate references to and build on modernist
graphic and architectural works of the 1920-1930s.

Dormidontova Victoria V.
STAGES IN THE EVOLUTION OF 21st CENTURY GARDEN

Architecton: Proceedings of Higher Education №1 (37) March, 2012

In national textbooks, the history of art styles since the mid-19th century is being replaced with history of functional and typological development of landscape architecture. Late 20th – early 21st century projects described in solitary articles in periodicals are perceived as void of a historical context and compositional continuity and do not provide an integral stylistic characteristic of the present time. Foreign landscape and gardening art historians consider developments in the history of landscape architecture at the turn of the 21st century and explore, in parallel, the phenomena of searching for new forms of garden such as naturalism, Arts and Crafts gardens, modernism, postmodernism, minimalism, and hi-tech.

This article characterizes the chronological period under consideration as an inter-style space when a new style, just emerging and trying itself out in different forms, and the old outgoing style seeking renewal coexist in parallel. Style emergence and fading processes are gradual and long term, exceeding, as a rule, the bounds of one century. Postmodernism, inheriting eclecticism, is defined as the fading line. Modernism, minimalism and hi-tech are considered as different sides and stages in the evolution of the new style.

Literature review and field studies of gardens reveal three stages in the evolution of the new style. At the 1st stage, in the 1920-1930s, the influence of abstract painting defined a garden lay-out that was free from axes and symmetry and was based on dynamic arrangements of simple geometric shapes and planes. At the 2nd stage, in the 1930-1940s, an open, freely flowing space was born, which embodied the new concept of architecture put forward by Frank Lloyd Wright and Mies van der Rohe. At the 3rd stage, in the 1940-1980s, techniques were developed for decorating the architectural space of a garden by taking advantage of the best expressive properties of a material – planting, cobbling, etc. The new style thus reached its fully developed form.