Tk blueberry. Sinegorye (shopping complex)
"Worker and Collective Farm Girl", the unofficial emblem of the Soviet Union, according to many critics -the greatest piece of sculpture of the 20th century.
The sculpture was created for the Soviet pavilion at the World Exhibition in Paris in 1937.The idea of crowning the Soviet pavilion of the World Exhibition in Paris with a pair of statues"Worker and Collective Farm Woman", made of metal, belongs to the architect B.M. Iofan. Iofan intended to make a sculpture of duralumin, because he thought of the statue in light and light, but not shiny metal. Professor P.N. Lvov is a prominent specialist in metal and ways of its constructive use - he convinced the architect to use stainless chromium-nickel steel, connected not with rivets, but by welding.sculpture "David" by Michelangelo, and this experiment turned out to be very successful, although, as notedIofan, all the sculptors were skeptical at first.
B. Iofan wrote that while working on the competition project, he "very soon had an image ... of sculpture, a young man and a girl,personifying the masters of the Soviet land - the working class and the collective farm peasantry. They raise high the emblem of the Land of the Soviets - the hammer and sickle.
In the summer of 1936, a closed competition was announced for a statue for the Paris Pavilion.V.A. Andreev, M.G.Manizer, V.I. Mukhina, I.D. Shadr. For direct assistance in sculpting the statue, Vera Ignatievna invited two of her former students from VKhUTEMAS 3.G. Ivanov and N.G. Zelenskaya. The deadline for preparing competitive projects was short - about three months.
Mukhina did not work on the sketch for long, but very intensely. The objects of her search were draperies and the position of the free hands of the worker and collective farmer. She tried to connect the free hands of a man and a woman “within” the group, and put the attributes of the worker in the right hand, and the collective farmer in the left, so that a rather significant spatial gap was obtained between the sickle and the hammer. the level of the legs of the characters,she tried to move them up, depicting them in the form of a banner or banner immediately after the emblem, that is, at the level of the shoulders and heads of the worker and collective farmer.
Mukhina in her project boldly went to change the architectural design. She abandoned the static diagonal composition of the statue and, by introducing a flying scarf and thrown back hands, made this composition dynamic and horizontal; instead of a solid mass of stuck together figures, airiness appeared. In addition, Vera Ignatievna demanded a change in the size of the monument, replacing the original equal size of the statue and the building with the "golden section". All these innovations, unexpected for the architect and the jury, prevented the final decision for a long time
B.M. Iofan conceived the Soviet pavilion as a "triumphant building". V. I. Mukhina wrote that, "having received the project of the pavilion from the architect Iofan, I immediately felt that the group should express, first of all, not the solemn nature of the figures, but the dynamics of our era, that creative an impulse that I see everywhere in our country and which is so dear to me.”
A little more than six months remained before the statue was sent to Paris, and the project still had not been approved. Deputy Chairman of the Council of People's Commissars E.K. Antonov strongly objected to the scarf. Molotov did not like the model without the scarf, but he generally supported Antonov. Finally they asked: "What does the author think?" Vera Ignatievna said that the model without a scarf was simply no good.scarf. On November 11, 1936, V. Mukhina's project was finally approved for execution in the material.
Insanely paced work began: first, the creation of a statue in 1/15 of its natural size, and then its enlargement and transfer to steel at the TsNIIMASH plant. The model in 1/15 was made at home, in Vera Ignatievna's workshop room, in which, despite the height of the ceilings (about 6 m), there was no overhead light, and she was very afraid of unaccounted for angles and lighting effects. One of the former students of V. Mukhina, architect Boris Komarov, organized a test of the daytime lighting of the statue. A small 1/100 model was painted with silver paint and taken to the Planetarium, where the position and height of the sun in Paris was modeled on the apparatus in relation to the orientation of the statue. Since the statue was supposed tolook not only from afar, but also directly from below, from the entrance to the pavilion, many photographs were taken from such "risky" points.
Even before the final approval of the project, the department of metal structures for the construction of the Palace of Soviets received the task to develop the design of the sculptural group. The main frame was manufactured by the Stalmost factory, while the details of the statue and its complete assembly were to be carried out by the TsNIIMASH experimental factory directly in the workshop and in the yard of the factory under the direction of P. N. Lvov. The main supporting frame of the statue is a riveted structure made of thick sheets of low-carbon steel.
It was made in record time - 3 weeks. The weight of the frame is about 48 tons. The shell was hung on the base using an intermediate frame made of angular iron, and was a series of small trusses. 8.5 tons of stainless steel were used for the shell and about 15 tons of steel of various profiles for the intermediate frame. For the engineers who were tasked with building the almost 24-meter statue, this was a completely new undertaking, having no examples in the history of technology.
To start work at the plant, it was supposed to receive a six-meter model from the sculptors and make an increase on it. However, there was not enough time to prepare such a model, and "at one of the very stormy meetings" P.N. Lvov proposed to build a statue using a 15-fold increase. This was a bold and risky proposal, but it gave the sculptors the opportunity to prepare the final model within a month one and a half meters high. The method of 15-fold increase gave only relatively accurate overall dimensions, but the relief of the form suffered greatly. An error of 1-2 millimeters led to large distortions. In general, in the process of making a life-size statue, about 200 thousand coordinate points, and 23 people of technicians and draftsmen participated in this work.
From an engineering point of view, one of the most difficult elements of the composition turned out to be a fluttering scarf held by the collective farmer's hand thrown back. It had a size of about 30 meters, a reach of 10 meters, weighed five and a half tons and had to stay horizontal without any support. Finally, engineers B. Dzerzhkovich and A. Prikhozhan calculated a special frame truss for the scarf, which reliably ensures its free position in space.
When everything was finished, the dimensions of the statue were specified. Its height to the end of the sickle is 23.5 meters, the length of the worker's arm is 8.5 meters, the height of his head is more than 2 meters, the total weight of the statue is almost 75 tons. A few days later, the dismantling of the sculpture began. They packed everything in boxes and covered it with felt. Sculpture with a frame and tools occupied the entire train - twenty-eight cars. In Poland, the train was delayed under the pretext that some boxes might not pass through the tunnel. The engineer Rafael, who accompanied the train, cut off pieces of the statue with an autogenous machine, so that they could be welded in place later.
The assembly of the statue was completed in record time - in just eleven days, instead of the expected twenty-five. On May 1, 1937, she shone in the sun in the sky of Paris. As the statue grew and dressed in a shell, it made more and more impression.
When the exhibition closed, there was a desire in France to leave the monument in Paris, and even the question of raising funds to buy it from the Soviet government was raised. But it was already decided to dismantle the statue and transport it to Moscow. A team of workers and engineers was sent for dismantling, who did not know the complex specifics of the sculpture. The statue was cut into pieces by an autogenous machine and dumped on platforms. Only the heads and the male hand of the statue reached Moscow without damage. However, success and publicThe resonance of the “Worker and Collective Farm Woman” was so great that a decision was made to install a statue at the entrance to the All-Union Agricultural Exhibition that opened in 1938.
In Moscow, it was restored from thicker steel sheets (up to 2 mm) and mounted on a much lower pedestal in front of the Northern entrance to the All-Union Agricultural Exhibition (the layout of the square and the monument was carried out by architects N. Bykova and I. Taranov). The original design of the pedestal, which repeated the 34-meter tower of the pavilion, was hastily replaced with a low one,11 meters, that is, 3 times lower than the pylon of the Paris Pavilion.
It should be noted that Mukhina and Iofan considered the option of raising the sculptural group to a higher pedestal or the restored Paris Pavilion. When placing the sculpture in front of the entrance to the All-Union Agricultural Exhibition, a unique urban planning situation was created, which made it possible to emphasize the plastic, silhouette and symbolic characteristics of the sculptural group to a large extent. The monument was placed on the axis of the main entrance to the All-Union Agricultural Exhibition and was perceived against the backdrop of open, undeveloped space and greenery, without including the background urban development, in addition, it was delegated the role of one of the main exhibits of the All-Union Agricultural Exhibition.
But over time, the situation has changed. In the 1950s The northern entrance lost its status as the main one, in the 1970s. the Montreal pavilion was installed behind the sculpture, from the 2nd floor. 20th century the territories surrounding VDNKh are covered by a wave of industrial housing construction. Finally, at the turn of the 20th - 21st centuries, the perception of the sculptural group turned out to be distorted due to the construction of an overpass along the highway of Prospekt Mira. In 2003-2005, a monorail line passed along the Longitudinal passage transport system visually separating the space of the exhibition complex and the location of the monument.
In October 2003, the "Worker and Kolkhoz Woman" were dismantled for repair and restoration work, dismantled first into 17 parts, then into forty. Restoration of this level is carried out for the first time. Then it was intendedrestored and returned to its place at the end of 2005, however, due to problems withfunding, the completion of the restoration is constantly pushed back.
In June 2009, information appeared in the media that the sculpture "Worker and Collective Farm Woman" by Vera Mukhina would be returned to its original place at the All-Russian Exhibition by December 5th.
“The work is proceeding in accordance with the decision of the Moscow government. We will try to erect the monument by December 5, Constitution Day. I think it's possible," the mayor of Moscow said.
According to the new project, the height of the pavilion-pedestal will be 34.5 meters. Construction work began in April 2009. Currently in place of the futurepedestal builders erect foundation. When creating the article, materials from the site were used archnadzor.ru
The complex is located on Railway station square Chelyabinsk. From this place begins acquaintance with the city. Nearby is the building of the railway station, platform, the largest road junction of the city, exit to federal highways, terminus public transport in all directions.
Parking is located on the Station Square.
Services in TC "Sinegorye":
branch of Chelyabinvestbank
terminal for receiving payments through the "City" system
ATM "Chelyabinvestbank"
ATM and terminal for receiving payments "Sberbank"
pharmacy
studio
pawnshop
Cafe
sale of tickets at the City entertainment box office,
copy services
instant photo
ear piercing
gift wrapping
Production of keys
production of seals and stamps
repair and manufacture of jewelry
watch repair
cell phone repair
Shoe repair
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