The American architectural style is a descendant of the old European one. Emigrants from Europe, and primarily from England, brought the architectural trends of their countries to North America, where they were introduced and developed. A feature of this style is, of course, the desire of the early settlers to demonstrate the scale and richness of the house. Hence the feeling of the house as a whole architectural complex.
American architecture is distinguished by spaciousness, symmetry, numerous cascades of roofs, columns, many large windows, often with shutters, sometimes spiers, a high central staircase, horizontal extent, a minimum of relief details, and light plaster as a finish. With all their appearance, these projects of houses and cottages demonstrate the successful life of the owners in new uninhabited lands.
English style
English style is a combination of aristocracy and restraint, refined taste and expensive materials. This architectural style in our country is often determined general term"English style", but in reality it represents two interrelated styles - Georgian and Regency style, the names of which were given by historical eras. In the modern sense, an English house is a mixture of these styles.
They were formed under the influence of mainland Europe, but were rethought here in their own way. Features of the English style: rectangular, symmetrical plan; uniform distribution and size of all windows; brick, sparsely decorated walls; low entrance with portico; medium-height roof slopes; minimal extension of the roof over the walls; five windows on the main façade; paired pipes; pilasters on the sides of the door; doors with panels.
The house in true English style is built exclusively from red brick. The facade of an English house is quite strict and only in rare cases are small decorations allowed. A mandatory attribute is the presence of a lawn and flower beds.
Style F.L. Wright (prairie style)
Born June 8, 1867, Frank Lloyd Wright is the world's greatest architect, most prolific, controversial and inspiring.
Wright disliked the intricate details and fussiness of existing architectural styles. He advocated cleanliness and simplicity of lines, and believed that well-built buildings complement their surroundings.
The prairie style spread to the midwestern United States in the late 19th and early 20th centuries. The prairie style is characterized by pronounced and emphasized horizontal lines, flat or hipped roofs with wide overhangs, windows combined into horizontal stripes, and maximum integration of the building into the landscape. The style's name comes from the long horizontal lines that evoke prairie landscapes.
This style is also characterized by minimalist decoration of facades and the central location of the fireplace room as a symbol of the family hearth. Complicating the geometry of the house is achieved with the help of glazed galleries, balconies, parapets and flower beds. The boundary between the interior and the terrace is lost. Places common use look like halls.
Gothic style
Gothic is a period in the development of medieval art, covering almost all areas of material culture and developing in Western, Central and partly Eastern Europe from the 12th to the 15th centuries. Gothic style, mainly manifested itself in the architecture of temples, cathedrals, churches, and monasteries. It developed on the basis of Romanesque, or more precisely, Burgundian architecture. Gothic style is characterized by arches with pointed tops, narrow and high towers and columns, a richly decorated façade with carved details (vimpergi, tympanums, archivolts) and multi-color stained glass lancet windows. All style elements emphasize verticality. The neo-Gothic architectural style is characterized by adapted Gothic elements: pointed arches, high elongated pediments, towers with light-frame construction, internal columns, high narrow windows with traditional frames.
European style
One of the most popular architectural styles today is European. Based on the architectural traditions of the past, conservative, it harmonizes well with nature.
European-style houses are distinguished by regular geometric shapes, often complicated by bay windows. When designing, as a rule, the shape of a square or close to a square is used.
The base is usually finished with stone or tiles. The roof is made of two or four slopes. Traditionally, red natural tiles were used as roofing, which are now being replaced by metal ones. The door is decorated in a color that contrasts with the color of the walls. Windows are usually small, rectangular or arched. When planning the interior space, much attention is paid to its efficiency, so that everything you need can be placed in a relatively small area.
Italian style
The Italian style in architecture has been formed over the centuries, which largely determines its truly unique character.
The Italian style is sometimes called neo-Renaissance. It originated in England at the beginning of the 19th century. The founder is considered to be the English architect John Nash. The Italian style combined the architectural finds of Italian architects of the 16th century with elements of Palladian and neoclassicalism.
The Italian style in architecture is the choice of people who value quality, tradition and natural beauty. This direction in design and architecture is characterized by the use of natural materials, tradition, comfort and simplicity. Italian-style wood and stone are combined with wrought iron elements. Walls are most often covered decorative plaster and decorate stucco decoration or mosaic.
An Italian-style house is characterized by almost flat roofs with low slopes, barely visible from the ground, brackets supporting the roof eaves, a tower or bell tower, and a belvedere.
Classic style
In architecture, classicism is understood as an architectural style common in Europe in the 18th - early 19th centuries, the main feature of which was an appeal to the forms of ancient architecture. The architecture of classicism is characterized by regularity of layout and clarity of form, symmetrical axial composition, and restraint of decoration.
Classic-style cottages are characterized by strict adherence to the principles of proportionality and harmony. Spatial solutions are laconic, focused on the predominance of rectilinear and clear outlines in the plans with the dominance of symmetrical axial planning systems.
The decoration uses façade plaster, pitched tiled roofs, marble and gypsum for columns and balustrades, iron and cast iron for gratings, balconies and fences.
Despite the advantages of trendy architectural styles, classic motifs remain popular. After all, adherence to the classics is a sign of the thoroughness and subtle taste of the owner of the house.
Minimalism
Minimalism appears in the 60s of the 20th century in the USA. The main idea of minimalism in architecture is the desire to leave only the essentials; each element should perform the maximum number of functions. Characteristic features of minimalism: the greatest possible conciseness, adherence to composition, the use of natural materials, maximum functionality and attention to detail, strict lines and geometry, a single color scheme, attention to lighting design, the use of light colors.
Much attention is paid to the selection of materials and their quality. Priority is given to natural materials such as stone, wood, glass or marble.
Minimalism is widely used in public buildings, offices, shopping centers, and in private homes.
Minimalism is ideal for lovers of simplicity, tranquility and rigor. Minimalist spaces exude calm and quiet. It is a “purified” style, but in turn elegant and innovative in shapes and finishes.
Modern
Art Nouveau was born at the turn of the 20th century. in European architecture as a movement to create the style of its era. Art Nouveau is characterized by the rejection of mandatory symmetrical forms, silhouettes and ornaments that stylize plant shapes in smooth, curving lines. The facades are distinguished by the rounded contours of the openings, the use of gratings from forged metal and glazed ceramics. Particular attention is paid to the design of window openings with ornate patterns of bindings and stained glass windows.
The emergence of the principle of constructing buildings “from the inside out” and, in connection with this, the openness of compositions and diversity of form. The interior forms the core of the house and determines its appearance. In terms of plan, buildings most often tend to be square, with rooms grouped around a hall.
Art Nouveau style develops mainly in the architecture of city mansions and expensive apartment buildings, country villas and summer cottages. Modernism promotes individuality. Just like a century ago, a house in this style provides comfort, coziness and bright, memorable architecture.
German style
A style based on practicality, economy and rationality. This is manifested in everything - in the layout, design, choice of materials and design features. The shape of the houses tends to be square.
Windows in traditional German houses small, rectangular or arched, divided by binding. Windows often have shutters. Frames are usually massive. The doors are made of wood and painted in a color that contrasts with the color of the house wall. The basement part is finished with facing tiles “like natural stone”. There are almost always bay windows or balconies. A bay window is often the highlight of a home. The roof is often gable, but can also be four-sloped. Roof covering - bitumen or metal tiles, shades of red. The features of the layout come down to making the house as economical and rational as possible. German-style houses most often have one or two floors plus an attic. In order to save space, the layout is designed in such a way that the house has a minimum of corridors.
Norwegian style
A Norwegian house is a variant of a Scandinavian style house. The Norwegian house is a continuation of the historical Viking longhouse style. Norwegian houses are elongated, gently sloping houses, most often on one floor, red, brown or black, with natural roofing materials. The hallmark of a Norwegian home is an inversion green roof
The earliest true log houses in Norway and Sweden date back to the 11th century. AD, while in Rus' log houses were known already from the 8th-9th centuries. AD The technology was probably brought by Varangian mercenaries returning from service in Rus'. Later, Russian log house was used in Norway only for non-residential buildings, such as wells, ryazhi, bridge piers, and haylofts for grazing. And already in the 11th century. In Norway, a fundamentally different method of felling is known with a self-jamming lock, which prevents cracks from opening when the tree dries out. Norwegian cutting technique modern form appeared already in the 13th century.
Provence
Provence is one of the historical regions in the south of France. The features of a house in the Provence style are considered to be the sophistication and peculiar romantic tenderness of the external exterior of the house. A special place belongs to details. Such a house has practically no basement and such a house naturally does not have the porch that is familiar to us. garden path It just rests against the front door. The walls of the house must be made of brick or stone. Most often, the walls are covered with light-colored plaster. In some places, the plaster can expose the brick wall, and this gives the house a unique character. Balconies with balustrades can be located on the second floor. The windows on the first floor are narrow and must have blinds. On the second and third floors the windows are larger. The roof is multi-pitched, high, under tiles. The roof is decorated with numerous towers with dormer windows. For a house in Provence style, an important detail is the doors. They must be massive with forged hinges and have a viewing window.
Traditionally, various extensions are added to the house: a summer kitchen, a summer outbuilding or a garage.
Rococo
Rococo - from French. rococo, from fr. rocaille - decorative shell, shell, rocaille). The architectural (decorative) style of Rococo appeared in France (1715-1723) and reached its apogee under Louis XV, moved to other European countries and dominated it until the 1780s. The Rococo style was a continuation of the Baroque style. He did not introduce any new structural elements into the architecture.
Rococo architecture strives to be light, welcoming, and playful. In the creations of this architecture, straight lines and flat surfaces almost disappear; established orders are modified; the columns are sometimes lengthened, sometimes shortened and twisted in a helical manner; their capitals are distorted by coquettish changes, cornices are placed above the cornices; the roofs are surrounded along the edges with balustrades; the pediments represent breaking convex and sunken lines, crowned with vases and sculptural figures. In the frame of windows, doors, walls inside the building, in the lampshades, intricate stucco ornamentation is used, consisting of curls reminiscent of plant leaves, flower garlands and shells.
Russian estate
The first estates appeared in the distant past. Moscow was once also just an estate. Carved facades, classical forms, small turrets, windows with patterns - wooden Russian estates amaze with their beauty.
Skillful artistic wood carving was a characteristic and original decoration of Russian wooden buildings - and this is one of the few traditions that have been preserved among the people to this day. The carving can be relief or through. The top of the roof - the “ridge”, it was often made in the form of a horse’s head, the porch canopy, shutters and window casings - were necessarily decorated. The decoration of the roof was dominated by an animalistic pagan style, dating back to the Scythian nomads. Symbolic animal amulets were depicted, including horses, birds, roosters, and snakes.
The concept of a family nest in a Russian estate acquires great value. Russian style emphasizes the status of the owner of the house, who is proud of his history and origin. A Russian estate is a place of residence, as well as an opportunity to preserve and pass on one’s history, family name and traditions to descendants.
Northern modern
In Russian modernist architecture, the most prominent direction was northern modernism. The style received its main development in St. Petersburg at the beginning of the 20th century under the influence of Swedish architecture, as well as the Finnish architectural school of national romanticism. This was facilitated by economic and cultural ties with the Finnish and Swedish states, where national romanticism was the main movement in art.
Characteristic features of northern modernism are a combination of artificial and natural finishing materials, cladding the building's basement with Finnish granite, covering the upper floors with finishing bricks or textured plaster. The shape of buildings built in the Northern Art Nouveau style is massive and free of small decoration. Rustication, ornaments and bas-reliefs on themes of Russian folklore were widely used. The architectural decor is massive, the color is minimalist, the color scheme is austere in a northern way.
Scandinavian style
The countries of the Scandinavian Peninsula - Sweden, Norway and historically and geographically related Denmark and Finland had similar conditions for the development of architecture.
A Scandinavian house is simple, but by no means primitive, compact, but not cheap. It was created to protect its inhabitants from unpleasant climatic influences and provide them with maximum comfort.
Scandinavian style houses are one- and two-story buildings, laconic and restrained. Traditionally, houses were made of wood that was stained or varnished. The windows in Scandinavian-style houses are quite large, sometimes panoramic. The emphasis is on massive wooden frames. There are no basements or basements in Scandinavian-style houses. The roof is covered with tiles, metal - painted or “natural”, or various polymer materials. It can be either sloped or flat, but sloped is more common. A porch with a wooden staircase and carved railings, or a terrace is usually built in front of the front door.
Modern style
House in modern style implies openness to nature, large spaces, panoramic glazing. In modern style, they are often combined with rooms - for example, a living room with a fireplace, a kitchen with a dining room.
Credo modern architecture inherent in the name itself - this is something that would correspond to today, a fundamental focus on the novelty of architecture, both constructive and planning ideas, and external forms.
Basic principles of modern architecture: the use of the latest building materials and structures, a rational approach to solutions internal spaces(functional approach), lack of decorative tendencies, fundamental rejection of historical elements in the appearance of buildings. The following can be used in finishing facades: facade plaster, facing brick, wood, stone, porcelain stoneware. As a rule, owners of modern-style houses are active, dynamic people who travel a lot and are familiar with different cultures first-hand.
Mediterranean (Mediterranean) style
The Mediterranean includes Greece, Spain, Italy, France, Turkey, Egypt, Morocco and other countries that contributed to the formation of the architectural style called Mediterranean. In this style, you can find miniature houses with tiled roofs, immersed in lush vegetation, and luxurious snow-white villas on the coast.
Such buildings are characterized by plastered walls, flat or low tiled roofs, and the use of terracotta tiles and stone in decoration. The walls can be decorated with ornaments. Balconies and windows are decorated with wrought iron railings. The roof extension is quite large and is decorated with a cornice. The buildings must have large balconies or spacious covered terraces.
A characteristic feature of a Mediterranean house is the presence of a courtyard, a secluded patio, hidden from prying eyes. This technique may be very relevant for Russians who are forced to build country houses almost right next to each other. Functional and practical comfort is created with improvised means, not without ingenuity, adherence to tradition and love of creativity.
Medieval
Castle architecture is born of the Romanesque style, which dominated Europe from about 1000 AD. and before the emergence of Gothic art in the 13th century. The earliest structures copied Roman military camps. The construction of gigantic stone structures began with the Normans, and classical castles appeared in the 12th century.
Castle type country house characterized by large forms, massive and high walls, the presence of balconies, bay windows, terraces and towers, an intricate composition in plan and facade. To decorate the facade of the house, facing brick, stone, and plaster can be used. In houses of this style there are no architectural excesses; noble simplicity creates a feeling of monumentality and stability. The windows have an arched shape, or a rectangular shape, but with an interesting finishing shape. Doors can be of any shape, have many decorative elements - a canopy, a frame made of forging or stucco, stained glass, mosaic. Facades are often asymmetrical. The shape of the roof in such cottages is always complex, since the house often consists of several parts.
Half-timbered
Fachwerk - from the German Fachwerk, Fach - panel, section, Werk - structure. This is one of the oldest building structures, widespread in Europe during the Middle Ages. Such houses were built in different countries, but most of them were in Germany - about 2.5 million.
Half-timbered houses were built everywhere in Germany already in the 12th century. The heyday of the half-timbered style came in the 16th century. Half-timbered buildings were influenced by fashionable architectural trends: Gothic, Baroque, Renaissance.
Half-timbered houses have a hard wooden frame from racks, beams and braces. The space between the wooden beams, called panels, was filled with a mixture of clay and reeds. The panels were then plastered and painted bright hues, and the frame itself of dark beams remained in sight. It was he who divided the facade into separate cells of various shapes and gave the house that unique originality, which became the main architectural feature of the half-timbered style. Wooden beams The designs of half-timbered houses have many different motifs: crosses, figures, flowers, geometric patterns.
High tech
Hi-tech comes from the English hi-tech, from high technology - high technology. This is the architectural and design style of the late 20th - early 21st centuries. The style promotes the aesthetics of the material. The main features of high-tech are the maximum functional use spaces and discreet decor. The style is characterized by swift, straight lines, protruding structural elements, silver-metallic color, and the widespread use of glass, plastic and metal. High-tech refers to ultra-modern styles; it uses designs typical of industrial buildings. The materials used are glass, metal, natural wood.
The style arose from the architecture of industrial premises, where all elements of the furnishings are subject to a functional purpose. At first it was more of an approach to architecture than a specific style. Elements of industrial aesthetics moved into the living space, where they were further developed: a mixture of high technology and constructivism emerged.
The high-tech style is very popular now among people who live with the times and are young at heart.
Chalet
The chalet style originated in Savoy, a province in southeastern France. It has absorbed the rich history of the Alpine mountains and local traditions. Translated from French “chalet” means shawl; warm; and, in fact, a Swiss house in the mountains. Initially, an alpine chalet is a dwelling reliably built from massive timber, protecting shepherds from bad weather in the mountains.
Chalets are reliable and practical accommodation. A chalet is a house with a sloping roof, the slopes of which protrude strongly above the main walls. This roof structure served to protect the house and local area from snow and bad weather. Spacious terraces also appeared for practical reasons. With their help, the usable area of the house is significantly increased. An open terrace is an integral part of the chalet, which may not have a fence and be considered as part of the local area.
Chalet-style houses are usually chosen by people who strive not only to create a cozy home, but also care about the environmental friendliness of their home. A feeling of unity with nature arises in everyone who enters the chalet.
Swedish style
Swedish style is a variation of the Scandinavian approach to architecture. Red and white cottages fit perfectly into both the winter and summer Swedish landscape and are a landmark of this country. The traditional Swedish cottage is a simple house, covered wood panels and painted red, the corners, windows and doors of the house are usually white. Swedish housing at all times was mainly wooden (or half-timbered in areas poor in forests). The estate complex includes a residential building and outbuildings, united around the courtyard. Swedish architecture is characterized by strict simplicity and sparse decoration.
Functionality and simplicity, commitment to natural materials, restrained color combinations are characteristic of the Swedish style as well as Scandinavian architecture in general. Wooden houses made of light wood with wide window openings look like a natural addition to the landscapes of Sweden and beyond.
Dutch style
The Dutch country house style is a variation of colonial design that offers a simple layout behind the main façade. The appearance of such buildings has developed a distinctive style, distinguished by both practicality and decorativeness. A Dutch-style house is characterized by a large, sharp gable roof with hips, simple windows, asymmetry of the facade. Traditionally, the base of the house is finished with stone, and the facades are made of light-colored plaster. The house has a symmetrical layout. The central entrance leads into the hallway, around which the rooms are located. The lifestyle of the diligent, neat, hardworking Dutch is reflected in the interior of a Dutch house, demonstrating prosperity, modesty and convenience. Dutch country houses look solid, but at the same time cozy. Suitable for families looking for peace and comfort behind a modest façade.
Roman style
The Romanesque style in medieval Europe preceded the Gothic. The term itself appeared in the 12th century, when historians established that European architects widely used many elements of the ancient Roman style. The main objects of the architects were monasteries and castles, more reminiscent of fortresses. The appearance of the buildings is full of calm and solemn power. Characteristic Features Romanesque-style buildings had massive walls, the heaviness and thickness of which was emphasized by narrow window openings and stepped friezes. The main features of the style are circular or semi-circular arches and stone vaults. The facade cladding is made of brick, there is an abundance of brick decor on the pediments, friezes, windows and doors. Ceramic tiles are used as roofing. Romanesque buildings fit into the landscape, their compact forms and clear silhouettes follow the natural topography.
Czech style
The Czech Republic is one of the most cultural and beautiful countries not only in Europe, but also in the world. The cultural heritage of the Czech Republic is so extensive that sometimes it is very difficult to simply describe the places where you have been; the greatest contribution to the cultural heritage is still made by Czech architecture. The architecture of this country has been created over centuries. The Czech style of cottages has common features with European and German styles. A house in the Czech style is characterized by regular geometric shapes, high multi-pitched roofs covered with tiles, sometimes straw, the base is made of natural stone, and arched windows and doors are often used. A squat house in the Czech style will fit perfectly into the landscape and will not stand out in the landscape.
Each of us travels the world. Some people go far and long, exploring a world unknown to us, while others go abroad only once a year, on vacation. But we all understand that calendars, postcards and souvenirs are only a small reminder of where we have been and what we have seen. We offer you a completely new format for such memories - recreating at the dacha the famous architecture of the places you visited. For obvious reasons, it is simply not possible to completely recreate everything interesting and original in our world, and therefore we will personally start with the most famous ones. For example, let's take some wonders of the world, add to the collection the buildings of the capitals of Europe, take something incredible from Asia and Africa, and also simply recreate in miniature what is beautiful and impressive in a standard form.
We would like to warn you right away that such a design of a dacha is a labor-intensive and expensive pleasure, and therefore, before starting the project, be sure to evaluate your own capabilities and professionalism, as well as the budget that you can allocate for such a task.
This is the main section of a new site article about interesting and original architecture that we want to reproduce on own plot. There will be not only famous buildings here, but also something that can simply decorate the dacha nicely. You have the right to independently regulate your choices and determine what you want to build. But you just need to understand that the quality of the object depends on you. We only offer the method and materials, but you reproduce the architecture with your own hands... so the result is your responsibility!
Chinese wall at the dacha
Yes, even that! We will start with this structure, since it is the simplest. You can build a wall from any picture downloaded on the Internet, or take images from travel magazines, there are many different angles there.
We immediately choose a place and build the Great Wall of China from ordinary bricks. If at all in miniature form, then it is possible to create a building material from high-density polystyrene foam. Not only bricks can be cut from it, but also additional architectural structures.
We immediately build from bricks. We will need a platform, possibly even made of inexpensive concrete, which is poured with a layer of 15-20 cm onto a drainage pad. It is needed for the strength of the entire structure. Further along it, you can begin construction using a standard solution of cement, sand and water. The main thing here is to correctly depict the lines, shape, and present the desired atmosphere. But it is worth knowing that all this is conveyed by the decor, and therefore the initial construction does not play a special role.
We are building a wall from polystyrene foam. High-strength polystyrene has quite interesting qualities. You can cut out almost anything you need from it.
This material can be glued using many adhesives, and sometimes even polyurethane foam is the best choice. In principle, it can be used to display many additional elements. For example, the same wall columns, turns. You will only need to cut the foam to shape and plaster on top.
Let's move on to finishing the building. All that is needed is paint of suitable shades.
You can paint both brick and polystyrene walls. Dilute the paint so that it is the same color and different shades, and then work further according to the original plan and image. As a result, you may end up with a very serious architectural element, around which it is now worth working with additions - creating steps, a forest, hillocks.
Eiffel Tower at the dacha
The Eiffel Tower is a very interesting design, which will take a lot of time to replicate in miniature. There is not so much physical labor involved, but rather time spent on details, because everything needs to be made as similar as possible.
The tower is welded out of metal and installed on concrete frame or a metal embedded base to have good strength. But not everything is as simple as it seems at first, because the main guides of the tower will need to be bent, and three encircling metal belts will need to be made along the entire “growth” of the tower.
It is clear that it is unlikely that anyone will observe all the details and reproduce such a masterpiece with their own hands, but it is still possible to create a good likeness.
Installation on a solid base, attaching the four main parts that form the tower, and then tying it with simpler material - reinforcement, rod, wire. Don’t forget to also install light lighting inside; the evening view of such beauty will be stunning.
The Leaning Tower of Pisa is a miracle in a country garden
The Leaning Tower of Pisa at the dacha is something experimentally new. But why can some architecture on your own site be repeated in miniature form, but this cannot?
You just have to want it, and such a tower will be built. At the same time, its construction will take less time and will be easier than the same Eiffel head.
Why is this so? The answer is simple - most often duplicates, if you can call them that, are built from lightweight materials. It is quite difficult to install a heavy structure at an angle without it collapsing over time... especially if you are not a professional builder or designer. Therefore, it is enough to build a tower from plastic or even very thick cardboard, which is then sealed or opened with high quality protective varnishes and oils.
A huge plus is that only the base will have to be built, then you will simply need to stretch cardboard with a tower design onto a plastic or light aluminum frame. It could even be a high-quality photo print that will look amazing from afar. If you draw, it is better to first paint the drawing on cardboard or paper, and only after that install the material on the finished inclined frame.
Hanging Gardens of Babylon in the landscape
We talked a lot about living fences, vertical flower beds and hanging gardens, and therefore this design will not be too complex an architectural element. The good thing is that it is not necessary to build it according to a strictly defined format. You can fantasize, invent, copy or even combine everything into a single project, the main thing is that it turns out beautifully and attractively.
Most often, similar projects are based on castles and structures of that time, which were built from a variety of building materials. Further, they are populated by living plants - herbs, ornamental shrubs, flowers, sometimes even bonsai. It is only very important to first prepare sites, containers, compartments, balconies and other places for planting on such a structure.
Building pyramids in the country
You can start with a heavier structure and build pyramids from shell rock. Its color and texture are perfect for such an architectural masterpiece. One has only to select a site for construction, install a waterproofing layer of ordinary film or more expensive material, and get down to business.
All that is needed to reproduce the Egyptian pyramids is shell rock in the volume that you expect, free hands in gloves, and an average grinder.
Having arranged the base, you build a pyramidal structure, and when building the upper part of the pyramid, you simply cut the stone with a grinder. You can cope with this task in just a day, scatter sand dunes near the pyramid and enjoy the beautiful view.
You can also build a frame-type pyramid, for example, make it from a profile and plywood. The design is durable and lightweight, as well as the ability to quickly disassemble the pyramid and assemble it in the right place.
You can devote time to many historical buildings that will easily take their place in the garden of your dacha, but we cannot talk about all of them, their number is very large. But you, in view of your own professionalism, can reproduce even complex elements - monuments, the structure of the Taj Mahal, amphitheaters and others. But you can always move on to more typical, but no less interesting buildings for a summer residence, which can positively influence the landscape design of the site. These could be lighthouses, forts, more modern buildings and structures that are world landmarks.
How to register a summer cottage (video)
What is needed for the architectural design of a dacha
To decorate your dacha in a similar format, completely change your neighbors’ worldview on the landscape and get world-renowned architecture on your site, you you need to follow some rules:
- Always start work only with a high-quality and prepared project;
- Work only with high-quality material that is familiar to you, and determine feasible tasks for yourself;
- It is imperative to complete everything from the beginning, because incompleteness is the worst thing that can happen in decor;
- Correctly choose sizes, shapes and colors, be sure to base your choice on the initially established style summer cottage;
- Skillfully combine several architectural elements, pour them into an already established, ready-made design of the dacha.
Let’s say right away that if such a task seems difficult or completely impossible to you, it is better not to start the process. It would be much better to buy plaster figures or plastic elements for garden decoration than to waste time, money and nerves!
The architectural design of a summer cottage has many directions, and the one we have chosen is not the most popular and in demand. But it is one of those that can really “change the picture” in a qualitative way and bring something exclusive and extremely unusual into the landscape.
DACH ARCHITECTURE:
SLIDING
PHENOMENON
TO BE OR TO SEEM?
NOT AN ESTATE
COUNTRY MASTERPIECES
TERRACE AS THE MAIN FEATURE
(the dacha was not mine, it was someone else’s -
Even in the subway there is a blue haze!
And then half an hour along Kazanskaya
railway -
NEW SOVIET DACHA
“The terraces are boarded up,
And the gaze of the window panes is blind,
The decorations in the gardens are broken,
I believe: in the days when completely
Our world will welcome its end,
So into the dream of the empty capital
An unknown stranger will enter."
BOOTS FROM THE BEST SHOEMAKERS
“BUT AT THE DACHA EVERYTHING IS DIFFERENT”
disproportionate contact
SADNESS AS INEVITABLE
Nikolay Malinin
StdClass Object ( => 8 => 76 => DACH ARCHITECTURE => arkhitektura-dachi =>
DACH ARCHITECTURE:
SLIDING
PHENOMENON
(gallery)architecture(/gallery)
The word “dacha”, as you know, is not translated into foreign languages. That’s what they write: dacha. But what does this untranslatability mean? That dacha is the same national phenomenon as matrioshka, samovar, vodka. Of course, you can find analogues for vodka. But it is difficult for a foreigner to understand what vodka actually means for a Russian person, just like dacha. And both words, in a sense, are synonyms for the word “freedom”. Which, of course, is not in any translation: Wochenendhaus, country house, summer house, cottage, maison de champagne, casa de campo. Yes, all these meanings are in the word “dacha”: a house outside the city, a house for the summer, for the weekend, a small house, a second home. But just as “a poet in Russia is more than a poet,” so a dacha is much more than a “country house.” And that is why it is so difficult to define - at least on formal grounds, from the point of view of architecture.
TO BE OR TO SEEM?
One of the most striking dachas (and even built during their heyday - in 1908) could be considered the house of the writer Leonid Andreev in Raivola on the Karelian Isthmus. “The house, built according to his father’s drawings, was heavy, magnificent and beautiful,” recalled the writer’s son. – The large quadrangular tower rose seven fathoms above the ground. Huge, multi-pitched tiled roofs, giant white quadrangular pipes - each pipe is the size of a small house, geometric pattern logs and thick shingles - the whole thing was truly majestic.” It would seem that for a great writer - a big dacha. “This dacha very much expressed his new course; “I went and did not go to him,” the writer Boris Zaitsev understands. “When I first drove up to it in the summer, in the evening, it reminded me of a factory: pipes, huge roofs, absurd bulkiness.” Zaitsev acutely feels this unnaturalness. “His home spoke of incompleteness, of the fact that the style still had not been found.
Mother from Orel, Nastasya Nikolaevna, with her Moscow-Oryol dialect, did not go for style; the eternal samovars, boiling from morning to evening, almost all night, did not go; the smell of cabbage soup, endless cigarettes, the owner’s soft, lounging gait, the kind look in his eyes.” That is, Andreev is not building a house, but an image. Which suits him very well - a man in everything excessive, excessive, pretentious. But it is difficult to live in it (how difficult it is to read Andreev today). “The bricks of the heavy fireplace pressed so hard on the thousand-pound beams that the ceiling collapsed, and it was impossible to dine in the dining room,” recalled Korney Chukovsky. “The giant water supply machine that delivered water from the Chernaya River seemed to have deteriorated within the first month and stuck out like a rusty skeleton.” It turns out that the house, which could be called the most interesting dacha from an architectural point of view, turns out to be not a “dacha” at all. It is too big, expensive, pretentious and inconvenient.
“Leonid Andreev’s dacha very much expressed his new course; and she went and did not go to him. When I first drove up to it in the summer, it reminded me of a factory: pipes, huge roofs, awkward bulkiness.”
But what prevents us from leaving it outside the brackets of this topic? Speaking about it, Zaitsev very accurately lists all the main signs of dacha life: a samovar, round-the-clock tea drinking, simple food, smoking, conversations, a general atmosphere of gentleness and relaxation. It is this set that will define the “dacha style” and will roam throughout the “dacha” literature throughout the next century. Tsars and palaces will be crushed, but this will remain unchanged: samovar, twilight, conversations. Terrace, veranda, cherry tree. Russia, summer, Lorelei.
A suspicion arises that the concepts of “dacha style” and “dacha architecture” are generally weakly connected. Moreover, the dacha as an architectural genre has almost no distinct features. And it can only be determined by contradiction.
NOT AN ESTATE
“The dacha became the epistasis of the Russian estate in the second half of the 19th century,” writes historian Maria Nashchokina, the main expert on the topic. Their main difference is economic. The estate fed its owner, while the dacha was a place of rest. Accordingly, the quantitative parameters change: the dacha did not require either the territory that the estate had or the staff. This means that the size of the home also changes. It can be as small as you like. In this situation, architecture also turns out to be redundant: columns and porticos become a thing of the past.
“IT IS THE NEW, DEVELOPING RAILROADS THAT BECOME A CATALYST FOR DOMATIC CONSTRUCTION, THE FIRST VILLAGES ARISE AROUND THEM – MAMONTOVKA (IT WAS BUILT BY ALEXANDER NIKOLAEVICH MAMONTOV), TARASVKA, ABRAMTSEVO.”
The past itself also becomes problematic. “Only, of course, we need to clean it up,” says dacha construction ideologist Ermolai Lopakhin, “to demolish all the old buildings, this house, which is no longer good for anything, to cut down the old cherry orchard.” It is clear that Lopakhin had a reason to dislike all this: “I bought an estate where my grandfather and father were slaves, where they were not even allowed into the kitchen.” And he sees the future not only capitalistically, but also communistically: “We will set up dachas, and our grandchildren and great-grandchildren will see here new life" But Savva Mamontov did not have such a neurosis, and he lovingly preserved the old Aksakov house on the Abramtsevo estate, which he bought in 1870. There was, of course, a reason (the house remembered Gogol), but the building itself - wooden, with semi-circular windows, with a terrace touchingly designed like a portico - was in very poor condition. However, Mamontov carefully renovated it and turned it into a real “house of creativity”, where the best Russian artists began to gather - some for the weekend, some for the whole summer. Many important paintings will be painted in Abramtsevo, which will become the pride of the Tretyakov Gallery, calendars and boxes of chocolates. But it turns out to be no less important joint creativity: artists work together to build a church, work in pottery and carpentry workshops, and stage performances. Yes, they were here as guests, but not in idleness, which made Ilya Repin say about Abramtsevo: “The best dacha in the world.” And although the usual agricultural processes are taking place in Abramtsevo, the owner is no longer fed by the estate, but by the railway business: Mamontov is building a road to the North, connecting Moscow with Vologda and further with Arkhangelsk. It is the railways that become the catalyst for dacha construction, the first settlements arise around them, and it is along the Northern (now Yaroslavl) road that Savva Ivanovich’s cousin, Alexander Nikolaevich, builds his dacha. The village will continue to be called Mamontovka, which will preserve the memory of the estate tradition. But Mamontov is building a dacha from scratch. This is a huge (forty rooms) log house, decorated carved platbands, pediments, cornices. A completely traditional volume is transformed into a real fairy tale due to the rich decorations, which precisely characterizes the “Russian style” - the style of the very first dachas. Having emerged in the mid-19th century as an alternative to the official Russian-Byzantine style (which was embodied by the architecture of Konstantin Thon and his Cathedral of Christ the Savior), the “Russian style” was worthy company for Slavophiles, Peredvizhniki and everyone else who “went among the people.” The source of inspiration is towels and towels, the main tool is carving, and the main place for applying beauty is the platband. But the main thing is that the pattern changes. “The lordly landowner style with columns and galleries, borrowed from the West, has become a thing of the past,” recalled Natalya Polenova. “For buildings they began to look for models not in the landowner’s village, but in the peasant village.” That is, the classic manor house symbolizes the past and the foreign; -new country house - real and local, -Russian.
But if for the merchants, who were aware of their historical role, these associations with history are important (through the appropriation of all those attributes that were previously the privilege of the nobility), then for the wider population at this stage they play a rather negative role, being associated with the difficult serf past, poverty and lack of rights. If you look through great Russian literature, it is easy to notice that the image of the hut in it is rather gloomy. “Four walls, half covered, like the entire ceiling, with soot; the floor is full of cracks, at least an inch covered with dirt,” this is A.N. Radishchev. “Our dilapidated shack is both sad and dark,” Pushkin picks up. Lermontov is aware of the strangeness of his pleasure: “With joy, unfamiliar to many,” he sees “a window with carved shutters.” “The wind is shaking the wretched hut,” this is Nekrasov. “The logs in the walls lay crookedly, and it seemed that the hut would fall apart right now,” - this is Chekhov. And finally, the “gray” huts of “poor Russia” at Blok’s, the “hut” of which must be “shot with a bullet.”
“LOPAKHIN FROM “CHERRY ORCHARD” ACCURATELY DETERMINES THE MAIN COMPONENTS OF DEVELOPER SUCCESS: PROXIMITY TO THE CITY, PRESENCE OF A RAILROAD, LARGE TERRITORY, RIVER AS THE MAIN ENTERTAINMENT.”
Therefore, the dacha did not at all want to seem like a hut, although sometimes it had to: often peasant houses or extensions to them were rented out as dachas. In Soviet times, this would take on a different character: the village moved to the city, the huts became empty, and they were happily sold to new summer residents. This is exactly how the famous economist Alexander Chayanov will build his dacha on Nikolina Gora - by bringing a log house from near Ryazan. (Then it will be moved again, called “Pestalozzi’s house”, and it will become a summer camp for local children - which gives us an idea of its size).
Actually, it is through size that another researcher, Ksenia Axelrod, classifies Soviet dachas. She considers three main types: “dacha-hut” (one-story, of one or two log cabins), “dacha-house” (one and a half or two floors), “dacha-estate” (two or three floors plus space clearly divided into “ front" and "household"). But despite all this, we do not find any stylistic differences between these three types: in both cases we see a simple log house, pitched roofs and an indispensable terrace (or veranda).
But that will come later. And in Ivan Bunin’s story “At the Dacha” we find a characteristic clarification: “The house did not look like a dacha; it was ordinary country house, small, but comfortable and quiet. Pyotr Alekseevich Primo, an architect, has been occupying it for the fifth summer.” This evidence dates back to the era of the “dacha boom” (late 19th – early 20th century), when broad democratic strata of the population appeared on the scene, receiving their classic name from Maxim Gorky: “dacha residents.”
“COTTAGES AND SUMMER RESIDENTS – IT’S SO GOOD!”
The dacha boom began in Russia, as in Europe, at the end of the 19th century, when a new middle class emerged. “Until now, there were only gentlemen and peasants in the village, but now there are also summer residents. All cities, even the smallest ones, are now surrounded by dachas.” This is said by the hero of Chekhov’s play “The Cherry Orchard” Ermolai Lopakhin. He perfectly describes the economics of the process: “Your estate is located only twenty miles from the city, a railroad runs nearby, and if the cherry orchard and the land along the river are divided into dacha plots and then rented out for dachas, then you will have at least twenty five thousand a year income. […] The location is wonderful, the river is deep.”
Lopakhin accurately defines the main components of development success: proximity to the city, the presence of a railway, a large territory, the river as the main entertainment. But there is nothing aesthetic behind this pragmatism: what the architecture of the dachas will be is not important. Indeed, mass dacha construction, based on a small frame or log house with a gable roof and a terrace (veranda), existed in this form for more than a century.
Most often, such a dacha is built without an architect. It is not needed, because the architecture here is basically not important. A dacha is not a representative house. What do you look like (and what does your house look like) is question ten. Here you are exactly free - even in suspenders, even in underpants. Yes, of course, guests are expected, but it is assumed that they will also observe an unspoken agreement about the informality of everything - appearance, behavior, conversations. The same Chekhov in his story “The Fist’s Nest” describes the general appearance of a dacha village in the 1880s as follows: “Around an abandoned middle-class manor’s estate are grouped two dozen wooden dachas built on a living thread. On the highest and most visible of them, the “Tavern” sign is blue and the painted samovar is golden in the sun. Interspersed with the red roofs of the dachas, here and there the roofs of the lord’s stables, greenhouses and barns, shabby and overgrown with rusty moss, peer sadly out.”
But again we don’t see any architecture. Moreover, we discover its complete lack of demand. “Kuzma leads tenants into a dilapidated shed with new windows. Inside, the shed is divided by partitions into three closets. There are empty bins in two closets. “No, where to live here! - declares the skinny lady, looking with disgust at the gloomy walls and bins. - This is a barn, not a dacha. And there’s nothing to see, Georges... It’s probably flowing and blowing here. It’s impossible to live!”
Those who dared doomed themselves to unusual (but inevitable, because they were paid for) suffering - like the heroes of Bunin’s story: “Why are you so early?” – asked Natalya Borisovna. “For mushrooms,” answered the professor. And the professor, trying to smile, added: “You need to use the dacha.”
COUNTRY MASTERPIECES
However, at the beginning of the twentieth century, individual masterpieces are regularly found among this mass development - fortunately, this time coincides with the heyday of the next style adopted by summer residents - the Art Nouveau style. In contrast to the “Russian style”, it does not focus on decorative decoration of familiar forms, but on a volumetric solution that comes from the layout. Which - together with the general dacha ideology - become freer and more relaxed, and the volume, accordingly, becomes more complex and picturesque. This is no longer a traditional “house with a mezzanine”, but rather a “teremok”, developing both horizontally and vertically. There is also an economic logic to this: a manor house could stretch on its own land for as long as desired, but a dacha must fit into a small area (no more than 1/3 of the plot is allocated for development). At the same time, dachas near Moscow gravitate toward the national-romantic line of modernity, while those in St. Petersburg gravitate toward the Scandinavian line.
Fyodor Shekhtel builds the dacha of the publisher S. Ya. Levenson in Choboty near Moscow (1900): several volumes are arranged in a picturesque composition, each is crowned with an original roof, and the windows are taken into luxurious frames. Lev Kekushev makes I. I. Nekrasov’s dacha in Raiki (1901): huge windows, large projections hip roofs, exquisite saw-cut carving. Then for A.I. Ermakov he built a dacha in Mamontovka (1905): the signature Art Nouveau pattern in the railings of balconies and brackets, the volume growing in ledges, a charming veranda.
Sergei Vashkov designs I. A. Aleksandrenko’s dacha in Klyazma (1908): luxurious semi-circular windows, intricate carvings, a spectacular entrance portal. The dacha of V. A. Nosenkov in Ivankovo (1909) mutates in a curious way: first, Leonid Vesnin designs a giant log tower with pitched roofs, neo-Russian ornaments and a square tower. But the result is a cottage with a wooden second floor, hip roofs and elegant bay windows; All that remains from the original idea is a round veranda on the second floor. This house is much closer to St. Petersburg dachas, where Scandinavian restraint dominates. On Kamenny Island, Roman Meltzer builds his own dacha (1906): the complex composition of volumes is reminiscent of towers, but the decoration is more like Norwegian pickaxes.
“A MODERN DACHA IS NO LONGER A TRADITIONAL “HOUSE WITH A MEZZININE”, BUT RATHER A “TEREMOK” THAT DEVELOPS BOTH HORIZONTALLY AND VERTICALLY – IT SHOULD FIT INTO A SMALL, CLEARLY DEFINED AREA.”
Evgeny Rokitsky makes a villa in Vyritsa (1903): the signature Art Nouveau decor coexists here with a Norwegian dragon in a ridge. It is interesting that contemporaries perceived Andreev’s dacha as non-Russian: “The dacha was built and decorated in the style of Northern Art Nouveau, with a steep roof, beamed ceilings, and furniture based on drawings from German exhibitions.” The artist Vasily Polenov also considers his dacha “Scandinavian”: he builds the famous house-workshop in Polenovo according to his own design, plastering the usual log house in White color, which really achieves a completely European effect. But if in all these buildings the hand of a professional is visible, then Ilya Repin’s estate “Penates” in Kuokkala (1903–1913) is just a vivid example of that “self-construction” that defines the Russian dacha. The simple wooden house is gradually overgrown with extensions, a second floor is added, and a glass tent is erected over the workshop. The house grows spontaneously, freely, and its only constant remains the huge windows - so as not to lose touch with nature.
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TERRACE AS THE MAIN FEATURE
Another famous inhabitant of St. Petersburg dachas at the beginning of the century, Vladimir Nabokov, was accused by the writer Zinaida Shakhovskaya of being... a “summer resident.”
“Nabokov is a metropolitan, urban, St. Petersburg man, there is nothing landowner, black earth in him. ... The shining, sweetly singing descriptions of his Russian nature are similar to the delights of a summer resident, and not a person who is blood-connected with the land. Landscapes are manor, not village: park, lake, alleys and mushrooms, which summer residents also loved to collect (butterflies are a special item). But it’s as if Nabokov never knew the smell of hemp heated by the sun, a cloud of chaff flying from a threshing floor, the breath of the earth after a flood, the knock of a thresher on a threshing floor, sparks flying under a blacksmith’s hammer, the taste of fresh milk or a crust of rye bread sprinkled with salt... Everything that the Levins and Rostovs knew, everything that Tolstoy, Turgenev, Pushkin, Lermontov, Gogol, Bunin, all Russian noble and peasant writers, with the exception of Dostoevsky, knew as part of themselves.”
This is all fair. But something else is also true: the dacha really arose as a completely new, unparalleled phenomenon, emphatically not rural. And the main architectural element that distinguishes a dacha from a hut is the terrace. The terrace is for idle people: drinking tea and chatting. It is clear that in old architecture this was by no means the most important element. It appeared much later than the balcony (a status detail in a peasant house) or even the veranda (a glazed extension, the successor to the entryway). Even these words - terrace and veranda - are often confused, although from the etymology it is clear that “terrace” is more like “land” than “house”, but in fact is a transition zone between them, an element that unites the house and the surrounding landscape. And this intermediate position (sort of like in the house, but kind of like on the street) accurately characterizes the ideology of “dacha life”: in nature, but not in the garden.
This, in fact, was the main idea of the terrace: to bring a person closer to nature, which he, cut off by the big city, began to yearn for. Leonid Andreev’s famous story “Petka at the Dacha” (1899), in addition to its sad realism, is a relevant metaphor: for a city dweller deprived of nature, the dacha becomes it. But at the same time, this is not at all the same nature that his ancestors plowed from morning to evening. This is no longer arable land, but modest vegetable garden; not a forest, but a garden; not a heap, but a terrace. To spend your time in life wisely, with feeling, with balance.
“Arriving in Pererva and finding Knigina’s dacha,” we read in Chekhov’s story “From the Memoirs of an Idealist”: “I went up, I remember, onto the terrace and... was embarrassed. The terrace was cozy, sweet and delightful, but even sweeter and (let me put it this way) more comfortable was the young plump lady sitting at the table on the terrace drinking tea. She narrowed her eyes at me."
It is on the terrace (or veranda) that the action of such famous “dacha” films as “An Unfinished Piece for a Mechanical Piano” or “Burnt by the Sun” takes place. To their author, director Nikita Mikhalkov, country life known firsthand: the dacha given to the poet Sergei Mikhalkov became the “family nest” of the famous clan. This is also significant: the dacha seems to inherit the estate. But at the same time, the meaning behind the word dacha itself (dacha as something given as a gift) returns after the revolution: dacha can be both given and taken away. It becomes part of the same “punishment with housing” that the housing policy of the USSR is turning into.
However, even for those who could only rent dachas, it is the terrace/veranda that remains the main attraction of dacha life - as for the lyrical hero of the poet Gleb Shulpyakov:
“...So, this summer I lived in the country
(the dacha was not mine, it was someone else’s -
friends allowed me to stay a little).
In Moscow this summer there was a smell of burning -
somewhere in the area a peat bog was burning.
Even in the subway there is a blue haze!
And then half an hour along Kazanskaya
railway -
and you sit on the veranda like a gentleman.
You pull the narzan and look at the sun,
which beats in the spruce paws."
“THE MAIN ARCHITECTURAL ELEMENT DIFFERENTIATING A Cottage From A Hut IS THE TERRACE. ITS INTERMEDIATE POSITION (LIKE AS IN THE HOUSE, BUT SORT OF AS ON THE STREET) EXACTLY CHARACTERIZES THE IDEOLOGY OF “COUNTRY LIFE”: IN NATURE, BUT NOT IN THE GARDEN.”
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NEW SOVIET DACHA
For another poet, Valery Bryusov, the sight of autumn dachas inspired the image of the interim end of the century:
“The terraces are boarded up,
And the gaze of the window panes is blind,
The decorations in the gardens are broken,
Only the cellar is slightly open, like a crypt...
I believe: in the days when completely
Our world will welcome its end,
So into the dream of the empty capital
An unknown stranger will enter."
However, the dachas migrated to their new life with unusual peace. At least, without the tragic densification that accompanied the redistribution of housing in cities. Not even a few years had passed before the birds began to sing again, the river sparkled, and Divisional Commander Kotov swam along it, stroking the heels of his daughter.
The film “Burnt by the Sun” was filmed near Kstov, at the dacha of the mayor of Nizhny Novgorod, built in the 1930s and, according to legend, former dacha pilot Chkalov. However, the place in the film is named after the legendary village near Moscow - Zagoryanka.
It’s interesting that in the neighborhood of Mikhalkov’s summer residents, exercises are rumbled – as in Arkady Gaidar’s story “The Blue Cup,” written in Maleevka in 1935. Against their background, the note of expected idleness that new summer residents associate with life outside the city sounds especially poignant: “Only at the end of summer did I get a vacation,” says the hero of “The Blue Cup,” “and for the last warm month we rented a dacha near Moscow. Svetlana and I thought about fishing, swimming, picking mushrooms and nuts in the forest. And I had to immediately sweep the yard, fix dilapidated fences, stretch ropes, hammer in crutches and nails. We got tired of all this very soon.” In another famous story by Gaidar (“Timur and his team”), the dacha village becomes a place for the formation of new social relations: the pioneers take care of military families and fight with the local punks. The same theme of a new community is present in the very approach to the creation of new villages: they are formed along professional lines. Dacha settlements of scientists, architects, artists and, of course, the most famous, which has become a symbol of the “new dacha” - the writer’s Peredelkino. Mikhail Bulgakov, who glorified (or, more precisely, glorified) him, himself grew up in a dacha near Kiev - in the village of Bucha. “The dacha gave us space, above all space, greenery, nature,” recalled the writer’s sister. - There was no luxury. It was all very simple. The guys slept in so-called dachas (you know, now cots). But there was luxury: luxury was in nature. In the greenery. There was luxury in the flower garden, which was planted by my mother, who loved flowers very much.” Bulgakov’s nostalgia for the dacha became as strong a creative impulse as for Nabokov – for Russia, resulting in the famous scene from “The Master and Margarita”: “And now it’s good in Klyazma,” Sturman Georges urged those present, knowing that the dacha literary village of Perelygino on Klyazma - a common sore spot. - Now the nightingales are probably singing. I always somehow work better outside the city, especially in the spring. […] “There is no need, comrades, to envy. There are only twenty-two dachas, and only seven more are being built, but there are three thousand of us in MASSOLIT.”
So that those in the know do not have any doubt about the prototype of Perelygino, Bulgakov gives the exact number of dachas in Peredelkino near Moscow (although he transfers it to Klyazma). These 29 dachas were actually received in 1935 by the “generals” of Soviet literature: Konstantin Fedin and Boris Pilnyak, Leonid Leonov and Vsevolod Ivanov, Alexander Fadeev and Boris Pasternak, as well as playwright Vsevolod Vishnevsky (prototype of Lavrovich) and poet Vladimir Kirshon (prototype of Beskudnikov) - especially fierce persecutors of Bulgakov.
“TIRNED BY THE SUN” WAS FILMS NEAR KSTOV, AT THE MAYOR OF NIZHNY NOVGOROD’S DACHA, BUILT IN THE 1930s. HOWEVER, THE PLACE IN THE FILM IS NAMED AFTER THE LEGENDARY VILLAGE OF MOSCOW – ZAGORYANKA.”
Despite all the differences in writing styles, their dachas were typical, which fully corresponded to the idea of literature as a part of the ideological machine, as the “engineering of human souls.” All houses were built from timber, then plastered and painted. There is a terrace on the first floor and a balcony on the second. 150 meters below plus 50 above. Heating - stove. The quality of the houses is evidenced by the writer Alexander Afinogenov, whose American wife knew about construction: “Her friend walked with her through the construction and was silent out of decency, but the numbers of rubles spent on the construction seemed wild and scary to her, and such a bad construction that in her country no one would agree to take it.”
But what is a nightmare for an American, is happiness for a Russian writer. The people of Peredelkino were envied not only by Bulgakov, but also by all subsequent generations of writers. “The goal of creativity is dedication // And the Peredelkino dacha,” the poet Boniface quipped, paraphrasing the main summer resident of Russian literature.
Boris Pasternak himself described his dacha as follows: “This is exactly what one could dream about all one’s life. In terms of views, freedom, convenience, tranquility and thriftiness, this is exactly what even from the outside, when observing others, was poetically inspiring. Such slopes stretched across the entire horizon by the flow of some river (in a birch forest) with gardens and wooden houses with mezzanines in a Swedish-Tyrolean cottage-like style, seen at sunset, while traveling, from somewhere out of a carriage window, forced one to lean out to the waist for a long time , looking back at this settlement, enveloped in some kind of unearthly and enviable charm. And suddenly life took such a turn that on its slope I myself was immersed in that soft, multi-talking color, visible from a great distance.”
Comparing the Peredelkino dacha with a “Swedish-Tyrolean cottage” is hardly justified, but the “non-Russian” image of the house is obvious. The semicircular bow of the “ship”, its continuous glazing - all this smacked not only of Russian constructivism (already defeated by that time), but also of its closest predecessor - the German Bauhaus. Namely, the typical German project was taken as the basis for writers' dachas.
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BOOTS FROM THE BEST SHOEMAKERS
Soviet architects could not afford to beg from abroad, so they designed their famous village near Istra - NIL - themselves. Its name also has nothing to do with the African river, but stands for Science, Art, Literature and implies that scientists and writers lived here. But the main ones were the architects: Viktor Vesnin, Georgy Golts, Vladimir Semenov.
The latter’s great-grandson, architect Nikolai Belousov, says that their house was built “not according to a design, but, as often happens, “according to possibilities”: “In the Istra flood zone, a peasant house with a cowshed was purchased. A simple log house, onto which they later put a second floor and all the pretzel decorations. It took two years to build. The house was a summer house, heated by a stove, inside there were plank walls and plank floors. Among the amenities is a room called “washroom”, in which wooden box with a hole of known purpose. A floor with slits was installed nearby, and a stool was placed on it. So they washed themselves, sitting on the stool. The older generation watered the younger generation by heating water on a kerosene stove, which simply went into the ground through the cracks.”
Also, having bought a log house in a neighboring village, Georgy Golts built himself a dacha - simple, with a spacious terrace. The house of Vyacheslav Vladimirov was distinguished by an unusual triangular window in the pediment, and the dacha of Grigory Senatov was distinguished by a dome over the workshop. The main decoration of the house of constructivist Viktor Vesnin was a glazed semicircular veranda, vividly reminiscent of Pasternak’s. The dachas were very modest - but the architectural and planning solution for the village, which Vesnin made, was considered by the interdepartmental commission in 1936 to be “interesting (non-standard) and organically linked to the natural conditions of the place, and in the project, with extreme simplicity, the image of a village intended for recreation was found and there was no boring , a monotonous grid of rectangles, typical of holiday villages.”
“THE AMERICAN FRIEND WALKED WITH HER THROUGH THE CONSTRUCTION CONSTRUCTION IN Peredelkino AND WAS SILENT OUT OF PRECIENCY, BUT THE NUMBERS OF RUBLES SPENT ON CONSTRUCTION SEEMED WILD AND SCARY TO HER, AND SUCH A BAD CONSTRUCTION THAT NO ONE IN HER COUNTRY WOULD AGREE TO TAKE."
Actually, this is exactly what fit into the landscape has always been the main thing in dacha construction. “The architecture of the village is nothing less than the architecture of individual houses,” says the author of the master plan for the village of Sokol, Nikolai Markovnikov. This settlement, which became the first attempt to combine the idea of the “garden city” of Ebenezer Howard with the new socialist settlement, became the main testing ground - not so much with form, but with materials. From 1925 to 1933, 114 houses were built here (on eight acres each), many of them being built according to the same design, but with different designs - log, log-frame, frame with peat backfill, frame with sawdust backfill ( as well as brick ones). Then, over the course of a year, their temperature and humidity were measured to find the best option.
The most avant-garde (albeit similar to the huts of the North) seemed to be the buildings of the Vesnin brothers, while the houses of Nikolai Markovnikov himself were more reminiscent of English cottages, responding to local features with steep roof slopes - for self-shedding of snow. Excellent red pine from the banks of the northern Mologa River, as well as concrete foundation bowls that prevented the walls from rotting, ensured the houses a long life and the village wild popularity. True, the village of Sokol was built as a place for permanent residence, and began to be perceived as “dacha” in the second half of the twentieth century, when it was slowly surrounded big houses, and life “without amenities” was no longer perceived as the norm.
NEW SYNONYM: GARDEN PLOT
“And one can say that in twenty years the summer resident will multiply to an extraordinary extent. Now he only drinks tea on the balcony, but it may happen that on his one tithe he will start farming,” this prediction of Ermolai Lopakhin did not come true right away. For the first half century, the summer resident preferred to relax at his dacha.
But after the revolution, the village gradually moved to the city. Under Khrushchev, a counter movement begins. True, only for the weekend and, if possible, nearby. “Six acres” is something between a “village” and a “dacha”. The cult of labor easily took hold of the six hundred square meters precisely because the overwhelming majority of the townspeople until recently were “villages” and did not have time to wean themselves off the land. It is again difficult for a foreigner to grasp the difference. But every Soviet person clearly understood that in a garden plot they dig, sow, weed, water, preserve from morning to evening. Whereas at the dacha they lie in a hammock, sit on the terrace, play badminton and endlessly set the samovar. Of course, they also swim, pick mushrooms and ride bicycles here and there, but in terms of architecture these two phenomena are clearly different.
A dacha is, as a rule, old, all in extensions and superstructures, with an obligatory terrace or veranda. And the garden plot is the same 0.06 hectares where there is some kind of shack in which you can only sleep, because early in the morning you have to crawl out to the plot and work, work, work.
“DESPITE ANYTHING, THE SOVIET MAN STILL TRASHED TO ARCHITECTURE. AND I INVESTED ALL HIS LONGING FOR DESIGN (WHICH, LIKE SEX, DIDN’T HAPPEN IN THE USSR), ALL HIS HOUSEHOLD, ALL CREATIVE POWERS, AND ALSO EVERYTHING THAT COULD BE TAKEN FROM WORK.”
It is interesting that this opposition was formulated by the same Chekhov. Having come up with the name “The Cherry Orchard” for his play, for a long time he could not understand what was wrong with it. And suddenly it dawned on him: “Not “cherry”, but “cherry”! “The Cherry Orchard” is a business, commercial orchard that generates income. […] But the “cherry orchard” does not bring in any income […] it grows and blooms for whim, for the eyes of spoiled aesthetes.” The garden plot, of course, did not bring much income, but it could easily provide the family with its own vitamins for the winter. Considering that it was troublesome to pronounce this stupid phrase, garden plots are still called “dachas”. This gives new summer residents a worldview that at least somehow brings them closer to the lost Russia, but brings new methodological suffering to researchers.
SELF-MADE, COLLECTIVE, TEMPORARY
For the most part, post-war Soviet dachas are built either according to standard designs, or without an architect at all. This is understandable: dachas demonstrate the privacy of human existence, which is not in honor of the new government. Therefore, she looks at them disapprovingly, but tries not to notice. However, it also does not allow professionals to be separated from the work of communist construction. Therefore, everything turns into that semi-official, semi-legal business that will soon be used by half of the country.
A country house in the Soviet country had the status of not just a second home, but another home, an alternative to the city one. That’s why it wasn’t too important what your dacha looked like. Nature remains the main thing at the dacha. “Our carpet is a flower meadow, our walls are giant pine trees,” the “Bremen Town Musicians” sang poems by Yuri Entin. “For us, tempting vaults of palaces will never replace freedom.”
However, if we say that Soviet people did not feel any need for architecture, then this would not be true. Of course I did. And he put into it all his longing for design (which, like sex, did not exist in the USSR), all his homeliness, all his creative powers, as well as everything that could be taken away from work. What masterpieces the dachas near Moscow were filled with! A washstand made from a bottle, a shovel made from a crutch, a “camp kitchen” assembled from a samovar and a wheelbarrow—the artist Vladimir Arkhipov collected the most brilliant “forced things” into a special museum: the People’s Museum of Homemade Things. Exactly the same thing happened with architecture, which was all just as “forced” - due to the lack of both goods and materials on the market. And just as the absence of a full-fledged real life made Russia the most reading country, so the absence of an objective world made it a country of inventors and home craftsmen. No other hobby (neither stamps, nor football, nor burning) allowed a Russian person to express himself so completely. It was a phenomenon unique in its diversity and originality, the like of which no other country knew. It had real poetry of chance, surrealism, originality.
A kind of monument to this folk art will be built in 2009 by the young architect Pyotr Kostelov. A simple house in the village of Aleksino is covered with a bunch of wooden patches. Almost all popular finishing methods were used. Traditional: lap board or just board. Modern: lining, imitation timber, blockhouse. Exotic: finishing with round shovel handles and bars of different sections... “The prototype of the solution,” the author comments, “was taken from the facades of private houses Soviet period. For known reasons, individual construction was not developed. And those who still managed to build a house, or rather a dacha, used a variety of materials for this, almost everything that could be found then. As a result, the house consisted of fragments, patches and patches, reflecting the capabilities of its owner at a particular period of time of construction.”
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“BUT AT THE DACHA EVERYTHING IS DIFFERENT”
The signs of the “dacha style” described a hundred years ago by Boris Zaitsev will migrate to the city in the mid-twentieth century and become the main features of Moscow intellectual kitchens, where conversations about the most important things will take place in clouds of smoke and “herring, vodka.” That is, the Russian dacha of the early twentieth century, in a sense, shapes the Soviet cuisine of its mid-century.
For the intelligentsia, the dacha was the same kitchen, but open to nature, giving the illusion of unity with geography and history. And for the broader population, a dacha plot was a symbol of freedom, not spiritual, but material: here one could grow potatoes. Both of these meanings were happily combined - the intelligentsia also ate potatoes.
But if the kitchen really united - both through food and conversation - then main meaning Dacha in Soviet times was exactly the opposite: it was about isolation. About the private life that our man was practically deprived of. “Ours” means “Soviet”, the one who doesn’t take a taxi to the bakery. And only outside the city was this possible: your own house, your own garden and vegetable garden, almost real private property and real private life.
By the end of Soviet times, forty percent of the country's population had dachas. This is a huge figure and, in fact, the same phenomenon of settlement as the word itself. It had no architectural value at all. a large number of dacha Moreover, another feature that formed the “new historical community” - summer residents - was collective creativity. Every evening walk around the village turned into a series of spying and spying, sometimes accompanied by visits (and often to unfamiliar neighbors). And everything that was observed immediately adapted to its own site.
“ANOTHER FEATURE OF ARCHITECTURE CAN BE CONSIDERED ITS CONSCIOUS TEMPORARY. NOBODY BUILT A Cottage “to last forever.” IT COULD CHANGE, BREAK, BE REPAIRED - ALL THIS COULD BETTER REFLECT THE SPIRIT OF Fragility WITH WHICH PRIVATE EXISTENCE IN THE USSR WAS PERMINED.”
Not everyone, of course, was so sociable. Bella Akhmadullina never decided to go to the dacha to visit Boris Pasternak:
“I happened to be around
but I am alien to the modern habit of establishing
disproportionate contact
in an acquaintance to be and name.
In the evenings I had the honor
look at the house and say a prayer
on the house, on the front garden, on the raspberries -
I didn’t dare say that name.”
Another feature of that architecture can be considered its conscious temporality. No one built a dacha “to last forever.” It could change, break, be repaired - all this perfectly reflected the spirit of fragility that permeated private existence in general in the USSR. In addition, various troubles could happen to dachas... I remember how our old dacha in Zagoryanka burned down. I was four years old, I wasn’t scared – it was very beautiful. The slate shot. They quickly built a new one, and it was not perceived as a tragedy - it was an everyday occurrence. Although I was terribly sorry for the creaking stairs and veranda with the signature glazing.
NEW TIMES: RETURN TO UNCERTAINTY
With the beginning of new times, the concept of a dacha is changing - and again for economic reasons. Initially, a dacha is a second home, so it is for those who can afford it, or rented. Then it becomes a luxury item: an apartment, a car, a dacha - the triad of Soviet wealth, the best companion of the groom. And in the 2000s, the dacha begins to argue with the city apartment for the status of the first home: there is nature, air, views and, in general, “ecology” (children now use this word as a synonym for the word “nature”). You can no longer live in a country house (insulated according to new standards) only in the summer - which is what many people prefer to do.
The market is normalizing, products are appearing, you can relax a little, people are already relaxing in their dachas again, as Shnur sings about:
“Women used to dig potatoes,
They seem to have calmed down a little now.
They felt sorry for us men,
You can sleep and go fishing.”
Today, again, as in the middle of the nineteenth century, it is difficult to draw a line - where the “dacha” ends and the “country house for year-round use” begins. This is no longer determined by either size or materials: a dacha can be very large, and modern technologies make it possible for a wooden house to be warm and reliable. However, one still hesitates to call a stone house a “dacha”. And why? Whereas wooden houses preserve the memory of their “dacha” component in a very varied way.
This is not only a veranda and a balcony, but also floor-to-ceiling windows that “bring you closer” to nature in a way that old architecture could not do - as, for example, in the house of Alexander Brodsky in Pirogov, in the house of Nikolai Belousov in the village Sovyaki or in the house of Svetlana Bednyakova in the village of Moscow More. The veranda itself can spread throughout the house and eventually envelop it all, turning the building into an “annex” to the veranda - as in “The House at the 9th Hole” by Yaroslav Kovalchuk in Pirogovo or in Timofey and Dmitry Dolgikh’s own house.
“TODAY AGAIN, AS IN THE MIDDLE OF THE NINETEENTH CENTURY, IT IS DIFFICULT TO Draw a line – WHERE THE “DACHA” ENDS AND THE “COUNTRY HOUSE FOR YEAR-ROUND LIVING” BEGIN. THIS IS NO LONGER DETERMINED BY THE SIZE OF THE HOUSE, OR THE MATERIALS FROM WHICH IT’S BUILT, OR ITS ARCHITECTURAL STYLE.”
In the house of Anton Tabakov on Nikolina Gora (architect - Nikolai Belousov), the veranda continues with a loggia, and then with a platform that turns into a wooden beach above the pond. But in the Pirogov cottage of Evgeniy Assa, the terrace is small in size, but at the same time it occupies one quarter of the total area - and, in combination with the one-story structure of the house, it becomes its main content. The tree growing through the floor of the terrace turns the entire structure not just into a manifesto of unity with nature, but into a hint that everything rests on it and revolves around it.
Another option for creating a dacha naturalness and organicity is a picturesque arrangement of volumes - in the spirit of that very Soviet “self-construction”, when new extensions were attached to the house unexpectedly and naturally. This is how a dacha in the Novosibirsk region was spontaneously built, which Andrei Chernov is building for a friend, also an architect; the cubes of a country house in Znamenskoye are huddled together (architects Igor and Nina Shashkov, Svetlana Bednyakova).
And of course, size matters: I would like to call the development of Zavidkina Cape in Pirogovo “dachas” (although it has a much more advanced name: “yachtsmen’s houses”). Or the “firefly” houses and “birdhouse” houses by Totan Kuzembaev, or the “Double House” by Ivan Ovchinnikov - which is not only small (albeit with a veranda), but also cheap. However, the modularity underlying these projects still prevents them from being considered a dacha, for which personalization is so important. And in this sense, Boris Bernasconi’s Volgadacha is much better suited for this role - a simple house, painted black, where instead of terraces there are unfenced “decks”. Or, on the contrary, the snow-white house in Lapino by Sergei and Anastasia Kolchin, which naturally received the ARCHIWOOD award in 2014, which in a sense paved the way for the current trend - new dacha.
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SADNESS AS INEVITABLE
Given the obvious temporary nature of dachas, nostalgia for this passing nature is inevitable. Moreover, it is always present - whether at the beginning of the last century or at the beginning of the current one. And, apparently, it is an obligatory part of dacha culture.
However, if previously only architecture changed, today the fundamental principles of this culture are also changing.
Dachas are surrounded by tall, blank fences, and that dacha life, which was determined precisely by the community, is melting before our eyes. There are few places where they stage plays and sing songs anymore - God forbid, if they play volleyball. “Walking to the station” is some kind of oxymoron, because the station has turned into a continuous market for construction materials, and a walk along a dusty path in the haze of rushing cars in a dense stream no longer resembles that walk from childhood. You can, of course, walk not along Pushkinskaya, but along Komsomolskaya... (Dacha associations, by the way, were noticeably less nervous about changes in the political course, so here today you can walk along the streets of Karl Liebknecht and Rosa Luxemburg, Dzerzhinsky and Menzhinsky).
“GIVEN THE OBVIOUS TEMPORARY TIME OF THE Cottages, NOSTALGIA FOR THIS DIVING NATURE IS INEVITABLE. AND IT IS ALWAYS PRESENT – WHAT AT THE BEGINNING OF THE LAST CENTURY, AND AT THE BEGINNING OF THIS CENTURY. AND, APPEARANTLY, IT IS AN OBLIGATORY PART OF DACHA CULTURE.”
Old charming houses are going away. In their place are growing huge, tasteless cottages - no one would dare call them “dachas”. “Meanwhile, in Russia a unique dacha culture. It is necessary to study it,” said Academician Likhachev and died without having formulated what was special about this phenomenon. And Korney Ivanovich Chukovsky composed the following parable:
In the near future, two students walk past his dacha. One says: “Marshak lived here.” “Not Marshak, but Chukovsky,” another corrects him. - "What's the difference!" – the first one answers blithely. Really, what difference does it make what the dacha looks like or doesn’t look like? The main thing is that it exists. And it wasn’t Kanatchikova.
Nikolay Malinin
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DACH ARCHITECTURE:
SLIDING
PHENOMENON
The word “dacha”, as you know, is not translated into foreign languages. That’s what they write: dacha. But what does this untranslatability mean? That dacha is the same national phenomenon as matrioshka, samovar, vodka. Of course, you can find analogues for vodka. But it is difficult for a foreigner to understand what vodka actually means for a Russian person, just like dacha. And both words, in a sense, are synonyms for the word “freedom”. Which, of course, is not in any translation: Wochenendhaus, country house, summer house, cottage, maison de champagne, casa de campo. Yes, all these meanings are in the word “dacha”: a house outside the city, a house for the summer, for the weekend, a small house, a second home. But just as “a poet in Russia is more than a poet,” so a dacha is much more than a “country house.” And that is why it is so difficult to define - at least on formal grounds, from the point of view of architecture.
TO BE OR TO SEEM?
One of the most striking dachas (and even built during their heyday - in 1908) could be considered the house of the writer Leonid Andreev in Raivola on the Karelian Isthmus. “The house, built according to his father’s drawings, was heavy, magnificent and beautiful,” recalled the writer’s son. – The large quadrangular tower rose seven fathoms above the ground. The huge, multi-pitched tiled roofs, the giant white quadrangular chimneys - each chimney the size of a small house, the geometric pattern of logs and thick shingles - the whole thing was truly majestic.” It would seem that for a great writer - a big dacha. “This dacha very much expressed his new course; “I went and did not go to him,” the writer Boris Zaitsev understands. “When I first drove up to it in the summer, in the evening, it reminded me of a factory: pipes, huge roofs, absurd bulkiness.” Zaitsev acutely feels this unnaturalness. “His home spoke of incompleteness, of the fact that the style still had not been found.
Mother from Orel, Nastasya Nikolaevna, with her Moscow-Oryol dialect, did not go for style; the eternal samovars, boiling from morning to evening, almost all night, did not go; the smell of cabbage soup, endless cigarettes, the owner’s soft, lounging gait, the kind look in his eyes.” That is, Andreev is not building a house, but an image. Which suits him very well - a man in everything excessive, excessive, pretentious. But it is difficult to live in it (how difficult it is to read Andreev today). “The bricks of the heavy fireplace pressed so hard on the thousand-pound beams that the ceiling collapsed, and it was impossible to dine in the dining room,” recalled Korney Chukovsky. “The giant water supply machine that delivered water from the Chernaya River seemed to have deteriorated within the first month and stuck out like a rusty skeleton.” It turns out that the house, which could be called the most interesting dacha from an architectural point of view, turns out to be not a “dacha” at all. It is too big, expensive, pretentious and inconvenient.
“Leonid Andreev’s dacha very much expressed his new course; and she went and did not go to him. When I first drove up to it in the summer, it reminded me of a factory: pipes, huge roofs, awkward bulkiness.”
But what prevents us from leaving it outside the brackets of this topic? Speaking about it, Zaitsev very accurately lists all the main signs of dacha life: a samovar, round-the-clock tea drinking, simple food, smoking, conversations, a general atmosphere of gentleness and relaxation. It is this set that will define the “dacha style” and will roam throughout the “dacha” literature throughout the next century. Tsars and palaces will be crushed, but this will remain unchanged: samovar, twilight, conversations. Terrace, veranda, cherry tree. Russia, summer, Lorelei.
A suspicion arises that the concepts of “dacha style” and “dacha architecture” are generally weakly connected. Moreover, the dacha as an architectural genre has almost no distinct features. And it can only be determined by contradiction.
NOT AN ESTATE
“The dacha became the epistasis of the Russian estate in the second half of the 19th century,” writes historian Maria Nashchokina, the main expert on the topic. Their main difference is economic. The estate fed its owner, while the dacha was a place of rest. Accordingly, the quantitative parameters change: the dacha did not require either the territory that the estate had or the staff. This means that the size of the home also changes. It can be as small as you like. In this situation, architecture also turns out to be redundant: columns and porticos become a thing of the past.
“IT IS THE NEW, DEVELOPING RAILROADS THAT BECOME A CATALYST FOR DOMATIC CONSTRUCTION, THE FIRST VILLAGES ARISE AROUND THEM – MAMONTOVKA (IT WAS BUILT BY ALEXANDER NIKOLAEVICH MAMONTOV), TARASVKA, ABRAMTSEVO.”
The past itself also becomes problematic. “Only, of course, we need to clean it up,” says dacha construction ideologist Ermolai Lopakhin, “to demolish all the old buildings, this house, which is no longer good for anything, to cut down the old cherry orchard.” It is clear that Lopakhin had a reason to dislike all this: “I bought an estate where my grandfather and father were slaves, where they were not even allowed into the kitchen.” And he sees the future not only capitalistically, but also communistically: “We will set up dachas, and our grandchildren and great-grandchildren will see a new life here.” But Savva Mamontov did not have such a neurosis, and he lovingly preserved the old Aksakov house on the Abramtsevo estate, which he bought in 1870. There was, of course, a reason (the house remembered Gogol), but the building itself - wooden, with semi-circular windows, with a terrace touchingly designed like a portico - was in very poor condition. However, Mamontov carefully renovated it and turned it into a real “house of creativity”, where the best Russian artists began to gather - some for the weekend, some for the whole summer. Many important paintings will be painted in Abramtsevo, which will become the pride of the Tretyakov Gallery, calendars and boxes of chocolates. But joint creativity is no less important: artists work together to build a church, work in pottery and carpentry workshops, and stage plays. Yes, they were here as guests, but not in idleness, which made Ilya Repin say about Abramtsevo: “The best dacha in the world.” And although the usual agricultural processes are taking place in Abramtsevo, the owner is no longer fed by the estate, but by the railway business: Mamontov is building a road to the North, connecting Moscow with Vologda and further with Arkhangelsk. It is the railways that become the catalyst for dacha construction, the first settlements arise around them, and it is along the Northern (now Yaroslavl) road that Savva Ivanovich’s cousin, Alexander Nikolaevich, builds his dacha. The village will continue to be called Mamontovka, which will preserve the memory of the estate tradition. But Mamontov is building a dacha from scratch. This is a huge (forty rooms) log house, decorated with carved platbands, pediments, and cornices. A completely traditional volume is transformed into a real fairy tale due to the rich decorations, which precisely characterizes the “Russian style” - the style of the very first dachas. Having emerged in the mid-19th century as an alternative to the official Russian-Byzantine style (which was embodied by the architecture of Konstantin Thon and his Cathedral of Christ the Savior), the “Russian style” was worthy company for Slavophiles, Peredvizhniki and everyone else who “went among the people.” The source of inspiration is towels and towels, the main tool is carving, and the main place for applying beauty is the platband. But the main thing is that the pattern changes. “The lordly landowner style with columns and galleries, borrowed from the West, has become a thing of the past,” recalled Natalya Polenova. “For buildings they began to look for models not in the landowner’s village, but in the peasant village.” That is, the classic manor house symbolizes the past and the foreign; -new country house - real and local, -Russian.
But if for the merchants, who were aware of their historical role, these associations with history are important (through the appropriation of all those attributes that were previously the privilege of the nobility), then for the wider population at this stage they play a rather negative role, being associated with the difficult serf past, poverty and lack of rights. If you look through great Russian literature, it is easy to notice that the image of the hut in it is rather gloomy. “Four walls, half covered, like the entire ceiling, with soot; the floor is full of cracks, at least an inch covered with dirt,” this is A.N. Radishchev. “Our dilapidated shack is both sad and dark,” Pushkin picks up. Lermontov is aware of the strangeness of his pleasure: “With joy, unfamiliar to many,” he sees “a window with carved shutters.” “The wind is shaking the wretched hut,” this is Nekrasov. “The logs in the walls lay crookedly, and it seemed that the hut would fall apart right now,” - this is Chekhov. And finally, the “gray” huts of “poor Russia” at Blok’s, the “hut” of which must be “shot with a bullet.”
“LOPAKHIN FROM “CHERRY ORCHARD” ACCURATELY DETERMINES THE MAIN COMPONENTS OF DEVELOPER SUCCESS: PROXIMITY TO THE CITY, PRESENCE OF A RAILROAD, LARGE TERRITORY, RIVER AS THE MAIN ENTERTAINMENT.”
Therefore, the dacha did not at all want to seem like a hut, although sometimes it had to: often peasant houses or extensions to them were rented out as dachas. In Soviet times, this would take on a different character: the village moved to the city, the huts became empty, and they were happily sold to new summer residents. This is exactly how the famous economist Alexander Chayanov will build his dacha on Nikolina Gora - by bringing a log house from near Ryazan. (Then it will be moved again, called “Pestalozzi’s house”, and it will become a summer camp for local children - which gives us an idea of its size).
Actually, it is through size that another researcher, Ksenia Axelrod, classifies Soviet dachas. She considers three main types: “dacha-hut” (one-story, of one or two log cabins), “dacha-house” (one and a half or two floors), “dacha-estate” (two or three floors plus space clearly divided into “ front" and "household"). But despite all this, we do not find any stylistic differences between these three types: in both cases we see a simple log house, pitched roofs and the inevitable terrace (or veranda).
But that will come later. And in Ivan Bunin’s story “At the Dacha” we find a characteristic clarification: “The house did not look like a dacha; it was an ordinary village house, small, but comfortable and peaceful. Pyotr Alekseevich Primo, an architect, has been occupying it for the fifth summer.” This evidence dates back to the era of the “dacha boom” (late 19th – early 20th century), when broad democratic strata of the population appeared on the scene, receiving their classic name from Maxim Gorky: “dacha residents.”
“COTTAGES AND SUMMER RESIDENTS – IT’S SO GOOD!”
The dacha boom began in Russia, as in Europe, at the end of the 19th century, when a new middle class emerged. “Until now, there were only gentlemen and peasants in the village, but now there are also summer residents. All cities, even the smallest ones, are now surrounded by dachas.” This is said by the hero of Chekhov’s play “The Cherry Orchard” Ermolai Lopakhin. He perfectly describes the economics of the process: “Your estate is located only twenty miles from the city, a railroad runs nearby, and if the cherry orchard and the land along the river are divided into dacha plots and then rented out for dachas, then you will have at least twenty five thousand a year income. […] The location is wonderful, the river is deep.”
Lopakhin accurately defines the main components of development success: proximity to the city, the presence of a railway, a large territory, the river as the main entertainment. But there is nothing aesthetic behind this pragmatism: what the architecture of the dachas will be is not important. Indeed, mass dacha construction, based on a small frame or log house with a gable roof and a terrace (veranda), existed in this form for more than a century.
Most often, such a dacha is built without an architect. It is not needed, because the architecture here is basically not important. A dacha is not a representative house. What do you look like (and what does your house look like) is question ten. Here you are exactly free - even in suspenders, even in underpants. Yes, of course, guests are expected, but it is assumed that they will also observe an unspoken agreement about the informality of everything - appearance, behavior, conversations. The same Chekhov in his story “The Fist’s Nest” describes the general appearance of a dacha village in the 1880s as follows: “Around an abandoned middle-class manor’s estate are grouped two dozen wooden dachas built on a living thread. On the highest and most visible of them, the “Tavern” sign is blue and the painted samovar is golden in the sun. Interspersed with the red roofs of the dachas, here and there the roofs of the lord’s stables, greenhouses and barns, shabby and overgrown with rusty moss, peer sadly out.”
But again we don’t see any architecture. Moreover, we discover its complete lack of demand. “Kuzma leads tenants into a dilapidated shed with new windows. Inside, the shed is divided by partitions into three closets. There are empty bins in two closets. “No, where to live here! - declares the skinny lady, looking with disgust at the gloomy walls and bins. - This is a barn, not a dacha. And there’s nothing to see, Georges... It’s probably flowing and blowing here. It’s impossible to live!”
Those who dared doomed themselves to unusual (but inevitable, because they were paid for) suffering - like the heroes of Bunin’s story: “Why are you so early?” – asked Natalya Borisovna. “For mushrooms,” answered the professor. And the professor, trying to smile, added: “You need to use the dacha.”
COUNTRY MASTERPIECES
However, at the beginning of the twentieth century, individual masterpieces are regularly found among this mass development - fortunately, this time coincides with the heyday of the next style adopted by summer residents - the Art Nouveau style. In contrast to the “Russian style”, it does not focus on decorative decoration of familiar forms, but on a volumetric solution that comes from the layout. Which - together with the general dacha ideology - become freer and more relaxed, and the volume, accordingly, becomes more complex and picturesque. This is no longer a traditional “house with a mezzanine”, but rather a “teremok”, developing both horizontally and vertically. There is also an economic logic to this: a manor house could stretch on its own land for as long as desired, but a dacha must fit into a small area (no more than 1/3 of the plot is allocated for development). At the same time, dachas near Moscow gravitate toward the national-romantic line of modernity, while those in St. Petersburg gravitate toward the Scandinavian line.
Fyodor Shekhtel builds the dacha of the publisher S. Ya. Levenson in Choboty near Moscow (1900): several volumes are arranged in a picturesque composition, each is crowned with an original roof, and the windows are taken into luxurious frames. Lev Kekushev makes I. I. Nekrasov’s dacha in Raiki (1901): huge windows, large hip roofs, exquisite saw carvings. Then for A.I. Ermakov he built a dacha in Mamontovka (1905): the signature Art Nouveau pattern in the railings of balconies and brackets, the volume growing in ledges, a charming veranda.
Sergei Vashkov designs I. A. Aleksandrenko’s dacha in Klyazma (1908): luxurious semi-circular windows, intricate carvings, a spectacular entrance portal. The dacha of V. A. Nosenkov in Ivankovo (1909) mutates in a curious way: first, Leonid Vesnin designs a giant log tower with pitched roofs, neo-Russian ornaments and a square tower. But the result is a cottage with a wooden second floor, hip roofs and elegant bay windows; All that remains from the original idea is a round veranda on the second floor. This house is much closer to St. Petersburg dachas, where Scandinavian restraint dominates. On Kamenny Island, Roman Meltzer builds his own dacha (1906): the complex composition of volumes is reminiscent of towers, but the decoration is more like Norwegian pickaxes.
“A MODERN DACHA IS NO LONGER A TRADITIONAL “HOUSE WITH A MEZZININE”, BUT RATHER A “TEREMOK” THAT DEVELOPS BOTH HORIZONTALLY AND VERTICALLY – IT SHOULD FIT INTO A SMALL, CLEARLY DEFINED AREA.”
Evgeny Rokitsky makes a villa in Vyritsa (1903): the signature Art Nouveau decor coexists here with a Norwegian dragon in a ridge. It is interesting that contemporaries perceived Andreev’s dacha as non-Russian: “The dacha was built and decorated in the style of Northern Art Nouveau, with a steep roof, beamed ceilings, and furniture based on drawings from German exhibitions.” The artist Vasily Polenov also considers his dacha “Scandinavian”: he builds the famous house-workshop in Polenovo according to his own design, plastering the usual log house in white, which really achieves a completely European effect. But if in all these buildings the hand of a professional is visible, then Ilya Repin’s estate “Penates” in Kuokkala (1903–1913) is just a vivid example of that “self-construction” that defines the Russian dacha. The simple wooden house is gradually overgrown with extensions, a second floor is added, and a glass tent is erected over the workshop. The house grows spontaneously, freely, and its only constant remains the huge windows - so as not to lose touch with nature.
TERRACE AS THE MAIN FEATURE
Another famous inhabitant of St. Petersburg dachas at the beginning of the century, Vladimir Nabokov, was accused by the writer Zinaida Shakhovskaya of being... a “summer resident.”
“Nabokov is a metropolitan, urban, St. Petersburg man, there is nothing landowner, black earth in him. ... The shining, sweetly singing descriptions of his Russian nature are similar to the delights of a summer resident, and not a person who is blood-connected with the land. Landscapes are manor, not village: park, lake, alleys and mushrooms, which summer residents also loved to collect (butterflies are a special item). But it’s as if Nabokov never knew the smell of hemp heated by the sun, a cloud of chaff flying from a threshing floor, the breath of the earth after a flood, the knock of a thresher on a threshing floor, sparks flying under a blacksmith’s hammer, the taste of fresh milk or a crust of rye bread sprinkled with salt... Everything that the Levins and Rostovs knew, everything that Tolstoy, Turgenev, Pushkin, Lermontov, Gogol, Bunin, all Russian noble and peasant writers, with the exception of Dostoevsky, knew as part of themselves.”
This is all fair. But something else is also true: the dacha really arose as a completely new, unparalleled phenomenon, emphatically not rural. And the main architectural element that distinguishes a dacha from a hut is the terrace. The terrace is for idle people: drinking tea and chatting. It is clear that in old architecture this was by no means the most important element. It appeared much later than the balcony (a status detail in a peasant house) or even the veranda (a glazed extension, the successor to the entryway). Even these words - terrace and veranda - are often confused, although from the etymology it is clear that “terrace” is more like “land” than “house”, but in fact is a transition zone between them, an element that unites the house and the surrounding landscape. And this intermediate position (sort of like in the house, but kind of like on the street) accurately characterizes the ideology of “dacha life”: in nature, but not in the garden.
This, in fact, was the main idea of the terrace: to bring a person closer to nature, which he, cut off by the big city, began to yearn for. Leonid Andreev’s famous story “Petka at the Dacha” (1899), in addition to its sad realism, is a relevant metaphor: for a city dweller deprived of nature, the dacha becomes it. But at the same time, this is not at all the same nature that his ancestors plowed from morning to evening. This is no longer arable land, but a modest vegetable garden; not a forest, but a garden; not a heap, but a terrace. To spend your time in life wisely, with feeling, with balance.
“Arriving in Pererva and finding Knigina’s dacha,” we read in Chekhov’s story “From the Memoirs of an Idealist”: “I went up, I remember, onto the terrace and... was embarrassed. The terrace was cozy, sweet and delightful, but even sweeter and (let me put it this way) more comfortable was the young plump lady sitting at the table on the terrace drinking tea. She narrowed her eyes at me."
It is on the terrace (or veranda) that the action of such famous “dacha” films as “An Unfinished Piece for a Mechanical Piano” or “Burnt by the Sun” takes place. Their author, director Nikita Mikhalkov, knows dacha life firsthand: the dacha given to the poet Sergei Mikhalkov became the “family nest” of the famous clan. This is also significant: the dacha seems to inherit the estate. But at the same time, the meaning behind the word dacha itself (dacha as something given as a gift) returns after the revolution: dacha can be both given and taken away. It becomes part of the same “punishment with housing” that the housing policy of the USSR is turning into.
However, even for those who could only rent dachas, it is the terrace/veranda that remains the main attraction of dacha life - as for the lyrical hero of the poet Gleb Shulpyakov:
“...So, this summer I lived in the country
(the dacha was not mine, it was someone else’s -
friends allowed me to stay a little).
In Moscow this summer there was a smell of burning -
somewhere in the area a peat bog was burning.
Even in the subway there is a blue haze!
And then half an hour along Kazanskaya
railway -
and you sit on the veranda like a gentleman.
You pull the narzan and look at the sun,
which beats in the spruce paws."
“THE MAIN ARCHITECTURAL ELEMENT DIFFERENTIATING A Cottage From A Hut IS THE TERRACE. ITS INTERMEDIATE POSITION (LIKE AS IN THE HOUSE, BUT SORT OF AS ON THE STREET) EXACTLY CHARACTERIZES THE IDEOLOGY OF “COUNTRY LIFE”: IN NATURE, BUT NOT IN THE GARDEN.”
NEW SOVIET DACHA
For another poet, Valery Bryusov, the sight of autumn dachas inspired the image of the interim end of the century:
“The terraces are boarded up,
And the gaze of the window panes is blind,
The decorations in the gardens are broken,
Only the cellar is slightly open, like a crypt...
I believe: in the days when completely
Our world will welcome its end,
So into the dream of the empty capital
An unknown stranger will enter."
However, the dachas migrated to their new life with unusual peace. At least, without the tragic densification that accompanied the redistribution of housing in cities. Not even a few years had passed before the birds began to sing again, the river sparkled, and Divisional Commander Kotov swam along it, stroking the heels of his daughter.
The film “Burnt by the Sun” was filmed near Kstov, at the dacha of the mayor of Nizhny Novgorod, built in the 1930s and, according to legend, the former dacha of the pilot Chkalov. However, the place in the film is named after the legendary village near Moscow - Zagoryanka.
It’s interesting that in the neighborhood of Mikhalkov’s summer residents, exercises are rumbled – as in Arkady Gaidar’s story “The Blue Cup,” written in Maleevka in 1935. Against their background, the note of expected idleness that new summer residents associate with life outside the city sounds especially poignant: “Only at the end of summer did I get a vacation,” says the hero of “The Blue Cup,” “and for the last warm month we rented a dacha near Moscow. Svetlana and I thought about fishing, swimming, picking mushrooms and nuts in the forest. And I had to immediately sweep the yard, fix dilapidated fences, stretch ropes, hammer in crutches and nails. We got tired of all this very soon.” In another famous story by Gaidar (“Timur and his team”), the dacha village becomes a place for the formation of new social relations: the pioneers take care of military families and fight with the local punks. The same theme of a new community is present in the very approach to the creation of new villages: they are formed along professional lines. Dacha settlements of scientists, architects, artists and, of course, the most famous, which has become a symbol of the “new dacha” - the writer’s Peredelkino. Mikhail Bulgakov, who glorified (or, more precisely, glorified) him, himself grew up in a dacha near Kiev - in the village of Bucha. “The dacha gave us space, above all space, greenery, nature,” recalled the writer’s sister. - There was no luxury. It was all very simple. The guys slept in so-called dachas (you know, now cots). But there was luxury: luxury was in nature. In the greenery. There was luxury in the flower garden, which was planted by my mother, who loved flowers very much.” Bulgakov’s nostalgia for the dacha became as strong a creative impulse as for Nabokov – for Russia, resulting in the famous scene from “The Master and Margarita”: “And now it’s good in Klyazma,” Sturman Georges urged those present, knowing that the dacha literary village of Perelygino on Klyazma - a common sore spot. - Now the nightingales are probably singing. I always somehow work better outside the city, especially in the spring. […] “There is no need, comrades, to envy. There are only twenty-two dachas, and only seven more are being built, but there are three thousand of us in MASSOLIT.”
So that those in the know do not have any doubt about the prototype of Perelygino, Bulgakov gives the exact number of dachas in Peredelkino near Moscow (although he transfers it to Klyazma). These 29 dachas were actually received in 1935 by the “generals” of Soviet literature: Konstantin Fedin and Boris Pilnyak, Leonid Leonov and Vsevolod Ivanov, Alexander Fadeev and Boris Pasternak, as well as playwright Vsevolod Vishnevsky (prototype of Lavrovich) and poet Vladimir Kirshon (prototype of Beskudnikov) - especially fierce persecutors of Bulgakov.
“TIRNED BY THE SUN” WAS FILMS NEAR KSTOV, AT THE MAYOR OF NIZHNY NOVGOROD’S DACHA, BUILT IN THE 1930s. HOWEVER, THE PLACE IN THE FILM IS NAMED AFTER THE LEGENDARY VILLAGE OF MOSCOW – ZAGORYANKA.”
Despite all the differences in writing styles, their dachas were typical, which fully corresponded to the idea of literature as a part of the ideological machine, as the “engineering of human souls.” All houses were built from timber, then plastered and painted. There is a terrace on the first floor and a balcony on the second. 150 meters below plus 50 above. Heating - stove. The quality of the houses is evidenced by the writer Alexander Afinogenov, whose American wife knew about construction: “Her friend walked with her through the construction and was silent out of decency, but the numbers of rubles spent on the construction seemed wild and scary to her, and such a bad construction that in her country no one would agree to take it.”
But what is a nightmare for an American, is happiness for a Russian writer. The people of Peredelkino were envied not only by Bulgakov, but also by all subsequent generations of writers. “The goal of creativity is dedication // And the Peredelkino dacha,” the poet Boniface quipped, paraphrasing the main summer resident of Russian literature.
Boris Pasternak himself described his dacha as follows: “This is exactly what one could dream about all one’s life. In terms of views, freedom, convenience, tranquility and thriftiness, this is exactly what even from the outside, when observing others, was poetically inspiring. Such slopes stretched across the entire horizon by the flow of some river (in a birch forest) with gardens and wooden houses with mezzanines in a Swedish-Tyrolean cottage-like style, seen at sunset, while traveling, from somewhere out of a carriage window, forced one to lean out to the waist for a long time , looking back at this settlement, enveloped in some kind of unearthly and enviable charm. And suddenly life took such a turn that on its slope I myself was immersed in that soft, multi-talking color, visible from a great distance.”
Comparing the Peredelkino dacha with a “Swedish-Tyrolean cottage” is hardly justified, but the “non-Russian” image of the house is obvious. The semicircular bow of the “ship”, its continuous glazing - all this smacked not only of Russian constructivism (already defeated by that time), but also of its closest predecessor - the German Bauhaus. Namely, the typical German project was taken as the basis for writers' dachas.
BOOTS FROM THE BEST SHOEMAKERS
Soviet architects could not afford to beg from abroad, so they designed their famous village near Istra - NIL - themselves. Its name also has nothing to do with the African river, but stands for Science, Art, Literature and implies that scientists and writers lived here. But the main ones were the architects: Viktor Vesnin, Georgy Golts, Vladimir Semenov.
The latter’s great-grandson, architect Nikolai Belousov, says that their house was built “not according to a design, but, as often happens, “according to possibilities”: “In the Istra flood zone, a peasant house with a cowshed was purchased. A simple log house, onto which they later put a second floor and all the pretzel decorations. It took two years to build. The house was a summer house, heated by a stove, inside there were plank walls and plank floors. Among the amenities is a room called the “washroom”, in which there is a wooden box with a hole for a known purpose. A floor with slits was installed nearby, and a stool was placed on it. So they washed themselves, sitting on the stool. The older generation watered the younger generation by heating water on a kerosene stove, which simply went into the ground through the cracks.”
Also, having bought a log house in a neighboring village, Georgy Golts built himself a dacha - simple, with a spacious terrace. The house of Vyacheslav Vladimirov was distinguished by an unusual triangular window in the pediment, and the dacha of Grigory Senatov was distinguished by a dome over the workshop. The main decoration of the house of constructivist Viktor Vesnin was a glazed semicircular veranda, vividly reminiscent of Pasternak’s. The dachas were very modest - but the architectural and planning solution for the village, which Vesnin made, was considered by the interdepartmental commission in 1936 to be “interesting (non-standard) and organically linked to the natural conditions of the place, and in the project, with extreme simplicity, the image of a village intended for recreation was found and there was no boring , a monotonous grid of rectangles, typical of holiday villages.”
“THE AMERICAN FRIEND WALKED WITH HER THROUGH THE CONSTRUCTION CONSTRUCTION IN Peredelkino AND WAS SILENT OUT OF PRECIENCY, BUT THE NUMBERS OF RUBLES SPENT ON CONSTRUCTION SEEMED WILD AND SCARY TO HER, AND SUCH A BAD CONSTRUCTION THAT NO ONE IN HER COUNTRY WOULD AGREE TO TAKE."
Actually, this is exactly what fit into the landscape has always been the main thing in dacha construction. “The architecture of the village is nothing less than the architecture of individual houses,” says the author of the master plan for the village of Sokol, Nikolai Markovnikov. This settlement, which became the first attempt to combine the idea of the “garden city” of Ebenezer Howard with the new socialist settlement, became the main testing ground - not so much with form, but with materials. From 1925 to 1933, 114 houses were built here (on eight acres each), many of them being built according to the same design, but with different designs - log, log-frame, frame with peat backfill, frame with sawdust backfill ( as well as brick ones). Then, over the course of a year, their temperature and humidity were measured to find the best option.
The most avant-garde (albeit similar to the huts of the North) seemed to be the buildings of the Vesnin brothers, while the houses of Nikolai Markovnikov himself were more reminiscent of English cottages, responding to local features with steep roof slopes - for self-shedding of snow. Excellent red pine from the banks of the northern Mologa River, as well as concrete foundation bowls that prevented the walls from rotting, ensured the houses a long life and the village wild popularity. True, the village of Sokol was built as a place for permanent residence, but it began to be perceived as a “dacha” in the second half of the twentieth century, when it was slowly surrounded by large houses, and life “without amenities” was no longer perceived as the norm.
NEW SYNONYM: GARDEN PLOT
“And one can say that in twenty years the summer resident will multiply to an extraordinary extent. Now he only drinks tea on the balcony, but it may happen that on his one tithe he will start farming,” this prediction of Ermolai Lopakhin did not come true right away. For the first half century, the summer resident preferred to relax at his dacha.
But after the revolution, the village gradually moved to the city. Under Khrushchev, a counter movement begins. True, only for the weekend and, if possible, nearby. “Six acres” is something between a “village” and a “dacha”. The cult of labor easily took hold of the six hundred square meters precisely because the overwhelming majority of the townspeople until recently were “villages” and did not have time to wean themselves off the land. It is again difficult for a foreigner to grasp the difference. But every Soviet person clearly understood that in a garden plot they dig, sow, weed, water, preserve from morning to evening. Whereas at the dacha they lie in a hammock, sit on the terrace, play badminton and endlessly set the samovar. Of course, they also swim, pick mushrooms and ride bicycles here and there, but in terms of architecture these two phenomena are clearly different.
A dacha is, as a rule, old, all in extensions and superstructures, with an obligatory terrace or veranda. And the garden plot is the same 0.06 hectares where there is some kind of shack in which you can only sleep, because early in the morning you have to crawl out to the plot and work, work, work.
“DESPITE ANYTHING, THE SOVIET MAN STILL TRASHED TO ARCHITECTURE. AND I INVESTED ALL HIS LONGING FOR DESIGN (WHICH, LIKE SEX, DIDN’T HAPPEN IN THE USSR), ALL HIS HOUSEHOLD, ALL CREATIVE POWERS, AND ALSO EVERYTHING THAT COULD BE TAKEN FROM WORK.”
It is interesting that this opposition was formulated by the same Chekhov. Having come up with the name “The Cherry Orchard” for his play, for a long time he could not understand what was wrong with it. And suddenly it dawned on him: “Not “cherry”, but “cherry”! “The Cherry Orchard” is a business, commercial orchard that generates income. […] But the “cherry orchard” does not bring in any income […] it grows and blooms for whim, for the eyes of spoiled aesthetes.” The garden plot, of course, did not bring much income, but it could easily provide the family with its own vitamins for the winter. Considering that it was troublesome to pronounce this stupid phrase, garden plots are still called “dachas”. This gives new summer residents a worldview that at least somehow brings them closer to the lost Russia, but brings new methodological suffering to researchers.
SELF-MADE, COLLECTIVE, TEMPORARY
For the most part, post-war Soviet dachas are built either according to standard designs, or without an architect at all. This is understandable: dachas demonstrate the privacy of human existence, which is not in honor of the new government. Therefore, she looks at them disapprovingly, but tries not to notice. However, it also does not allow professionals to be separated from the work of communist construction. Therefore, everything turns into that semi-official, semi-legal business that will soon be used by half of the country.
A country house in the Soviet country had the status of not just a second home, but another home, an alternative to the city one. That’s why it wasn’t too important what your dacha looked like. Nature remains the main thing at the dacha. “Our carpet is a flower meadow, our walls are giant pine trees,” the “Bremen Town Musicians” sang poems by Yuri Entin. “For us, tempting vaults of palaces will never replace freedom.”
However, if we say that Soviet people did not feel any need for architecture, then this would not be true. Of course I did. And he put into it all his longing for design (which, like sex, did not exist in the USSR), all his homeliness, all his creative powers, as well as everything that could be taken away from work. What masterpieces the dachas near Moscow were filled with! A washstand made from a bottle, a shovel made from a crutch, a “camp kitchen” assembled from a samovar and a wheelbarrow—the artist Vladimir Arkhipov collected the most brilliant “forced things” into a special museum: the People’s Museum of Homemade Things. Exactly the same thing happened with architecture, which was all just as “forced” - due to the lack of both goods and materials on the market. And just as the absence of a full-fledged real life made Russia the most reading country, so the absence of an objective world made it a country of inventors and home craftsmen. No other hobby (neither stamps, nor football, nor burning) allowed a Russian person to express himself so completely. It was a phenomenon unique in its diversity and originality, the like of which no other country knew. It had real poetry of chance, surrealism, originality.
A kind of monument to this folk art will be built in 2009 by the young architect Pyotr Kostelov. A simple house in the village of Aleksino is covered with a bunch of wooden patches. Almost all popular finishing methods were used. Traditional: lap board or just board. Modern: lining, imitation timber, blockhouse. Exotic: finishing with round shovel handles and bars of different sections... “The prototype of the solution,” the author comments, “was taken from the facades of private houses of the Soviet period. For known reasons, individual construction was not developed. And those who still managed to build a house, or rather a dacha, used a variety of materials for this, almost everything that could be found then. As a result, the house consisted of fragments, patches and patches, reflecting the capabilities of its owner at a particular period of time of construction.”
“BUT AT THE DACHA EVERYTHING IS DIFFERENT”
The signs of the “dacha style” described a hundred years ago by Boris Zaitsev will migrate to the city in the mid-twentieth century and become the main features of Moscow intellectual kitchens, where conversations about the most important things will take place in clouds of smoke and “herring, vodka.” That is, the Russian dacha of the early twentieth century, in a sense, shapes the Soviet cuisine of its mid-century.
For the intelligentsia, the dacha was the same kitchen, but open to nature, giving the illusion of unity with geography and history. And for the broader population, a dacha plot was a symbol of freedom, not spiritual, but material: here one could grow potatoes. Both of these meanings were happily combined - the intelligentsia also ate potatoes.
But if the kitchen really united - both through meals and conversation - then the main meaning of the dacha in Soviet times was exactly the opposite: it was about isolation. About the private life that our man was practically deprived of. “Ours” means “Soviet”, the one who doesn’t take a taxi to the bakery. And only outside the city was this possible: your own house, your own garden and vegetable garden, almost real private property and real private life.
By the end of Soviet times, forty percent of the country's population had dachas. This is a huge figure and, in fact, the same phenomenon of settlement as the word itself. A very small number of dachas had architectural value. Moreover, another feature that formed the “new historical community” - summer residents - was collective creativity. Every evening walk around the village turned into a series of spying and spying, sometimes accompanied by visits (and often to unfamiliar neighbors). And everything that was observed immediately adapted to its own site.
“ANOTHER FEATURE OF ARCHITECTURE CAN BE CONSIDERED ITS CONSCIOUS TEMPORARY. NOBODY BUILT A Cottage “to last forever.” IT COULD CHANGE, BREAK, BE REPAIRED - ALL THIS COULD BETTER REFLECT THE SPIRIT OF Fragility WITH WHICH PRIVATE EXISTENCE IN THE USSR WAS PERMINED.”
Not everyone, of course, was so sociable. Bella Akhmadullina never decided to go to the dacha to visit Boris Pasternak:
“I happened to be around
but I am alien to the modern habit of establishing
disproportionate contact
in an acquaintance to be and name.
In the evenings I had the honor
look at the house and say a prayer
on the house, on the front garden, on the raspberries -
I didn’t dare say that name.”
Another feature of that architecture can be considered its conscious temporality. No one built a dacha “to last forever.” It could change, break, be repaired - all this perfectly reflected the spirit of fragility that permeated private existence in general in the USSR. In addition, various troubles could happen to dachas... I remember how our old dacha in Zagoryanka burned down. I was four years old, I wasn’t scared – it was very beautiful. The slate shot. They quickly built a new one, and it was not perceived as a tragedy - it was an everyday occurrence. Although I was terribly sorry for the creaking stairs and veranda with the signature glazing.
NEW TIMES: RETURN TO UNCERTAINTY
With the beginning of new times, the concept of a dacha is changing - and again for economic reasons. Initially, a dacha is a second home, so it is for those who can afford it, or rented. Then it becomes a luxury item: an apartment, a car, a dacha - the triad of Soviet wealth, the best companion of the groom. And in the 2000s, the dacha begins to argue with the city apartment for the status of the first home: there is nature, air, views and, in general, “ecology” (children now use this word as a synonym for the word “nature”). You can no longer live in a country house (insulated according to new standards) only in the summer - which is what many people prefer to do.
The market is normalizing, products are appearing, you can relax a little, people are already relaxing in their dachas again, as Shnur sings about:
“Women used to dig potatoes,
They seem to have calmed down a little now.
They felt sorry for us men,
You can sleep and go fishing.”
Today, again, as in the middle of the nineteenth century, it is difficult to draw a line - where the “dacha” ends and the “country house for year-round use” begins. This is no longer determined by either size or materials: a dacha can be very large, and modern technologies make it possible for a wooden house to be warm and reliable. However, one still hesitates to call a stone house a “dacha”. And why? Whereas wooden houses preserve the memory of their “dacha” component in a very varied way.
This is not only a veranda and a balcony, but also floor-to-ceiling windows that “bring you closer” to nature in a way that old architecture could not do - as, for example, in the house of Alexander Brodsky in Pirogov, in the house of Nikolai Belousov in the village Sovyaki or in the house of Svetlana Bednyakova in the village of Moscow More. The veranda itself can spread throughout the house and eventually envelop it all, turning the building into an “annex” to the veranda - as in “The House at the 9th Hole” by Yaroslav Kovalchuk in Pirogovo or in Timofey and Dmitry Dolgikh’s own house.
“TODAY AGAIN, AS IN THE MIDDLE OF THE NINETEENTH CENTURY, IT IS DIFFICULT TO Draw a line – WHERE THE “DACHA” ENDS AND THE “COUNTRY HOUSE FOR YEAR-ROUND LIVING” BEGIN. THIS IS NO LONGER DETERMINED BY THE SIZE OF THE HOUSE, OR THE MATERIALS FROM WHICH IT’S BUILT, OR ITS ARCHITECTURAL STYLE.”
In the house of Anton Tabakov on Nikolina Gora (architect - Nikolai Belousov), the veranda continues with a loggia, and then with a platform that turns into a wooden beach above the pond. But in the Pirogov cottage of Evgeniy Assa, the terrace is small in size, but at the same time it occupies one quarter of the total area - and, in combination with the one-story structure of the house, it becomes its main content. The tree growing through the floor of the terrace turns the entire structure not just into a manifesto of unity with nature, but into a hint that everything rests on it and revolves around it.
Another option for creating a dacha naturalness and organicity is a picturesque arrangement of volumes - in the spirit of that very Soviet “self-construction”, when new extensions were attached to the house unexpectedly and naturally. This is how a dacha in the Novosibirsk region was spontaneously built, which Andrei Chernov is building for a friend, also an architect; the cubes of a country house in Znamenskoye are huddled together (architects Igor and Nina Shashkov, Svetlana Bednyakova).
And of course, size matters: I would like to call the development of Zavidkina Cape in Pirogovo “dachas” (although it has a much more advanced name: “yachtsmen’s houses”). Or the “firefly” houses and “birdhouse” houses by Totan Kuzembaev, or the “Double House” by Ivan Ovchinnikov - which is not only small (albeit with a veranda), but also cheap. However, the modularity underlying these projects still prevents them from being considered a dacha, for which personalization is so important. And in this sense, Boris Bernasconi’s Volgadacha is much better suited for this role - a simple house, painted black, where instead of terraces there are unfenced “decks”. Or, on the contrary, the snow-white house in Lapino by Sergei and Anastasia Kolchin, which naturally received the ARCHIWOOD award in 2014, which in a sense paved the way for the current trend - new dacha.
SADNESS AS INEVITABLE
Given the obvious temporary nature of dachas, nostalgia for this passing nature is inevitable. Moreover, it is always present - whether at the beginning of the last century or at the beginning of the current one. And, apparently, it is an obligatory part of dacha culture.
However, if previously only architecture changed, today the fundamental principles of this culture are also changing.
Dachas are surrounded by tall, blank fences, and that dacha life, which was determined precisely by the community, is melting before our eyes. There are few places where they stage plays and sing songs anymore - God forbid, if they play volleyball. “Walking to the station” is some kind of oxymoron, because the station has turned into a continuous market for construction materials, and a walk along a dusty path in the haze of rushing cars in a dense stream no longer resembles that walk from childhood. You can, of course, walk not along Pushkinskaya, but along Komsomolskaya... (Dacha associations, by the way, were noticeably less nervous about changes in the political course, so here today you can walk along the streets of Karl Liebknecht and Rosa Luxemburg, Dzerzhinsky and Menzhinsky).
“GIVEN THE OBVIOUS TEMPORARY TIME OF THE Cottages, NOSTALGIA FOR THIS DIVING NATURE IS INEVITABLE. AND IT IS ALWAYS PRESENT – WHAT AT THE BEGINNING OF THE LAST CENTURY, AND AT THE BEGINNING OF THIS CENTURY. AND, APPEARANTLY, IT IS AN OBLIGATORY PART OF DACHA CULTURE.”
Old charming houses are going away. In their place are growing huge, tasteless cottages - no one would dare call them “dachas”. “Meanwhile, a unique dacha culture was created in Russia. It is necessary to study it,” said Academician Likhachev and died without having formulated what was special about this phenomenon. And Korney Ivanovich Chukovsky composed the following parable:
In the near future, two students walk past his dacha. One says: “Marshak lived here.” “Not Marshak, but Chukovsky,” another corrects him. - "What's the difference!" – the first one answers blithely. Really, what difference does it make what the dacha looks like or doesn’t look like? The main thing is that it exists. And it wasn’t Kanatchikova.
Nikolay Malinin
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Dachas, villas and mansions: Facades and plans of stone and wooden buildings in new styles / Edited by Vl. Story. - St. Petersburg: Book publishing house M. G. Strakun, [b. G.]. - IV, 72 p., ill. - (Country architecture abroad).
From the editor
The collection of foreign architectural projects offered to the attention of Russian readers is the first attempt to acquaint them with the motives of foreign architecture. Here are collected the most typical projects of German and English architects from various albums, and the text below represents an excerpt from explanatory notes on the projects and fully acquaints us with the requirements that Western Europeans, who are accustomed to greater comfort and convenience than we are Russians. Although it is not always possible to agree with the provisions of the German authors in everything, we still have to recognize their deep thoughtfulness and adaptability to the requirements of the life of a given people. For us Russians, most of the plans posted here are not suitable in their entirety. We have completely different life requirements.
Our social disunity makes itself felt even in the close circle of family, and a mansion house with walk-through rooms, deprived of a saving corridor, of course, would not soon find a buyer or even a tenant among us; Therefore, all projects placed here should be viewed only as a diagram that can be reworked according to individual requirements in each individual case.
All the projects placed here mostly relate to stone buildings, although they can also be suitable for plastered wooden ones. Although at first glance it seems that foreign buildings are comparatively cheap, in fact, after calculating, it turns out that a cubic fathom of construction costs from 90 rubles. up to 120 rub.
When using a scale, it is useful to remember that a linear meter is equal to almost 1½ arshins.
To facilitate the use of these plans, my architectural and construction office takes upon itself the work of processing them in relation to the requirements of Russian clients and legal regulations.
Vl. Story.
TABLE TOPICS.
(*Plan at the end of the book)
TABLES:
I. Stone one-story country mansion with a residential semi-basement; covered, like most others, with tiles
III. IV.* Types of stone mansions. Can easily be adapted for boarding houses
V.* Kamen. one floor mansion with mezzanine - especially suitable for a manor house
VI.* Kamen. two-story the mansion is interesting for its interior. location of rooms; all living rooms and even the kitchen on the second floor. For most Russian families, the plan requires reworking
VIII.* Same thing - but a more convenient location of the rooms. Interesting treatment of the entrance porch in the form of a grotto
IX. Two-story. stone the mansion is in the English Art Nouveau style. Due to its vastness, the plan can be developed for a sanatorium or boarding house.
X. Kamen. two-story The residential building can easily be converted into an apartment building with four apartments. Modernized Empire style
XI. Stone villa with a mezzanine in the style of an English cottage for a large family, boarding house or sanatorium
XIV. A small stone house with two independent apartments. inputs
XVI. Derevyan. stucco mansion with mezzanine. The fence is either concrete or stone with a wooden lattice
XXXV.* XXXVI. English style stone villas
LV. Small mansion of mixed type, stone bottom, wooden top
LVI.* Log hunting lodge in Swiss style
LVII.* Country mansion. According to the convenience of the plan, it can be adapted to a room system
LVIII. Small hunting lodge
LIX. LX. Different facades of the same Swiss-style villa
LXI. Stone mansion in the new German style
LXII. Small house in Swiss style. Can be stone or wood. Upstairs mezzanine
LXIII.* Garden pavilion; may also be suitable for a summer cottage with a circular terrace
LXIV.* Wooden or mixed villa; semi-mansard top in German Art Nouveau style; garden cultivation is worthy of attention
LXV.* Small country villa. Very convenient room layout. There are two facades, main and side
LXVI.* Also. Motif of a small country villa with mezzanine. On the side facade (on the right side) you can see a lattice of shingles for climbing plants
LXVII. An example of the location of an estate on a slope
LXVIII.* LXIX.* Stone house with four apartments in the style of an English cottage. Two opposing facades are presented. Can be used as a workers' house in a factory
LXX.* Stone villa with mezzanine. Maybe log
LXXI.* Log hunting lodge in Swiss style. Downstairs there is only a living room-dining room and a kitchen, upstairs there are three bedrooms and a bathroom. Convenient for out-of-town visits
LXXII.* Stone mansion in the new German style
LXXIII. Stone mansion in the style of English cottages
LXXIV.* Log house-hut for a large family. Suitable for rural school or boarding house. There is a large games room. Can also be adapted for a country restaurant
LXXV. The motif of a country semi-detached house with two apartments and a mezzanine. Stone or wooden plastered
LXXVI.* LXXVII. Two-story mansions in the false Russian style; can also be adapted for apartment buildings
LXXVIII.* Small service outbuilding: coachman's room, stable and barn
Brief explanatory text*)
*) Extract from the book by Guenel and Charman.
When building a house, you should never forget that in the very small house You can create comfort and beauty, combine grace and style. But this is only possible if the place for construction is chosen as carefully and carefully as the construction itself will be carried out and its preliminary plan (project) will be developed.
The most important requirements that the site of future construction must satisfy are the following:
- High dry terrain.
- Proximity to drinking water.
- Possibility of installing sewage drains.
- Convenient roads.
- Proximity to a pharmacy, doctor, school (or convenient communication with it).
- Material security for the settlers, in order to be able to subsequently spread the duties over a larger number of payers.
Avoid:
- In mountainous terrain there is quicksand-soil (risk of landslides and shifts).
- Avoid damp and swampy places.
- In the close proximity of large cities, examine the history of the place; Was there a landfill or cemetery here?
- When planning a village, avoid straight, too wide streets, as boring and monotonous; It is desirable to lay out curvilinear streets in the form of alleys.
- Avoid large roads as they are dusty and too noisy.
- Avoid factory areas.
____________
¹) There is an opposing theory, pointing to the straightness of the streets as an important factor in terms of natural ventilation (draft) of the entire village.
Note by V.S.
It is advisable to choose a place on southern slopes, protected from northern and northeastern winds with at least small tree plantations (they provide shade and protection from the winds).
The house should be located in the northern part of the estate, so that there is a large sunny area; avoid unnecessary cutting of existing trees (see projects no. 22 and 31).
In order to avoid unnecessary expenses in the future, it is necessary to thoroughly think through the plan before construction, for which it is always more useful to contact a special architect, since the money paid for a good project will always be returned a hundredfold.
The architect must know exactly all the requirements of the person being built and be completely imbued with his desires and aspirations, and the architect’s responsibilities do not end with the presentation of the architectural project, but on the contrary, construction from start to finish must be carried out under his direct supervision and guidance, since there are always a lot of questions, which cannot be resolved otherwise than through joint on-site discussion between the owner and the architect; who must constantly remind the client that any changes and additions also cause unnecessary costs, which at first seem insignificant. An architectural project should not just be a pretty picture, but also fully meet the requirements of life.
The architect must indicate the number and purpose of rooms on each floor, their mutual relationship, the purpose of the basement, attic, etc.
Although a one-story house is always more expensive than a two-story house, one cannot help but point out the convenience of the first from a practical point of view. Finally, it is necessary to keep in mind the general amenities of the house, so as not to depreciate it in the event of sale or transfer to another owner, and since one of the main persons using the house is the hostess, it is necessary for this latter to participate in the discussion of the house plan.
IN good home For an average family the following number of rooms is needed¹):
____________
The reception area is small.
Dining room - large and small.
Study.
Games rooms.
Music room.
Dance room (hall).
Winter Garden.
Children's room for play.
Children's room for work.
Bedrooms depending on the number and age of children.
Bedroom for parents.
Atelier (with ceiling light).
Maid's room.
Room for lunch and daytime stay of servants.
Adjacent to the bedrooms are bathrooms, wardrobes, w. c.
It is advisable to have special washrooms for servants.
Linen room and next to it a small room for mending linen.
The staircase (Diele) should have a cozy residential appearance and be equipped with an entrance hall and a toilet.
There should be a corridor between the front room and the kitchen to avoid children.
The kitchen consists of departments: the kitchen itself, the scullery, the meat room, pantries and pantry. Silver should be stored in a closet in the dining room.
It is good to have a special room for cleaning dresses and boots.
In the basement there is a room for central heating, coal, kerosene; wine cellar with cool room for drinking and relaxing.
On its southern side there is a janitor's room with a separate exit.
Then you need a dark room with running water, a garage for cars and bicycles. It is necessary to have a special back door and entryway, in addition to the kitchen, and generally try to isolate the purely utility room from the rooms (see pages 2, 4, 11 and 78).
“Where the sun comes, the doctor doesn’t look”; therefore, it is advisable to place the house diagonally to the meridian so that all rooms are bright; especially for children.
Bedrooms are preferably facing the East, as they become cooler in the evening.
Make sure that the wind does not blow kitchen fumes into the house. For simple latrines, install ventilation in a special channel next to the kitchen chimney.
The installation of central heating must be entrusted to a specialist engineer in advance in order to leave the necessary space for batteries, etc., during construction.
It is practical to place the laundry room in the attic.
The British usually make the height of rooms 4½ arsh.
Avoid rooms that are too large as they are not cozy.
Wiring should be provided hot water to the top; In general, it is practical to install cold and hot water taps in the rooms; especially in bedrooms.
An internal telephone and an elevator for serving food if the kitchen is downstairs are also of great convenience. Device w required. c. on every floor.
It is also useful to use walls to create niches and cabinets in them.
Regarding the interior decoration of the rooms, it should be distinguished by elegant simplicity: the ceiling is best smooth plastered white with a colored border. The walls are painted with oil paint in soft, calm tones in accordance with the furniture and appearance of the hostess.
Terraces, although desirable, increase the cost of construction and can be successfully replaced by mezzanine rooms with large windows¹).
____________
¹) Completely wrong opinion. Note by V.S.
As for the appearance of the house, it should be in accordance with the surrounding buildings and the style of the house should not be expressed by decorations, but should be expressed in the form of the building itself.
Local building material must be used.
The garden fence should preferably be solid, so that dust, noise and prying eyes do not penetrate into the garden (see project No. 30).
Garden furniture is best of simple, strict shapes, white lacquered, which stands out well against the background of greenery.
The above brief instructions will serve to boost that petty-bourgeois construction that has built a fairly strong nest in Germany²).
____________
²) The last word can easily be replaced with the word “Russia”. Note by V.S.
1. Speicher - pantry.
2. Schlafzimmer - bedroom.
3. Badstube - bathroom.
4. Wohnzimmer - living room.
5. Wintergarten - winter garden.
6. Anrichte - pantry.
7. Speisezimmer - dining room.
8. Diele - a central room with a staircase to the top, usually with two lights.
9. Vorplatz - platform-corridor.
10. Empfangszimmer - reception area.
11. Halle - see No. 8.
12. Wohndiele-see. No. 8, adapted for housing.
13. Offene Veranda - open veranda.
14. Geschlossene Veranda - closed veranda.
15. Gesellschaftszimmer - living room.
16. Wohnraum - living room.
17. Flügel - outbuilding (mansion).
18. Toilette - toilet (restroom).
19. Waschküche - scullery.
20. Küche - kitchen.
21. Gastzimmer - room for visitors.
22. Kinderzimmer - children's room.
23. Eiszimmer - glacier.
24. Gutestube - small living room.
25. Zimmer - room.
26. Salon - hall.
27. Schrank - wardrobe.
28. Fräulein - governess.
29. Herrenzimmer - room for young people.
30. Damenzimmer - boudoir.
31. Arbeitszimmer - office.
II.* Stone two-story mansion, can be adapted for two independent apartments. Very convenient location of the rooms
VI.* Stone two-story mansion - interesting for its internal arrangement of rooms; All living rooms and even the kitchen are on the second floor. For most Russian families, the plan requires reworking
VII.* Type of English cottage for a small family. The facade is elegant in its simplicity
XLVIII.* Wooden plastered semi-detached house with two apartments with independent entrances. Under the roof mezzanine
XLIX. Small mansion with mezzanine. Log plastered or stone
LII. The mansion is of mixed type: the bottom is stone; timber or plastered top with wooden rods
LIII.* Same type of house
In order for the dacha to correspond to its purpose: to create an environment for rest, relaxation, and a pleasant pastime, it is necessary to make the house and the surrounding area interesting and comfortable. Emerging virtual ideas cannot always be implemented in life, including during the construction and design of such a vacation spot as a dacha. Photo ideas are perfectly perceived visually and can be an excellent option for implementation.
Dacha is a country house in which seasonal (summer) stay is expected. However, the dacha is not limited to one house, it is a whole complex, which includes:
- basic house construction;
- additional outbuildings and household buildings;
- structures for open recreation areas;
- landscaped local area.
Only with the correct, convenient location of all zones and their appropriate design, the dacha will become a real place of relaxation. A beautiful summer cottage is an area surrounded and filled with greenery and vegetation. These can be both decorative plantings and fruit-bearing trees and shrubs. The proposed photos show dachas in summer. Bright colors in several tiers: trees, shrubs, flower beds are irreplaceable elements of a summer cottage.
Helpful advice! If a dacha or plot of land is purchased with trees, it is better to try to preserve them as much as possible. It will take several years to grow new ones.
Communication requirements country houses somewhat different, but comfortable arrangement of the dacha remains one of the primary tasks. No shower cabin or bathtub can replace an outdoor shower. Made from solid wood, timber, slats, it can become a real decoration of the site.
Staying at the dacha involves spending most of the time outdoors, so having an open, lightweight structure for relaxation is a prerequisite. Drinking, process water, it is better to have a toilet on the site, and not just in the house. The supply of drinking water can be arranged in the form of a fountain. You can arrange a faucet with technical water like a spring, covering it with natural stone.
Buildings for gardening tools or small workshops are usually moved to the far corners of the site. Even hidden from the eyes of guests, they should be decorative in order to visually promote a positive psychological mood during their stay at the dacha.
Architecture of wooden country houses: photos of interesting and affordable ideas
The design of a dacha begins with the exterior of the building, which is based on architectural features buildings. Wood is environmentally friendly and looks organic in natural conditions. Such a house does not require additional interior or exterior finishing, with the exception of protective coating and tinting (if desired). When using this material, there are no restrictions on the area and number of floors of a country house.
The appearance of wooden structures does not require significant decorative additions. The proposed photos show one-story box houses made of timber and logs. Small windows and a blank entrance door will make the rooms cozy and conducive to privacy. Large window openings and glass doors will contribute to the contemplation of nature and a feeling of inextricable unity with it.
But two- and three-story wooden houses, having only a main wall box, look rough and uninteresting. A balcony, even a small one, will add liveliness to the building. And this is clearly demonstrated by the photos. The canopy at the entrance can be made into the floor of the terrace, creating a wonderful open seating area on the second floor. If the 2nd floor is located in attic, then the external staircase will serve as a significant architectural addition.
An excellent option for a wooden dacha can be houses of an original shape, for example, in the form of a barrel, an irregular parallelepiped, an oval, a hut without windows, etc.
The small size of the rooms and, therefore, the absence of a large number of objects for various purposes will contribute to complete relaxation. When determining the architecture of the future building for the dacha, it is worth taking into account several important points:
- it is not the size, but the interior of the dacha that creates the conditions necessary for relaxation;
- all premises must be functional and conducive to a positive attitude;
- even the smallest building needs to be divided into zones.
Helpful advice! When choosing a wooden house as a country house, you should take into account that even if there is special processing timber and log house require annual renewal of the protective layer.
Features of the design of dachas made of blocks, panels and bricks
The following materials are popular and technically acceptable for the construction of country houses:
- Gas silicate blocks are large in size (8 times larger than bricks), they are lightweight and easy to cut. The presence of air-filled drip spaces in their structure allows the house to remain warm.
- Sandwich panels are blocks made of wood materials and insulation, attached to a frame.
- Brick is a building material that has the properties of stone.
Buildings made of gas silicate blocks and sandwich panels require additional processing - plastering and applying a layer of paint. Creating a design for a country house made from these materials is a simple task, since there is freedom of choice due to the variety of assortments. The difficulty lies in the correct use of colors.
If the house building is painted in a bright color, it will become defiantly dominant, which means it will be extremely difficult to create a beautiful site. Natural shades of greenery and flower buds will be muted, and natural beauty will be less noticeable. It is better if the base is white, pastel colors, cold light shades. You should not use more than two colors to paint your house, so as not to create a feeling of unnecessary diversity.
Related article:
How to properly plan a site. DIY landscape design: landscaping, decorative designs, garden buildings and ponds.
Brick is durable and promising from a design point of view. Brick, which looks like stone, blends organically into the natural environment. To add decorativeness to a country house they use various ways masonry Straight, semicircular, spiral columns will become a worthy decoration of country houses. Window openings, steps, etc., unusually decorated with brick, also contribute to aesthetics. The photo shows areas where brick was used as the main building material. This material is a combination of practicality and aesthetics, giving buildings originality and beauty.
Registration of summer cottages located in the forest zone
The site, located in a forest area, requires special treatment both in terms of design and in matters of landscaping the dacha. In such cases, it is necessary to give priority to environmental friendliness, complementing the overall picture with details and decorative elements.
Do we need flower beds, flowerbeds, beds, fruit trees in such areas? Of course, but only if there are suitable soils, otherwise the plants will lack light and moisture. It should also be remembered that the proximity of the forest implies a large number of birds that can destroy crops at the seedling level. If there are trees on the site that have been “inherited” or are visually part of the forest, it is better to place flower beds next to the house so that they form a unity with the building. If you don’t have a large free area, you shouldn’t start a garden.
Under the crowns of large trees, it is more appropriate to install not a gazebo, which will lose its attractiveness against the backdrop of the natural bends of the branches, but a canopy that reveals the trunks and the ground greenery framing them.
Helpful advice! When creating the design of a summer cottage in a forest area, you must strive not to start from scratch, but to subordinate ideas to existing conditions.
You should not destroy nature on your site for the sake of everyday needs. Cutting down a pine tree that is decades old in order to convenient location placing a carport is, to say the least, impractical.
The proposed photos of the design of dacha plots will help you choose, if not the design style as a whole, then individual elements that will adequately decorate a dacha located in a forest area.
Landscape design for summer cottages: photos of the most interesting ideas
Country landscape design is designed to bring three components into harmony:
- engineering buildings;
- vegetation;
- design style.
There is an impressive list of landscape design styles, each with its own characteristics and advantages. Typical summer cottage plots are 6–10 acres in size, so it is unlikely that it will be possible to arrange all the compositions and buildings on them according to Feng Shui - taking into account the movement of water and wind. However, individual details, elements and design methods adopted will help create a beautiful summer cottage. Photos depicting dachas, where the ethno-trend dominates, can serve as a source of ideas for lovers of naturalness, bordering on chaos. Lawns, wicker hedges, and simple plants in tubs are the main elements of this design.
Ideas that involve an abundance of flower beds, bright flower beds against the backdrop of perfectly trimmed green lawns are for connoisseurs of the Dutch style. Mandatory decorative elements for a garden in this style are funny sculptures of gnomes, frogs, fish, mermaids, as well as other animals and fairy-tale creatures.
Alpine slides (tiered arrangement of flower gardens), green borders (trimmed shrubs), arches and pergolas with hanging plants, hedges (densely planted plants), alleys (paved paths along which plants are planted on both sides) are widely used and beautifully decorate the site.
In order to create an interesting landscape design, it is necessary not only to position the plants correctly, but also to provide them with conditions for further growth. To this end, before starting to create a design project, you must:
- obtain information about the composition of the soil cover in places where plants are planted;
- carefully study the climatic conditions necessary for the planned types of flora;
- take into account the desired and impossible proximity of various plant species;
- consider creating conditions for caring for vegetation and other design elements.
To implement the last point, you will need to lay communications accordingly and stock up on the necessary equipment.
Helpful advice! If the area has paths lined with pebbles, it is recommended to purchase a vacuum cleaner to collect leaves and other debris. Sweeping is ineffective for paths with such a coating, and fallen leaves left over the winter when rotting will leave dark spots on the pebbles, which will lead to a loss of aesthetics.
Arrangement of a summer cottage with your own hands: photos, tips and recommendations
Inviting a designer to decorate a summer cottage is an expensive pleasure. And the option proposed by a specialist is not always satisfactory; constant approvals and clarifications are necessary. If you have a little free time and a great desire, you can decorate the dacha with your own hands. It is possible to do this both by attracting significant funds and using various economical options. The design sequence could be as follows:
- identification of mandatory and desirable objects;
- compiling a list of necessary materials, including plant materials;
- calculation of financial, physical and time costs.
If it is possible to order delivery of processed workpieces, the task is simplified. However, making decorative elements from available materials is a more exciting process. For example, from trunks and branches sanded with your own hands on a summer cottage you can build:
- gazebo;
- canopy;
- swing;
- arch;
- hedge
If you can’t come up with the shape of the buildings yourself, it’s worth looking at photos of the design of your summer cottage with your own hands. Among the mass of ideas, you will definitely be able to choose an interesting one. The following can be used as green spaces:
- ground cover plants, many species of which grow in the forest zone;
- young trees that make up the dense undergrowth;
- wildflowers;
- wild shrub.
If transplanted carefully, there will be no harm to the environment, and the plants will benefit from thinning. If the site is open and is constantly under the rays of the scorching summer sun, it is necessary to lay paths to remote buildings, shaded by arches braided with vertical climbing plants. The main house building can be shaded by planting such plants. Dividing into zones is easy to do with the help of vertical screens and green hedges.
The proposed selection of photos of do-it-yourself summer cottage design will not only help you decide on an idea, but will also tell you which materials are preferable to use when decorating.
Small houses for a summer residence: advantages and ways to solve capacity problems
Many people prefer small country houses. The reason for this is a number of advantages of this type of dacha:
- minor financial expenses for construction;
- short construction period;
- does not take up much space on the site;
- Little effort is required for maintenance: repairs, cleaning.
It is not difficult to create the interior of a country house of this type, since due to the small area you will not need many decorative elements. The design style of such a house should be in harmony with the construction material and the shape of the building.
Problems are most often caused by the need to place everything you need: a sleeping place, an area for cooking and eating, a work corner or an area where you can do what you love - drawing, knitting, writing. You should use a folding sofa as a sleeping place. During the daytime you can seat guests on it, and at night it can fully replace a bed.
Helpful advice! It is recommended to purchase a sofa with a drawer. In this case, there will be no need to invent a place for bed linen and a warm blanket, which is in summer season Rarely used, but always available.
Will significantly save space. The magazine version can be used for its intended purpose and for tea parties with a small group. For lunches, you will need to transform the table and use a larger tabletop.
Furniture design in small houses is very important as it forms the basis of the interior. In houses made of timber or logs, it is better to install furniture made of solid wood or with a surface wood veneer covering. Wood materials MDF and chipboard look organically in brick buildings with unplastered, open walls. In block and panel structures, plastic is quite appropriate, artificial rattan, glass and metal.
The problem with small country houses is sometimes the provision of natural light. If the size of the dacha is so small that it is impossible to install a full-fledged window, you can make a double-leaf entrance door with large glass inserts. Small country houses most often do not have attics. Therefore, a window installed between the roof rafters is an architectural highlight and an excellent source of light. The photo of do-it-yourself dachas offers interesting options for window placement.
Photos of recreation areas in the country: a variety of designs and their design
A dacha is, first of all, a place to relax. Not available on site light construction, intended for relaxation in the fresh air, cannot be considered a full-fledged dacha. Structures that represent an open recreation area can be:
- terrace;
- veranda;
- balcony;
- alcove;
- pergola;
- canopy
The terrace, veranda and balcony are buildings adjacent to the house, therefore, in terms of design, they are completely dependent on the main house construction and are most often made of the same material. Vases and flower pots can be an excellent aesthetic addition to these buildings. The photo shows dachas with interesting architectural solutions for placing open recreation areas, built-in and attached structures.
The gazebo, pergola and canopy are free-standing structures. They can be in harmony not only with the main structure, but also with the design of the surrounding elements. The structures often have lattice side walls designed for weaving plants along them, stone columns that form a composition with a fountain, and a log frame that emphasizes unity with the natural surroundings. It is lightweight buildings in small dachas that often form the basis of the design of the site. Photo proposals for designs made from various materials will help create a cozy outdoor seating area.
Dachas: photos of non-standard solutions to common dacha problems
It is almost impossible to purchase a dacha or a plot for its construction and be absolutely satisfied with the conditions. We have to change, adjust, create something. There are several problems typical for summer cottages.
Mosquitoes. If the site is located near water, these annoying insects do not allow you to calmly enjoy the fresh evening air and admire the sunset. Remedies against them in open space are practically of no help. The easiest way out is to plant wild onions or calendula around the open seating area. Not single flowers, but a dense frame. Moreover, the simultaneous use of these two types of plants will enhance the effect.
Neighbours. The site is new, the green spaces are still low, the gazebo is easily visible to the neighbors, this creates a feeling of discomfort. In this case, it is recommended to order a banner and install it in the right place. It will not only solve this problem, but will also serve as a decorative element for the dacha.
Helpful advice! You should not purchase a banner with images of nature, as this will cause a negative reaction. Let it contain your favorite symbols, heroes, indicators of profession, abstraction, that is, something that contributes to pleasant memories and feelings.
Lack of water. You can make an artificial reservoir by concreteing the hole or using polyethylene film for waterproofing. If the dominant desire is only to contemplate and enjoy the damp coolness, a reservoir size of 150x100x50 cm will be quite sufficient. For swimming, you will need larger dimensions of the structure; the bottom and walls should be laid out exclusively with film: using the solution is costly, labor-intensive, and difficult to ensure tightness. Photos of the design of dachas with artificial reservoirs will tell you which option to choose.
Lack of fertile soil. Growing vegetables or herbs in the garden is the desire of many summer residents. This is often impossible to do due to the unsuitability of the soil. This problem can be solved with the help of containers, where you need to fill either the brought black soil or a soil mixture prepared from the existing soil and additives necessary for fertility. It is recommended to decorate the container, and then it will not only become a mini-vegetable garden, but will also decorate the area.
You shouldn’t stretch out the design of your dacha for long years, so as not to start each season with solving problems and tasks. The photos of beautiful dachas offered in this article will help you make right choice and enjoy the amazing and incredibly beautiful design.