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Odessa: Architecture-Monuments
From 2odessa.com The most comprehensive guide to Odessa, Ukraine
Photo Album Publisher: Mistetstvo/Mystetstvo publishers 1990, 191 pages, Ukrainian/Russian/English, ISBN: 5771500925
Contents |
Odessa: Architecture and Monuments
Pages 17-20
Odessa is one of the major ports in the Soviet Union and an important centre of industry, science and culture. Odessa's mild climate, warm waters and sunlit beaches attract thousands of people year round. Its shady lanes, beautiful buildings and cosy squares impart to the city a certain air of intimacy. Odessa is simply enchanting with its marvelous architecture.
The city proved itself fertile ground for various architectural styles. Some buildings display a curious mixture of different styles, and some are built in the Art Nouveau Style which was in vogue at the turn of the century. A number of other buildings were done in Renaissance or Classicist styles which again returned to favour early this century.
The record of the various types of structures illustrates the city's past, brief yet eventful. Odessa is young, its history goes back to the late 18th century, when a small settlement named Khadzhibei was made on the Black Sea shore in the vast steppe wilderness which Russia reclaimed from Turkey shortly before. Later, the settlement was given the name of Odessa. It was destined to become the pearl of the Black Sea Maritime region, its "Southern Palmira." This commercial city on the sea coast grew at an accelerated pace, its population considerably increased and in the early 20th century it totalled over half a million residents, by far more than in the older cities, and ranked third after Petersburg and Moscow.
The city's lay-out can be rightly considered an outstanding achievement in the urban planning of our country. The first city plan designed by the engineer F. Devollan in the late 18th century was executed by the generations of Odessa architects that followed. The seaport with adjoining buildings was situated along a lower seacoast line, while the city proper started to develop on a high plateau. The ravines cutting the landscape perpendicular to the sealine (the present Kangun Descent and Jeanne Labourbe Descent) were conveniently used to connect these two sections of the city. At first the city's residential area comprised two large sections of land, each having a grid plan. These two parts were located at 450 angle, this being stipulated by the curved seashore line and the architect's desire to layout the streets in such a way so that they should open on to the sea expanses. Odessa's design was typical for that of a seaport. The grid pattern of streets, (the major ones are constantly 32 meters in width, and of convenient length), lined with multi-storeyed buildings, is characteristic of the city's downtown area limited in the south and south-west by Chizhikov and Komsomolskaya Streets. It is precisely in this part of the city that one can minutely trace the distinctive features of the city's architecture.
As early as the first half of the 19th century, the numerous landowners who had moved to Odessa attracted by the profitable grain trade, started constructing their private residences. As a rule, they would build palace compounds: two-storeyed mansions with forecourts, wrought iron grilles and porticos indicating the entrance. Even today, the formal halls of these palaces are strikingly opulent. The mansions of wealthy merchants and factory-owners built to the designs of the best Odessa architects were concealed in the verdure of Frantsuzsky Boulevard.
Alexander Kuprin, the prominent Russian author, wrote of Odessa in his" Autumnal Flowers," "Flashing on the left and on the right are enchanting glimpses of Odessa millionaires' villas with extravagant openwork grilles, decorated with dragons and coats-of-arms; brightly lit terraces in the depth of the gardens adorned with Chinese lanterns, a kaleidoscope of colours in the foregardens and on the flowerbeds; rare plants with intoxicating aromas"
The architectural forms of the city public buildings most vividly illustrate the features typical of Odessa architecture.
Early. in the 19th century, the theatre, the city hospital, a cathedral and a post office were constructed. Built somewhat later were the residence of the city governor, St. Michael's Church, and the Palais-Royal trading rows. Unfortunately, many buildings have not survived preserved. The small colonnades in Martynovsky Square and in Kirov Public Garden are indicative of the once magnificent architectural ensembles of the Greek and the Old Markets.
The architectural ensemble of Primorsky Boulevard attests to the high standards of Odessa architects. Designed as the compositional pivot of the city, the Boulevard runs along the sealine. The middle section of the Boulevard is occupied by the semi-circular square with the monument to A.-E. Richelieu in the centre. The buildings of the stock exchange (today, the City Executive Committee) and the Vorontsov Palace (today, the Palace of Young Pioneers) terminate the Boulevard on each end to form an integral balanced whole. The architectural rhythm . of Primorsky Boulevard, enhanced by horizontal terraces, is interrupted by the vertical line of the grandiose Stairs which were given the name of Potemkin.
Odessa grew and expanded…North of the city centre on the lower sandy shoreline, the Peresyp district with railroads and warehouses was built; its inhabitants had to live under extremely harsh conditions. South-west of the imposing mansions and palaces there was a district called "Moldavanka." No book on old Odessa could do without a description of specific mores and ways of life of Moldavanka residents. With time, Moldavanka blocks became enclosed with workshops of industrial enterprises and the refreshing steppe airs became mixed with the dust and soot of the nearby factories.
Aspiring to get the most from their land, Odessa proprietors arranged their houses for profits along the plot perimeters. Overcrowded and lacking any conveniences, these houses surrounded with wooden galleries, grew like mushrooms, and by the mid-19th century they occupied the major part of the city area.
In accordance with their wealth, the owners decorated their private residences with various ornaments and details borrowed from different styles and epochs. Displaying their houses, the proprietors tried to rival and outdo each other with lavish decoration. In this manner the city architects responded to the demands of the times.
Odessa has preserved its inimitable architectural aspect through the decades. It was precisely in the latter half of the 19th century that a number of the significant monuments of architecture, including the Theatre of Opera and Ballet, the buildings of the New Stock Exchange, pawnshop and public library were erected. The best representatives of a new generation of architects designed projects which proved most effective and at the same time, the architects took into account the characteristic traits of the southern town. .
Many buildings in Odessa were built of shell-limestone, which seemed to be saturated with hot sunshine. The shell-limestone was simultaneously extracted from different deposits which resulted in the formation of an entire labyrinth of underground galleries. The winding passages of the underground labyrinth gave birth to the numerous legends associated with the activities of contraband dealers of old Odessa. But what is true is that the labyrinth served as a hiding place for Odessa revolutionaries who kept illegal.. literature there smuggled in from abroad. During the Great Patriotic War 'of 1941-1945, Odessa partisans operated from these underground passages which were inaccessible to the fascists. It is long ago that guns ceased thundering, gunsmoke dissipated and the trenches grew with grass... . Odessa land has held sacred the memory of those who, at the cost of their lives, upheld freedom of the country.
Today, monuments to the heroes who fell. in action defending Odessa in 1941, form an entire Belt of Glory which traces the former defence lines and encircles the whole city. The soldiers of bronze stand on guard for peace... .
The city has preserved the memory of Pushkin, who, when young, strolled along the newly laid-out alleys of Primorsky Boulevard. These streets were treaded by Yu. Olesha, V. Katayev, I. Babel, S. Kirsanov, I. I1f, Ye. Petrov, K. Paustovsky and E. Bagritsky.
In south-west Odessa there is a park named after Maxim Gorky, founder of proletarian liter.ature, who, when a youth, worked here and wrote a vivid portrayal of Odessa dock-workers' life.
The names of Odessa streets reflect events of the recent past: in the Tairov district there is the wide street of Academician Korolyov, in honour of the designer of spacecraft, who studied in Odessa. In the Kotovsky residential area the main thoroughfare bears the name of the cosmonaut H. Dobrovolsky, Hero of the Soviet Union and a native of Odessa.
There is hardly a person in the country who has not' seen films made at the Odessa Film Studio, which is located in Proletarsky (former Frantsuzsky) Boulevard. The creative endeavours of Alexander Dovzhenko and many other prominent film producers, script writers and actors are linked with this centre.
Time has lapsed Decade after decade, so many years have passed by leaving its ruinous traces on the city's architecture. Monuments of architecture are thoroughly researched for their original characteristics and restored. Many buildings of great historic and artistic value have been restored to their initial appearance. Construction in downtown Odessa is carried out in such a way so that modem buildings should fit the old architectural ensembles. In the regions, which have of late been considered new, original methods of design have been established. For example, the square occupied by the well-known Privoz Market is bordered by the spacious Ninth of January Public Garden, the Railway Station Square and October Revolution Square. This area is the venue for festivals and demonstrations of Odessa residents, it is also the site where the routes of city transport merge. Large residential houses, monumental administrative buildings, the railway station and the Theatre of Musical Comedy have been erected in the squares and adjacent streets. Monuments to Lenin and to fighters for Soviet power adorn the streets in this area of the city.
The famous Potemkin Stairs serve as a symbol of the city. Ii: has recently been complemented with ramp over bridges to extend as far as the Novy Pier, where a modem structure of the new seaport is located on a high platform. Memorial plaques state that it was on precisely this spot that the first Odessa buildings were founded in 1794. In. 1919 it was the stage for revolutionary actions of French sailors who were sent to Odessa by the Entente to crush the young Soviet power.
The development of Odessa has much in common with that of Petersburg (now Leningrad) which was often referred to as the "Northern Palmira," Odessa was founded on the Black Sea coast as a "window on Europe," and just like Petersburg, it sprang up in an undeveloped area, far from inhabited lands.
The evolution of the architecture in both cities is also kindred. A decade or two after its foundation Odessa architecture developed a style all its own. The ensembles are marked by genuine synthesis, and admirably fit the natural scenery, the blue skies and the sea to which the main streets of the city are directed.
It is only natural that today laconic forms of modern architecture, new materials and a large scale of housing construction have considerably altered the city skyline. Newall-embracing projects have been adopted and completed. The development of the city architecture continues....
4. Odessa seaport at night
Reference Materials
Pages 184-191
1. The revolutionary struggle waged by the Odessa proletarians at the turn of the 20th century was closely linked with the name of Vladimir Lenin, founder of the Communist Party and the Soviet state. He maintained close contacts with the Odessa Bolsheviks who elected Lenin as a delegate to the 3rd Congress of the Russian Socialist-Democratic Labour Party. In 1967 a monument to Lenin was erected in the October Revolution Square in the city centre. The sculptors M. Manizer and O. Manizer and the architects I. Rozhin, Yu. Lapin and M. Volkov cooperated in its construction. Distinguished for its monumental form and expressive outlines, this statue of light-grey granite on a prism-shaped base (its overall height: 9.3 m) has become the focal point of the entire square.
2. A panoramic view of the Odessa downtown area immersed in lush greenery is really impressive. Located in the immediate vicinity of the railway station are the planetarium, the Black Sea Hotel, Central Department Store and St. Elijah's Church. These buildings, noted for their variety of architectural styles, date from different centuries, they harmoniously blend with each other and the surrounding urban area.
3. In 1970 at the seaport entrance a monument was erected to the Odessa dockyard workers who fell in action during the Great Patriotic War of 1941-1945. The three figures and a low pedestal symbolize a soldier, a sailor and a people's volunteer. Through the laconic modelling and epic manner of execution the authors portray the resolution of, soldiers going into battle against the fascist invaders. It is the work of sculptor S. Golovanov and architect V. Mironenko.
6. The stairs leading from Primorsky Boulevard down to the sea were constructed from 1837 through 1841 to the design of the architect F. Boffoo. This imposing monument numbers 192 stairs arranged in ten flights and flanked by two-metre thick parapets. The difference in width between the highest (13.4 m) and the lowest (21.6 m) flights produces an optical illusion that enhances the grandeur of the structure. Originally, the stairs were faced with grey Trieste sandstone. With time, however, the sandstone weathered and was replaced with granite. In 1933, a granite finish was given to the entire structure.
7. In 1803, A.-E. Richelieu, a prominent state figure of the time, was entrusted with the city governorship. Later he created Governor of the Novorossiysk Territory and greatly promoted the development of the city.
The statue and the bas-reliefs of the monument were modelled by the outstanding Russian sculptor I. Martos, the base was executed to the design of A. Melnikov, an architect from Petersburg. The monument was erected under the supervision of a special commission with the architect F. Boffoo in charge. Unveiled in 1828, this structure ranked among the finest works of monumental art in the country. In 1854, when the English and French squadron barbarously shelled the city, a corner of the monument base was damaged by a cannon-ball. In memory of Odessa's defence this cannon-ball has been preserved to the present day.
8. Lastochkin Street is typical of the city architecture at the turn of the 20th century. Immense administrative buildings and residential houses lining Gogol, Sadovaya, Deribasovskaya and Pushkinskaya Streets make unique architectural ensembles marked by architectonic balance and an interesting rhythmical arrangement.
9, 10, 11, 13. On this spot, where the theatre, referred to by A. Push kin in his poem "Eugene Onegin," once stood, a new large building was erected in 1884-1887. It was designed by F. Feiner and H. Helmer, architects from Vienna who also designed theatres in Chernovtsi, Zagreb and other cities. The theatre's festive and representational forms make a regular ornament of Odessa.
The two major sections of the theatre building (the stage and the auditorium) defined the form and arrangement of the remaining structural elements. The fronts of the theatre are in the style of Viennese Baroque. The walls of the basement and the first storey are ornamented with rustications, and the embrasures in the niches are framed with Doric columns. The loggias as well as large arch-windows of the second floor are ornamented with Ionic half-engaged columns and pilasters. Flanking the theatre building are single-tiered porticos, each comprising triple-bay arch showing entrance to the formal stairways.
The theatre's main entrance facing Lenin Street is marked by a double-tiered portico which terminates in a high attic. It was precisely there, that on April 10, 1944, the red banner announcing the city's liberation from fascist occupation, was hoisted. This memorable event is commemorated by a marble plaque mounted in 1964.
12, 16, 17, 19. The vestibule, the formal stairways and the tier-lobbies are distinguished for their expressive splendor: lavish sculptural decor, gilding, etc. The clear-cut pilasters and semi-columns are topped by expressive statues of Atlantes and Caryatides.
14, 15. Sculpture occupies a place of importance in the exterior decoration of the theatre building. Busts of Alexander Pushkin, Nikolai Gogol, Alexander Griboyedov and Mikhail Glinka are placed in the semi-circular niches in the walls. The attic of the main facade is crowned by a group of statues representing a team of four enraged panthers pulling a chariot driven by Melpomene, Muse of Tragedy. Situated above the cornice are the sculptural groups symbolizing the arts of singing (Orpheus) and dancing (Terpsichore). Sculptural portrayals of characters from Euripides' tragedy Hyppolytus and Aristophanes' comedy The Birds are mounted on prism-shaped pedestals. Allegorical statues are placed on the flanking porticos and on the structure's cornice.
18. This shoe-shaped auditorium accommodates some 1,500 spectators. The ceiling of the auditorium is lavishly decorated with gilded fillet work. It also features four pictures by the Viennese painter Lefleur, based on the William Shakespeare plays Hamlet, Twelfth Night, A Winter's Tale and A Midsummer Nights Dream. A huge bronze chandelier weighing more than a metric ton looks as light as feather due to filigree finish of the cut-class pendants. Among the great performers on the theatre's stage have been the singers F. Chaliapin, L. Sobinov, A. Nezhdanova and T. Ruffo; the renowned ballerinas A. Pavlova, G. Ulanova, M. Plisetskaya; actors V. Komissarzhevskaya, M. Kropivnitsky, M. Zankovetskaya, S. Bernard, E. Duse. The outstanding composers P. Tchaikovsky, N. Rimsky-Korsakov and A. Glazunov have conducted the orchestra of the Odessa Opera and Ballet Theatre.
21. In 1843, due to the construction of the Palais-Royal trading rows, a small plot of vacant ground was cleared west of the theatre building. In 1847 a square was laid out there and planted with greenery. In the centre, a fountain was constructed: a female figure on a mound of stones with a large bowl in her hands. This is a typical example of Classicist style in minor form architecture.
23. In the late 19th century, an Eros and Psyche sculptural composition of marble was erected on a low pedestal in Charles Darwin Public Garden. This composition depicting Eros, the god of love, and Psyche, mythological personification of soul, is a copy of the Greek original made in the second century B. C.
24. Situated between Primorsky Boulevard and Lastochkin Street, Commune Square, small as it is, is framed with buildings of the City Executive Committee, Museums of Archeology and of the USSR Marine. The square was formed in the mid-19th century, when the construction works on the Engnsh Club (at present, the USSR Marine Museum) were under way. The square comprised also a part of the adjoining area be¬longing to the Theatre Square. The ensemble of the square is notable for its harmonious pro¬portions and orderly lay-out.
25. The central part of Commune Square is taken by the Museum of Archeology. It was built in 1883 to the design of the archictect F. Gonsiorovsky on the spot where a small building once stood which had housed the Odessa Society of History and Antiquity Enthusiasts. Facing Commune Square the museum is a single-storeyed structure, but when viewed from Lastochkin Street, the museum building reveals two storeys due to the steeply sloping landscape. Begun in 1825, the museum collection illustrating the history of the Black Sea Maritime Regions, is one of the country's oldest. The exterior of the museum building also has an antique ambience: its architectural features are reminiscent of ancient Hellenistic design.
26. Opposite the Museum of Archeology there is a small building housing the USSR Marine Museum. Built in 1842 to the design of the architect G. Torichelli, the building was intended for assemblies of the Odessa nobility and, origi¬nally, was referred to as the "English Club." In the late 19th century the edifice underwent
modifications under the supervision of the architect E. Vei. The small wings attached to the building which is open to a view from all directions as well as the white and blue exte¬rior paint lend the structure an air of plasticity. The basement floor of the museum's facade with a projecting portico is ornamented with rustications. A lateral porch with a canopy of metal serves as the entrance to the museum.
The exhibits of the museum collection vividly illustrate the rich history of the mercantile marine in pre-revolutionary times and today. The building itself is a monument of history. At the beginning of 1918, this building housed the Gubernia Committee of the RSDLP (Bolsheviks) which was headed at that time by a number of Lenin's noted associates.
27. The LAocoon group of marble is located in front of the Museum of Archeology. The sculpture is a copy of the Hellenistic composition made by the masters Agesander, Athondorus and Polydorus of Rhodes during the mid-first century B. C. The composition is based on the legend of Troy: the priest Laocoon protested against bringing an immense wooden horse into the town. To punish Laocoon, the goddess Athena, patroness of the Greeks, sent orders to the two gigantic serpents from the sea depth to strangle Laocoon and his sons.
28-31. Located on the comer of Pushkinskaya and Karl Liebknecht Streets, the museum was built to the design of the architect L. Otton in 1857. The features of the fronts are derived from the French Baroque. The pentagonal oriel is supported by a corbel in the form of a basket entwined with branches. Each of the strictly symmetrical fronts of the museum is articulated through pilasters and columns of the Corinthian Order. The profiled plat¬bands, sculptural ornaments above the windows and the frieze ornamentation, as well as the lattice of the balconies and the metalwork of the entrance canopy are marvels of craftsmanship. The exterior of the edifice is elegant; the interior displays infinite richness of detail. The main stairways leading to the second storey are Particularly impressive. Since 1920, the building has served as the premises for exhibiting works of Oriental and Western European Art.
32. Pushkinskaya Street, one of the city's finest, starts from Commune Square, runs straight through the downtown area, and ends at the Railway Station Square. In 1909, the street was paved with granite cubes in a herring-bone design set in concrete, which has survived into our time. The high and bushy plane-trees make the street particularly attractive. Many years ago Italian immigrants settled in this street, giving it its former name of ..Italian....
In 1880, it was re-named in honour of the great Russian poet, who once lived in House No. 13. This compact building (its third storey was added in mid-19th century) is noted for its austere and harmonious architectural form typical of the Russian Empire Style. Alexander Pushkin lived and worked there from 1823-1824. It was precisely in this house that the poet completed his "Fountain of Bakhchisarai" and started work on "Eugene Onegin," "The Gypsies" and also composed quite a few of his lyrics.
In 1952, a memorial plaque with the poet's bas-relief representation was mounted on the building wall.
33, 34, 42, 43. Metal grillwork of fencing and canopies, balconies, windows and gates characterize unique Odessa architecture. The details are rich in variety and are noted for their exquisite design, clear-cut composition and artistic sophistication.
35, 36. The five-storeyed building of the "Krasnaya" Hotel, situated at the corner of Pushkinskaya and Rosa Luxemburg Streets, was constructed in 1898-1899. Pseudo-Baroque in style, the structure was built to the design of the architect A. Bernardazzi. Extensive use of sculptural ornaments and versatility in term of forms attest to the architect's fanciful taste and love of decoration. Strong emphasis is laid on the interior ornamentation. The richly embellished vestibule, masterfully illuminated grand staircase of marble with wrought iron railing, and the glass ceiling of the restaurant (executed by the painter Yurs) are strikingly beautiful.
37. The old architecture of Primorsky Boulevard naturally incorporates the building of Odessa Hotel erected in 1899-1900 by the architect Yu. Dmitrenko. Its front is done in Italian Renaissance style and is reminiscent of Florentine palazzo of the 15th century. The entrance into the hotel is marked by a loggia.
The hotel's vestibule, a triple-flight stairway and the restaurant's hall with the windows looking on to a cosy patio are particularly impressive.
38-40. Located at the corner of Rosa Luxemburg and Pushkinskaya Streets, is a building of the Philharmonic Society (the former New Stock Exchange). This edifice was designed by the architect A. Bernardazzi on the basis of the designs submitted to the committee of the worldwide architectural competition held in 1891. The construction was carried out from 1894 to 1899. The structure is faced with Carrara marble, artificial and Benderi stone, and terra cotta tiles. The basement floor, rostral columns and the loggia's dome (13 metres in diameter) are made of concrete mixed with various materials to form a simulated granite.
Tuscan Gothic influence dominates the fronts which greatly vary in terms of form and texture. Broadened towards the bottom, the basement floor is in perfect accord with the walls which feature large lancet windows. Their shape is duplicated in the outlines of the interfenestration niches. A prism-shaped building of the Philharmonic Society incorporates a huge skillfully ornamented loggia. In 1900 a bust of A. Bernardazzi, the architect of the structure, (modelled by the sculptor B. Eduards) was mounted onto one of the walls.
The passage into the inner courtyard is noted for its delicate proportions and graceful rhythm of arcading which stand out in contrast to the massive wall masonry and heavy corbels.
41. The interiors of the Philharmonic Society are strikingly ornate. The main hall covers an area of 910 sq. m. and the ceiling is 15 metres high, light into the hall being filtered through large stained-glass windows. Sculptural decor was executed by Molinari, Menzione and, Eduards. The lunettes of the entrance arches and the frieze space are occupied by views of large decorative panels done by the artists Kassioli and N. Karazin.
44, 45, 47, 49. In 1898-1899 at the comer of Deribasovskaya and Soviet Army Streets a four-storeyed building was constructed to Ihe design of the architect L. Vlodek. The compartments of the upper storeys ran along Ihe corridor and were intended to be hotel suites. Downstairs there was a number of shops connected through an L-shaped hall, with a lantern. The building fronts are richly decorated with architectural and sculptural elements borrowed from the Baroque era. The orders in the trading hall are embellished with plant ornament; other interior decoration includes bas-reliefs and sculpted figures projecting from the wall surface. ;J'hey were executed by the sculptor T. Fishel and S. Milman.
In 1921-1923, this building housed the 51st Perekop Division Headquarters with Y. Blukher, Hero of the Civil War, in charge. In 1965, 10 commemorate this event, a memorial plaque was mounted at the entrance to the hotel building.
46. A large square was laid out in the Odessa downtown area in the late 18th century. In 1940, on the site which was formerly occupied by a cathedral (later demolished), a fountain designed by the architects H. Gotgelf and I. Abramovich, was erected and flower-beds, alleys and play grounds were laid out.
48. Sadovaya and Deribasovskaya Streets stretching along a single axis are separated by Soviet Army Street. On the site where Sadovaya Street makes a slight turn, there is a large residential house, built in the late 19th century to the design of the architect Y. Schmidt. Baroque architectural forms of the front are profusely embellished with stucco moulding and topped by a high parapet and a decorative dome.
50. A few three-storeyed industrial buildings, constructed to the design of the architect Ts. Zelinsky in 1892, are located at the corner of Yaroslavsky and Sverdlov Streets. They are the first structures in the Art Nouveau Style to appear in the Ukraine. Of interest is a combination of stone and glass surfaces and an extravagant plant pattern running throughout the entire building.
51. Opposite the Museum of Western and Oriental Art in Pushkinskaya Street, there is a building which presently serves as premises for the House of Political Education and the "Znaniye" (Knowledge) Society. It was constructed from 1901-1903 by the architect A. Bernardazzi as a loan-of(ice building. A wide marble stairway and two spacious halls lit through double-tiered archwindows are most distinctive features of the interior. The fronts are done in the Renaissance style, the architecIlIre is delicately emphasized by sculptural figures framing the windows and by graceful grillwork.
52. The Scientific and Research Institute of Ophthalmology and Tissue Therapy named after V. Filatov is situated on a steep slope towards the sea and separated from Proletarsky Boulevard by a high fence. It is precisely here that Academician V. Filatov brilliantly performed his unique operations which helped thousands of people to regain sight. At present, V. Filatov's students work here. The main and laboratory buildings were constructed in 1936-1939 to the design of the architects
M. Kats, L. Kordonsky, M. Shlifer. Classical forms are employed in the architecture of the building. In front of the Doric portico jutting out of the wall, a bust of Filatov was placed in 1957. The bust (its hight is 4.3 m) was carved by the sculptor A. Kovalyov out of a block of white marble. A memorial plaque featuring a bas-relief representation of the scientist was mounted onto the building wall in 1956.
53, Odessa is situated on a plateau intersected by deep ravines and its separate parts are often connected by means of bridges. The oldest is a bridge across the Kangun Descent in Zhukovsky Street. This massive single-arch bridge (designed by the engineer Yu. Gayui and the architect A. Digbiya) was completed in 1824. Another bridge, of metal, built by the architect S. Landesman in 1889, spans the Kangun Descent in neighbouring Bebel Street.
54. In the immediate vicinity of Potemkin Sailors Square there is a building (built in 1938-1939 under the supervision of the architect F. Troupyansky) housing a music school. The Mendeleyev Street front of this three-storeyed structure shows a large loggia. A courtyard, garden and semi-rotunda framed with Corinthian columns open onto the Jeanne Labourbe Descent. Creative activities of the prominent music teacher P. Stolyarsky are closely associated with this school.
55, 56. Among the renowned architects who were active in Odessa in the late 19th - early 20th century was V. Prokhaska whose work was greatly influenced by the Renaissance tradition. Noted for solemn air and austere outlook, buildings of his design are in many streets in Odessa. A building of the V. V 0rovsky Clothing Production Amalgamation (a former pawnshop) at the intersection of streets of Garibaldi and Rosa Luxemburg, residential houses at the comer of Ostrovidov and Tolstoy, and Mendeleyev and Gogol Streets, as well as buildings in 12 Bebel Street, 7 and 9 Chicherin Street are significant monuments of architecture.
57. The City Hospital was the first large construction project to be completed in Odessa. It was planned by the outstanding architect J. Thoma de Thomon in the Russian Empire Style. Its main building with a hexastyle Doric portico of original design was erected under the supervision of F, Frapolli at the beginning of Pasteur Street near Kherson Descent in 1806-1808. In 1821 the building was altered by D. Frapolli who added the wings and the pavilions to the original structure. In 1832, a second storey was attached to the wings in accordance with G. Torichelli's design, and in 1840-1842 the arches of the building wings were blocked up, and the forecourt was enclosed by a fence (architect I. Kozlov). The Odessa Hospital, the city's oldest, has a rich historical background. The names of outstanding scientists and doctors including N. Pirogov, N. Sklifosovsky and many others, are linked with the hospital. Marble plaques were fixed to the building walls to commemorate their activities.
58. A vivid example of the post-war residential houses is the block of flats intended for whalers of the "Slava" (Glory) whaling-fleet. It was built in 1953 to the design of the architects G. Topuz and V. Feldstein. This fourstoreyed building at the corner of Deribasovskaya and Karl Marx Streets is noted for masterful modelling of details. The rhythm of the front is followed by the outlines of doors and windows and balconies, as well as by the wall rustications. An attic crowned with a spire is superimposed on an angular section of the building which is a story higher than the rest of the structure.
60. Last century Odessa was a centre of national-liberation struggle waged by Bulgarian people for its sovereignity. The Bulgarian Society was active in Odessa, the writers Khristo Botev, Ivan Vazov, and the founder of the Bulgarian Communist Party Dmitry Blagoyev lived in the city. Today, Odessa maintains close ties with some Bulgarian cities. This fact has necessitated the inauguration of Bulgarian consulate situated in Posmitny Street, the Arkadia locale. The architectural style of the Consulate building is extremely modern, the structural members: galleries, loggias and balconies have blended into a perfect composition. The authors of the design are architects V. Mironenko, V. Shinkarenko, L. Poddubnaya, A. Dmitrievsky and engineer B. Dzhigit.
61, 62. The "Bolshaya Moskovskaya" Hotel (29 Deribasovskaya St.,) typifies the Art Nouveau Style in the early period of its development. The front (architect L. Vlodek, 1901) manifests extensive decorative plant designs, mascarons and curved lines of the window embrasures and balconies.
63. A five-storeyed residential house (architect E. Mesner, 1887) features festive embellishments. The building terminates in a balustrade with statues and vases and a cupola superimposed on the bay window.
64. The City Garden is as old as the city itself. It was laid out by I. Deribas, one of the city founders, in the late 18th century. In 1806, the garden was put under the auspices of municipal authorities. For a long time it had been the only place of rest and recreation for the Odessa residents. In 1900 it underwent renovation: a summer-house was placed in the centre of the park with a fountain in front. The sculptural representations of a lion and a lioness facing Deribasovskaya Street were executed by the sculptor A. Sain.
65, 66. Early in the 19th century a quarantine-house was opened on the site of the present-day Shevchenko Park. In 1807 its premises were surrounded by a massive stone wall with semi-circular arches. The round guardtowers were placed on each comer of the fence. The remains of the wall have survived on a steep precipice of the seashore. Through the wall arch is a stunning view of the sea expanse and the cranes in the Odessa seaport.
67. The grounds of the present-day stadium were once the site of a fortress surrounded by an earthen rampart. It was built in 1793 to the plan elaborated by the engineer F. Devollan and approved by A. Suvorov, who at that time was entrusted with the defence of the Southern Russia. In 1891, one of the fortress bastions was replaced by a granite column to the design of the architect N. Barinov. It was reconstructed in 1978 and a memorial plaque was attached featuring a bas-relief representation of A. Suvorov, the great Russian military commander.
68. The building of the City Executive Committee is located in Commune Square. The construction work lasted from 1829 through 1834 and was carried out according to a plan by F. Boffod. It was planned "as a V-shaped structure: two long wings adjoined the main hall with a semi-circular rotunda. A double colonnade connected the two wings forming a small patio looking onto Primorsky Boulevard. In 1871-1873, the architect F. Morandi re-designed the structure. The inner row of columns was blocked with masonry and the inner courtyard was replaced with a vestibule and stairway landings. The ends of the winged sections were embellished with statues of Mercury and Ceres set in the niches. The central section of the building. is topped by the sculptures (sculptor L. Iorini) symbolizing day and night.
The building was a venue for remarkable historic events. In January 1918, a joint sitting of the Soviet of Workers', Soldiers' and Sailors' Deputies was held there to proclaim Soviet power in Odessa.
Beside the building of the City Soviet, amidst a large flower-bed, a ship cannon was installed upon a gun-carriage of wood. This cannon belonged to the British Navy Tiger frigate which in 1854 was drawned in action in the vicinity of Odessa.
69. A bronze statue of M. S. Vorontsov stands on a high pedestal of Crimean diorite in the Soviet Army Square. This monument to the governor-general of the Novorossiysk Territory was erected in 1863. Authors of monument are sculptor F. Brugger from Munich and architect F. Boftod from Odessa.
70, 71. Potemkin Sailors Square is found not far from Primorsky Boulevard. The architectural ensemble of the square is illustrative of the high skill in city planning. The structures framing the square's space blend together marvellously.
They were designed by F. Morandi, V. Kabiolsky and N. Tolvinsky. The focal point of the square is the monument to sailors of battleship Potemkin. The multi-figured sculptural composition of bronze represents the sailors with their leader G. Vakulenchuk in the front. Expressive plastic and light-and-shade effects are underscored by the geometric form of the granite pedestal bearing the inscribed words of Lenin: "The Potemkin Battleship has remained an unconquered territory of the revolution." The unveiling of the monument in 1965 was timed to coincide with the 60th anniversary of the uprising aboard Battleship Potemkin. The authors of the monument are sculptor V. Bogdanov, architects M. Volkov and Yu. Lapin.
72. In January 1918 the Odessa workers and Red Army soldiers led by the Bolsheviks gained a victory over the counter-revolutionary troops of the Central Rada who attempted to seize the city. In 1963 a new monument was placed on the grave of those who fell fighting for Soviet power. The bronze cast of an oaken wreath is a symbol of revolutionary glory, and cast iron bas-reliefs of the lowered banners denote nationwide grief over the fallen heroes. Authors of the memorial are sculptor P. Kravchenko and architect G. Topuz.
73. On a high Black Sea shore in Shevchenko Park, a magnificent obelisk 21 metres high was put up to immortalize the heroic exploits of sailors who defended and liberated the city of Odessa from the fascists. The authors of the obelisk are architects P. Tomilin, G. Topuz and sculptor M. Naruzetsky. Installed on a rising-step foundation, the obelisk is made of red polished granite and adorned with four bronze bas-reliefs. The graves of those who perished during the city defence and liberation are found on both sides of the Glory Alley leading to the Obelisk. The propylaeum at the beginning of the Alley is formed by two stelae: the left one bears the inscription "1941-1945," the right - features a representation of a grieving mother and the words "The Motherland has granted you immortality, your names are not forgotten."
74, 75. A partisan detachment with V. A. Molodtsov (Badayev), Hero of the Soviet Union, in charge steadfastly resisted the fascist invaders. The partisans'refuge was in the underground labyrinth having the exits above ground in the village of Nerubaiske, in the vicinity of Odessa. The Memorial Complex perpetuates the memory of heroic efforts performed by valorous Odessa partisans. The underground museum of the complex is adorned with bas-reliefs. The many-figured composition People of Stone honouring the stalwart partisans was erected in 1969. The authors of the composition are sculptors K. Litvak, M. Naruzetsky and architects V. Golod and V. Mironenko.
76. The pilots of the 69th Fighter Aircraft Regiment commanded by L. L. Shestakov, Hero of the Soviet Union, performed miracles of valour and courage during the defence of the city in 1941. Not far from the former airdrome at the intersection of Perekopskaya Division Street and Patrice Lumumba Prospect, a grand monument was unveiled in August.
1982. Its authors - sculptors N. Yeremenko, V. Patrov and architect V. Mironenko succeeded in creating a vivid plastic image: the sculptural group is noted for its dynamic composition, and expressive outlines. These qualities of the statuary are enhanced by the pedestal of a striking shape vigourously rising on the granite base. Light and shade contrasts are complemented by. colour effects achieved through the juxtaposition of black granite, light-coloured concrete and red copper.
77. Thousands of Odessa residents and inhabitants of the surrounding villages displayed unprecedented heroism on the fronts of the Great Patriotic War. To commemorate their heroic feats of valour many monuments were erected in front of establishments of learning and within the grounds of plants and factories. Not far from the Partisans' Glory Memorial in the village of Nerubaiske, there is a monument to fellow-villagers erected in 1981. Its authors are sculptor A. Rapp and architect B. Davidovich. A static composition of three pylons soaring into the sky is united by a massive ring featuring bas-reliefs of those who
fell in action in the name of life and happiness on Earth.
78. Primorsky Boulevard, the sea front of Odessa, is in the city downtown area. Its design was planned in 1819 by the architect F. Shal. The Palace of Young Pioneers and the building of the City Soviet delimit the Boulevard on each end. A row of houses lining the Boulevard face the Black Sea. A semi-circular square with a monument to A.-E. Richelieu in the centre is found in the central section of the Boulevard. All the structures here are distinguished for their high architectural merits, and complement each other in terms of mass and rhythm, to form a unique architectural ensemble.
79, 80. Edifice No. 5 Primorsky Boulevard was constructed to the design provided by the architect H. Shevrembrandt in the pseudo-Baroque style in the late 19th century. The front is abundant in plastic details of refined modelling. Huge porticos incorporate the balconies of the second and third storeyes. The entire structure blends nicely with the adjoining houses.
84. Careful treatment of the interior is characteristic of the palaces erected in the early half of the 19th century. Interior space of such formal halls is, as a rule, articulated by columns; walls are divided by pilasters and fillet. Also typical are clear-cut cornices and lavish plaster ceilings. A place of importance in the interior decoration was occupied by marble fire-places as well as wrought iron railings and fenders of masterful design. A typical interior of this kind can be seen in the Sailors' Palace of Culture named after Maxim Gorky at 9 Primorsky Boulevard (architect F. Boffod, 1830). One can find here grand halls and staircases of white marble.
85, 87, 88. The Scientists' Club in Mendeleyev Street is illustrative of subtle and rich interior decoration including various ornamental materials, mirrors and stained-glass windows. A triple-flight staircase of marble leads into the White Hall with a rotunda.
89, 90. The monument to Alexander Pushkin, located just opposite the City Soviet, was unveiled in 1889. A bronze bust of the great poet was modelled by the sculptor Zh. Polonskaya. A granite pedestal executed according to the plan drawn up by the architect Kh. Vasilyev, is given the form of a truncated pyramid with bronze representations of fabulous fishes on the edges. Water jetting from the fishes' mouths flows down into the shell-shaped bowls of iron placed on the granite stylobate.
91. Between Shchepkin and Pasteur Streets, in the courtyard of the university, a building housing the physics and chemistry department was built in 1897-1899 to the design provided by the architect N. Tolvinsky. The building retains the proportions of Italian Romanesque style and is noted for the plastic treatment of mass and infinite wealth of detail. From 1913 through 1918, the great Russian mathematician A. M. Lyapunov worked there, and a monument in his honour was erected in front of the building in 1957. The authors of the monument are sculptor Z. Lomykina and architect V. Musarov.
92, 93. In 1830, a public library, the second in the country, (the first was in Petersburg) was set up in Odessa. The premises for the library was specially designed by the architect F. Nesturkh and built in 1904-1906. The building is characterized by a clear-cut and functional design. The architectural elements derived from antique architecture - caryatides over the cornice, a portico, and ornamental profiles - were extensively used in the building architecture.
94-97. An old palace compound in Korolenko Street dates from the early 19th century. At present it houses the Museum of Fine Arts which has a rich collection of works by pre-revolutionary and Soviet artists. In the manner followed by the wealthy owners of country estates, a two-storeyed mansion adorned with a Corinthian hexastyle portico was placed in the back of the yard. The wings with entresoles adjoin the building and border the forecourt which is separated from the street by a wrought iron grille of a remarkable pattern. The first-floor reception halls are strikingly opulent. Classic influence is evident here in the finish of cornices and ornamental ceilings. The parquetry and a graceful porcelain chandelier are particularly eye catching. Many legends are associated with the existence of a secret underground passage in the building.
86, 98, 99, 126. The imposing sight of the old buildings owes part of its effect to sculptural decor of the fronts. The mask of the lion crowning a monumental arch of the Scientists' Club gates (Mendeleyev Street) was modelled by the sculptor L. lorini. A richly decorated building at 7 Gogol Street was erected by the architect L. Vlodek and bears a definite Netherlandish influence. The bay-window at the building comer is supported by statues of Atlantes. The passage way into courtyard of the house at 5 Lastochkin Street
is adorned by sculptured figures of Atlas and Caryatid.
100. On entering the main alley in the Central Park of Rest and Recreation one can see a monument to Taras Shevchenko, the great Ukrainian poet (sculptor A. Belostotsky and O. Suprun, architect G. Topuz, 1966). The poet is represented full-length. The restrained dynamics of the composition is in accord with the form of the pedestal which is wider towards the base. The rough finish of the granite of the statue stands out in contrast to a polished base of the monument.
101. In 1967, the focal point of Leo Tolstoy Square was given over to the monument to the great Russian writer (sculptors A. Knyazik and A. Solovyov, architects I. Bezchastnov and K. Rashkovsky). The pedestal faced with granite serves as a basis for a stele featuring a bust of Leo Tolstoy, treated by its authors as a generalized plastic image.
102. Komsomolsky Boulevard was laid out as a continuation of Primorsky in the 1960s. There are three ten-storeyed buildings designed by the architects G. Topuz and L. Medyanov. Located on a steep precipice, these structUres proved dominant features in the city's skyline when viewed from the direction of the Black Sea. In 1969, Komsomolsky and Primorsky Boulevards were linked with a pedestrian bridge designed by the architect R. Vladimirskaya and the engineer V. Kirienko. The bridge seems to be suspended high in the air over Jeanne Labourbe Descent.
103. Mendeleyev Street is rather short, it includes a bridge spanning Jeanne Labourbe Descent and a block of apartment houses. The Sabaneyev Bridge was built in 1831 by the engineer A. Kazarinov to the design drawn up by S. Upton.
On the northern side of the street, above the terraced slopes, a two-storeyed palace was erected in 1830 which belonged to Count Tolstoy. In 1896-1897, the architect H. Shevrembrandt attached a picture gallery (the plan was elaborated by the architects F. Feiner and H. Helmer, famous authors of the design for the Odessa Theatre of Opera and Ballet). The front of the picture gallery is illustrative of an original masonry technique: concrete is mixed with various dyes to obtain granite, sandstone, or marble imitation. The palace proper and the building of the former picture gallery today house the Scientists' Club.
The residential house at the corner of Mendeleyev and Gogol Streets was built by the architect F. Gonsiorovsky in 1880. On the opposite side of the street there is an edifice built by the architect V. Kabiolsky in 1893-1894 and two residential houses. One of them, on the corner, was erected by the architect V. Prokhaska in 1908-1909 in the Italian Renaissance style.
104, 105. Between Chizhikov and Thomas Streets, Odessa Theatre of Musical Comedy was opened in 1981. The building presents a sample of dynamic contemporary architecture. A spacious square in front of the theatre is laid out with a fountain, original lamps and decorative statuary. The vast vestibule and the foyer around the auditorium are articulated by means of a horizontal gallery with outside stairways and the third-storey balconies. The structure is capped by a protruding flat roof. The stage space and actors' quarters are illumined by narrow, band-like windows and surmounted by a prism-shaped ribbed block. The authors of the building
are architect G. Topuz, engineer A. Lyubovsky; the architect V. Krasenko took pan in designing the interiors.
109, 110, Ill, 112. Sculptural representi1tions are often pan of the compositions which decorate grillwork or gates. An example of such harmonious and unique blend is the composition adorning the loggia in the "Krasnaya" Hotel (architect A. Bernardazzi). As a rule, statues were set in niches. A statue of Mercury which adorns the front of the City Executive Committee, is one of the finest examples of sculpture of this kind.
116. The architectUral forms of the A. Ivanov Russian Drama Theatre built in the early 20th are governed by the Art Nouveau Style. In 1914, Vladimir Mayakovsky performed public recitals in this theatre.
118. The Black Sea Hotel. a high-rise structure of eleven storeys soars into the sky at the corner of Vorovsky and Lenin Streets. It was erected in 1972 to the design of the architects I. Ivanov, V. Savchenko, L. Vasilenko and L. Kharitonov. The visual effect produced by the architecture is based on the juxtaposition of the horizontal prism of the restaurant and the vertical structure of the hotel block. The balance of the elevation length and height, square loggias and alternation of open and enclosed balconies running in a checkerboard pattern all contribute to the static effect of the building's front.
119. The "Yuzhny" residential district, one of the city's newest, adjoins Lvovskaya Street. The district contains mainly large apartment houses of 9-16 storeys. The authors of the project are M. Savulkin, S. Markevich, V. Ilyashenko and N. Evangelidi.
120, 122. The V orontsov Palace compound comprises a look-out platform overlooking the sea and the seapon. Located on a steep precipice, the platform is enclosed by ten columnclusters of the Tuscan order which support a roof. It was built in 1829 to the design of the architect F. Boffoo.
123, 124, 125. In 1824-1829, on the site formerly occupied by the formidable Turkish fortress, the architect F. Boffoo built an estate for M. Vorontsov. The two-storeyed palace in the Empire style on a high foundation occupies a dominant position in the entire architectUral ensemble. Its northern front features a faceted semi-rotunda while the eastern front incorporates a portico of the Ionic Order. The widely spaced Tuscan columns run along the southern and western fronts to form a gallery (the former winter garden). Patterned parquetry, painted or molded ceilings, marble fireplaces and cut-glass chandeliers, as well as inlayed doors and furnitUre, all these impan to the interiors an air of luxury and taste. In 1917 the palace was the seat of the first Soviet of Workers' Deputies. Since 1936, the building has been used for children activities. At present, it houses the Palace of Young Pioneers and Schoolchildren named after Yasha Gordienko.
127. In 1935-1939, the "Rossiya" Sanatorium, the largest pre-war health complex, was built in hhe Arkadiya locale. Its authors are architects M. Kats and M. Schliffer. The three-storeyed sanatorium buildings, grouped in two, are situated in a large park. Their fronts are horizontally articulated through galleries. The entrance is marked by a large portico and a tambour.
128, 129. The architecture of the "Moldova" Sanatorium reflects a unique blend of the Classicist style and Moldavian folk motifs. A few flights of stairs run up the hill on which the main building of the sanatorium is situated. The sanatorium was built by the architects V. Smirnov, B. Shimkov, and I. Grodsky in 1955-1956.
130. Situated on a high seashore in Proletarsky Boulevard, is the sanatorium for the "Stroihydravlika" Plant workers. Noted for dynamic outlines and plastic treatment, the building was erected by the architect A. Suprun. A strong focus is given to the fronts of the dormitory quarters by a metric repetition of the jaggedplan balconies.
131. The construction of a modem sanatorium complex is under way not far from the old mud-bath house built by N. Tolvinsky in Romanesque style in 1892. The complex stretching along the shoreline of the Kuyalnik Estuary is designed by Kiev architects and includes a building for taking medical treatment and a club. Two multi-storeyed dormitories at the fool of the Zhevakhova Hill have already begun operating. These monumental structures dominate the natural setting.
132. Expressive outlines and balanced proportions are characteristic of the high-rise building of the "Tourist" Hotel. It was erected to the design of the architect I. Rudneva and engineer I. Mazurenko in the Arkadia area in 1977.
133. The "Molodaya Gvardia" (Young Guards) Pioneer Camp is one of the best children's
centres of rest and recreation in the Ukraine. Its buildings stretch along the lower sea-shore and the upper terrace in Luzanivka district. The silhouettes of the "Morskoy" and "Zvyozdny" buildings and the school building are quite attractive. Architects from Leningrad took part in drawing up the design along with their colleagues from Odessa A. Povarchuk and A. Dyachenko.
134. The construction of the railway station was completed in Odessa in 1952 (architect L. Chuprin). The architectural forms of the building look very opulent and festive. The central entrance is shown by a triple arch loggia
lavishly decorated with thematic statue compositions.
135. The three-storeyed building of the Odessa Railroad Management is one of the structures framing the Railway Station Square. The architecture of the building (architect N. Tolvinsky, 1894-1895) follows the examples typical of the Renaissance epoch. A projection in the front is decorated on each side by porticos with cluster-columns and segmental pediments.
136, 137. To mark the 50th anniversary of the Great October Socialist Revolution, a grand complex was completed, which comprises a ramp bridge across the railway lines, warehouses on the Novy Pier and a new 'building for the seaport. The architects V. Golovin and V. Kremlyakov succeeded in creating a modem transport centre, the "sea gates" of Odessa. The specific arrangement and the form of the structural elements, sloping galleries and transparent surfaces produce a peculiar effect as if the structure is reaching the sea horizon. The spacious main hall brightly lit by the sun through large windows is particularly impressive.
