T
от «Сокольников» до «Новаторской»:
как изменился облик московского метро за 90 лет
В 2025 году Московский метрополитен отмечает 90-летие. В честь дня рождения попросили историка архитектуры и градостроительства, автора книги «Идеальное метро. Архитектурные конкурсы московского метрополитена. 1955–1991» (музей «Гараж») Александра Змеула рассказать, как столичное метро менялось на протяжении века — от помпезных 1930-х до эклектичных 2020-х.
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1935 год: первая очередь и поворот от авангарда к классике
Идею строительства метрополитена в Москве обсуждали еще в XIX веке, но лишь в 1931 году наконец приняли решение о его сооружении. Первая очередь московского метро открылась 15 мая 1935 года и включала 13 станций. Поезда следовали от «Сокольников» до «Охотного ряда» и далее до «Парка культуры» или «Смоленской». Очередью принято называть этапы планирования, проектирования и строительства станций и линий Московского метрополитена в 1930–1950-х годах. По ним легче всего ориентироваться в архитектуре подземки этого периода.
Наземный вестибюль «Парка культуры», конец 1930-х
Источник: metro.ru
Вестибюль станции «Охотный ряд», 1935
Источник: metro.ru
Платформа станции «Сокольники», 1935 Источник: metro.ru
Первая очередь — это своеобразный манифест московского метро. Оно призвано было восхищать и удивлять. Пусть столичный метрополитен и не был первым в мире, но он точно должен был стать комфортным и самым красивым. Чтобы определиться с обликом станций в 1934-м (всего за год до открытия), организовали конкурс, в который были вовлечены практически все архитектурные мастерские Москвы. В этот момент в советской архитектуре происходил поворот от авангарда к освоению классического наследия — и это можно проследить на примере станций первой очереди.
Самый яркий из этих примеров — станция «Красные ворота»: ее подземный зал, сооруженный по проекту Ивана Фомина, архитектора еще дореволюционной школы, тяготеет к классицизму. А наземный вестибюль, напоминающий и ракушку, и тоннель метро, и портал, создан по проекту Николая Ладовского, лидера авангардного течения рационалистов.
Интерьер станции «Красные ворота», 1930-е
Источник: Главархив Москвы
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Иван Фомин
Источник: Totalarch
Наземный вестибюль «Красных ворот», 1930-е
Источник: metro.ru
Вестибюль в 2012 году
Источник: Наталья Меликова, The Constructivist Project
Николай Ладовский
Источник: Totalarch
Станция в наши дни
Источник: metrowalks.ru
За 90 лет многочисленные элементы отделки станций, к сожалению, утратились, прежде всего светильники. А некоторые наземные вестибюли («Парк культуры», «Смоленская», «Комсомольская») и вовсе не сохранились: их снесли в ходе реконструкции метро и города в целом.
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1937–1938 годы: элегантные решения, итальянские мотивы
Станции второй очереди, открывшиеся в 1937–1938 годах, отличаются более совершенными конструкциями в сочетании с более элегантными архитектурными решениями. Так, в «Маяковской» сходятся воедино инженерная, архитектурная и художественная мысль. Проект первой в мире колонной станции глубокого заложения разработала Антонина Пирожкова, жена писателя Исаака Бабеля. Архитектор Алексей Душкин подчеркнул воздушность ее облика отделкой полированной нержавеющей сталью. В нишах на потолке разместили мозаики по эскизам Алексея Дейнеки «Сутки советского неба».
Интерьер станции «Маяковская», фото сделано в 1950-е годы
Источник: metro.ru
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Мозаики Александра Дейнеки из серии «Сутки советского неба», 1938
Источник: metro.ru
Алексей Душкин
Источник: RusTeam
Антонина Пирожкова
Источник: Томская Областная универсальная научная библиотека им. А. С. Пушкина
Центральный зал станции в 1990-е
Источник: metro.ru
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В числе других примечательных станций этого периода — «Киевская» (сегодня относится к Филевской линии): ее архитектор Дмитрий Чечулин после поездки к Средиземноморью вдохновился итальянскими мотивами. Нельзя не упомянуть и односводчатый «Аэропорт» (архитектор Борис Виленский) — он стал манифестом стиля ар-деко. Через станцию проходят полосы, а путевые стены украшают веерообразные вставки из камней разного цвета и фактуры, что придает облику объемность.
Наземный вестибюль станции «Аэропорт», наши дни
Источник: metro.ru
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Станция «Киевская» Филевской линии, фото сделано в 1960-е
Источник: metro.ru
Другую свою станцию этого периода, «Площадь Революции», Алексей Душкин не считал удачной: скульптуры, созданные Матвеем Манизером, выглядят сгорбленными под толщей земли. Впрочем, сегодня эти скульптуры пользуются невероятной популярностью: городская мифология приписывает им чудодейственные свойства — нос собаки трут на удачу.
«Счастливая» скульптура собаки на станции «Площадь революции»
Источник: Tripadvisor
Проект центрального зала станции, 1935
Источник: metro.ru
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1943–1944 годы: Великая Отечественная война и новые символы
Станции третьей очереди открылись в Великую Отечественную войну в 1943–1944 годах. Их строительство начали еще в мирное время, но позднее многие довоенные проекты пересмотрели, а архитектуру станций наполнили совершенно иным символическим значением — их решили сделать своего рода памятником будущей победе.
Так, на «Бауманской» установили скульптуры воинов и тружеников. На «Автозаводской» — смальтовые мозаичные панно «Советский народ в годы Великой Отечественной войны». «Семеновскую» украсили бронзовыми щитами с изображением образцов советского оружия и медальонами с портретами воинов, а на торцевой стене станции поместили горельеф с орденом «Победа» на фоне оружия и знамен.
Мозаичное панно на «Автозаводской»
Источник: Евгений Чесноков, yamoskva.ru
Скульптура воина на «Бауманской», 2015
Источник: Александр Иванов, «Мосгорнаследие»
Оформление станции «Семеновская»
Источник: metrowalks.com
Но это еще не все. На «Партизанской» установили большие скульптуры партизан работы Матвея Манизера. Крупный масштаб станции с двумя платформами объясняется тем, что здесь планировали построить главный, а значит, самый большой стадион СССР. У него не было устоявшегося названия, его называли «Стадион имени Сталина», «Стадион СССР», «Стадион народов». Так что «Партизанская» — это еще и памятник нереализованных идей.
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Один из проектов оформления «Партизанской»
Источник: metro.ru
Скульптура на станции
Источник: metrowalks.com
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1950–1954 годы: апофеоз сталинского стиля
Так называемую четвертую очередь — Кольцевая линия и три станции синей линии от «Арбатской» до «Киевской» — открыли в 1950–1954 годах. Ее, конечно, можно считать апофеозом сталинского стиля (или ампира). Специалисты не любят этот термин, но при этом он всем понятен. Например, «Арбатская», отсылающая к стилю «московское барокко», c лепными барельефами в виде растительных орнаментов и люстрами в золоченой бронзовой оправе — что это, если не сталинский стиль?
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Центральный зал «Арбатской» Арбатско-Покровской линиидо открытия, 1953
Источник: metro.ru
Станция в наши дни
Источник: metrowalks.com
Еще одним воплощением архитектуры этой эпохи стала «Комсомольская». Из-за огромного пассажиропотока станцию построили с увеличенной шириной платформы и высотой зала. Ее архитектором был Алексей Щусев. Мастер умел работать в любых стилях, в числе его проектов — Марфо-Мариинская обитель и Мавзолей Ленина, Казанский вокзал и Наркомзем на «Красных воротах». В «Комсомольской», которая стала последней работой Щусева, он соединил элементы классицизма, ампира и московского барокко. Роскошь и некоторую избыточность отделки дополнили мозаики Павла Корина.
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Алексей Щусев
Источник: alex-grdn.ru
Центральный зал «Комсомольской» Кольцевой линии в 1950-е годы
Источник: metro.ru
Мозаики Павла Корина
Источник: metrowalks.com
Этот же художник стал соавтором Алексея Душкина при проектировании «Новослободской», которая примечательна прежде всего цветными витражами, подсвеченными изнутри. Совершенно противоположно решена «Добрынинская», созданная Леонидом Павловым: это самая лаконичная по оформлению станция Кольцевой линии. Здесь есть многократно повторяемые арки — они отсылают к древнерусскому зодчеству.
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Интерьер станции «Новослободская» и витражи работы Павла Корина
Источник: metrowalks.com
Станция «Добрынинская»
Источник: metrowalks.com
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1960-е: «сороконожки» и переход к функциональности
Эпоха оттепели открылась станцией «Воробьевы горы» (1959), парящей над Москва-рекой на нижнем уровне моста, который соединяет «Лужники» и юго-запад. Ансамбль дополняет эскалаторная галерея, ведущая от подножия склона к еще одному знаковому зданию послевоенного модернизма — Дворцу пионеров.
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Станция «Воробьевы горы» в 1963 году
Источник: pastvu.com
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Платформа в наши дни
Источник: metrowalks.com
Вид на станцию в 1960-е годы, тогда она называлась «Ленинские горы»
Источник: news.metro.ru
…и в наши дни
Источник: Юрий Гридчин, news.metro.ru
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В эту эпоху градостроители активно вели эксперименты с типами станций, строили наземные участки и линии (такие как Филевская), пилонные станции с уменьшенным размером и упрощенным дизайном — например, радиальные «Октябрьскую» и «Таганскую».
«Таганская» радиальная
Источник: metrowalks.com
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«Октябрьская» радиальная
Источник: metrowalks.com
Но символом поворота к жесткому функционализму стал не какой-то конкретный проект, а тип конструкции — колонная станция мелкого заложения. Это подземный аналог пятиэтажки, ее тоже можно построить быстро и дешево. Она получила неформальное название «сороконожка» — по количеству пар колонн. Хотя, если быть точным, их, на самом деле, 38. Оформление минималистичное: использовали несколько сортов мрамора для облицовки колонн и самую скромную плитку — для путевых стен. Потолок везде делали ребристый. Первой такой станцией стала «Первомайская» (1961), затем проект в том или ином виде повторялся на протяжении десятилетий. Однообразность облика — это своеобразная плата за высокие темпы строительства: ни до, ни после во времена СССР так быстро в Москве не строили.
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Станция «Первомайская»
Источник: metrowalks.com
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1970–1980-е: «третий путь»
На заре 1970-х архитекторы московского метро выбрали так называемый «третий путь», которому следуют до сих пор. Индивидуальность, характерную для сталинского периода 1930–1950-х, они пытаются совместить с индустриальностью, выработанной в 1960-х.
В этот период начали разрабатывать новые поколения конструкций, распространенными стали колонные станции глубокого заложения, причем их высота постоянно росла («Китай-город», «Марксистская»), после долгого перерыва вернулись односводчатые станции («Сходненская», «Перово»). Даже пресловутые «сороконожки» модернизировались — увеличился шаг колонн. Все это дало больше пространства пассажирам, а архитекторам — больше возможностей для высказывания.
«Марксистская»
Источник: metrowalks.com
«Перово»
Источник: metrowalks.com
Облик станций в эти годы определяло поколение архитекторов, родившихся в 1920-е и специализирующихся именно на проектировании метро. Это Александр Стрелков, Нина Алешина, Лев Попов, Римидлав Погребной, Виктор Вдовин. У каждого из них был свой язык. Так, Нина Алешина со своим постоянным соавтором Натальей Самойловой активно использовала в отделке станций металл («Кузнецкий Мост», «Щукинская», «Медведково»). А характерным приемом Льва Попова стали овальные ниши, в которых размещали светильники («Нахимовский проспект», «Боровицкая», «Отрадное»).
«Боровицкая»
Источник: metrowalks.com
«Нахимовский проспект»
Источник: metrowalks.com
«Щукинская»
Источник: metrowalks.com
«Медведково»
Источник: metrowalks.com
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1990-е: шлейф из прошлого
В 1990-е на фоне резкого сокращения финансирования строительство метро фактически остановилось. В 1995 году наконец открылась новая Люблинская линия, соединяющая центр и юго-восток Москвы, — ее начали строить еще в 1980-е. Предельно идеологизированное оформление, посвященное советской власти и ее достижениям, предусмотренное проектами, заменили на новое, как и проектные названия некоторых станций. «Шарикоподшипниковская» стала «Дубровкой», на ней разместили подсвеченный витраж из цветного стекла авторства Зураба Церетели, сделанный в характерной для него оптимистичной манере. «Совхозная» превратилась в «Братиславскую», ее посвятили российско-словацкой дружбе и украсили медальонами работы Александра Рукавишникова с изображениями достопримечательностей Москвы и Братиславы.
«Дубровка» и витражи авторства Зураба Церетели
Источник: metrowalks.com
«Братиславская» и медальоны Александра Рукавишникова
Источник: metrowalks.com
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«Серп и молот» стал «Римской», ее проектировал Лев Попов, а художественным оформлением занимался Леонид Берлин. Это, конечно, самая запоминающаяся станция того времени. Здесь расположен единственный в московском метро фонтан-водопад с фигурами младенцев Ромула и Рема — основателей Рима, играющих на колоннах.
«Римская»
Источник: metrowalks.com
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Шлейф проектов из прошлого потянулся и дальше: в 2008 году открылась «Трубная», а в 2010-м — «Достоевская», последняя станции архитектора Льва Попова с оформлением художника Ивана Николаева.
«Достоевская»
Источник: metrowalks.com
«Парк Победы» (архитекторы Николай Шумаков и Наталья Шурыгина), запущенный в 2003 году, стал предметом последнего советского конкурса на строительство станций метро. И хотя реализованный проект ни конструктивно, ни архитектурно не имеет отношения к конкурсным идеям, стилистически он, конечно, родом из прошлого.
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«Парк победы» в оформлении Зураба Церетели
Источник: metrowalks.com
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2000-е: «легкое метро» и монорельс
В 2000-е градостроители стали пытаться найти новые формы метрополитена и скоростного внеуличного транспорта в целом: с одной стороны, инновационного, с другой — более дешевого в строительстве. Это сопровождалось и поисками нового архитектурного языка.
В 2003 году открылась Бутовская — первая линия «легкого метро». Его идея была в том, чтобы соединить конечные станции традиционного метро с новыми районами, расположенными за МКАД. Линию построили по стандартам обычного метрополитена, но станции на ней были рассчитаны на прием укороченных составов. От аналогичных проектов 1960-х годов она отличается тем, что основная ее часть проходит по эстакаде. Станции тоже открытые, с достаточно изящными навесами из металлических конструкций на парных опорах, а пути ограждены шумозащитными экранами.
Станция «Бульвар Адмирала Ушакова» Бутовской линии
Источник: metrowalks.com
Станция «Битцевский парк» той же ветки, интерьер и вид снаружи
Источник: metrowalks.com
В 2004–2005 годах запустили «мини-метро» в Сити — ответвление Филевской линии. Здесь опять же укороченные платформы — правда, в процессе строительства их длину увеличили с 90 до 118 м (но это все равно гораздо меньше по сравнению со стандартной длиной в 163 м). Станция «Деловой центр» — попытка сделать проект в стиле хай-тек: в оформлении использовали много стекла и нержавеющей стали.
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Станция «Деловой центр» (до марта 2024 — «Выставочная»)
Источник: metrowalks.com
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И, наконец, в 2004 году открыли единственную в России трассу монорельса, то есть системы, в которой поезда движутся по одному рельсу. Линия соединяла метро «Тимирязевская» и ВДНХ, с эстакады открывался вид на совершенно разную Москву. С одной стороны — парадная: Останкино с телецентром, башней, дворцом и комплексом ВДНХ. С другой — рабочая: промышленные зоны и железнодорожные пути. Контраст возникал и между бесшумными поездами с вполне прогрессивным на тот момент дизайном и архаичными и тяжеловесными станциями, в которых функциональность возобладала над внешним обликом.
Монорельс
Монорельс
Источник: Глеб Щелкунов/«Коммерсантъ»
Сегодня термины «легкое метро» и «мини-метро» забылись, эти линии и станции воспринимаются как органическая часть метро. Что касается трассы монорельса, то в 2025 году ее закрыли. На ее основе сейчас строят парк «на высоте» — аналог нью-йоркского Хай-Лайна.
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Проект парка, который планируют разбить на месте монорельсовой дороги
Источник: mos.ru
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2010-е: бум развития метрополитена
В 2010-е годы со сменой власти в Москве начался бум развития транспортной инфраструктуры, в том числе метро. Для строительства огромного количества станций необходимо много архитекторов и много проектов, поэтому решения сейчас используют самые разные, что порождает невероятное стилистическое разнообразие.
Теперь станции московского метро проектируют специалисты из других городов: Петербурга, Казани, Минска. А еще впервые за долгие десятилетия снова проводят архитектурные конкурсы, и это позволяет привнести свежие идеи. Характерный пример — станция «Солнцево» (2018), построенная по проекту столичного бюро Nefa Architects. Это белоснежное пространство со светящимися круглыми отверстиями в потолке, которые напоминают солнечные зайчики. Этот же прием использовали в оформлении входных павильонов, только здесь отверстия пропускают естественный свет. Сама же архитектура входных павильонов со скатными крышами — это переосмысление образа русской избы.
«Солнцево», платформа и экстерьер
Источник: metrowalks.com
Также в 2010-е снова начали использовать не просто отдельные идеи, а целые проекты из прошлого. Так, «Лесопарковую» (2014) построили по проекту Владимира Филиппова, созданному еще в 1980-е (проект «мигрировал» между разными станциями). Открылась станция «Спартак» (2014), чье строительство начали еще в 1975 году, но из-за отмененных тогда планов по застройке Тушинского аэрополя не завершили в срок. Архитекторы попытались по максимуму замаскировать «сороконожку»: потолок подшили панелями, путевые стены украсили панно на тему футбола.
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«Спартак»
«Спартак»
Источник: metrowalks.com
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«Лесопарковая»
Источник: metrowalks.com
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2020-е: новые линии и новые решения
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Сегодня, в 2020-х, одна за другой открываются не только новые станции, но и целые линии: Большая кольцевая, Троицкая, Некрасовская. Образ каждой станции не просто стремится к индивидуальности — их стараются представить как своеобразный манифест, ведь архитекторы проектируют самые посещаемые объекты в городе.
Ярким архитектурным высказыванием можно считать Большую кольцевую линию (БКЛ), чье строительство завершили в 2023 году. Облик сделанной из архитектурного бетона станции «Терехово» (авторы — Buromoscow) в минималистичной манере обыгрывает элементы классической архитектуры, характерные для старых станций. Травму, нанесенную «сороконожками» с их одинаковыми ребристыми потолками, архитекторы преодолевают с помощью настоящих арт-объектов. Так, на «Новаторской» потолок состоит из вертикальных красных, оранжевых, желтых и стеклянных панелей, между которыми установили лампы. А одной из самых запоминающихся станций сегодня можно считать «Нагатинский затон» (авторы — бюро zabor) с рыбами, сделанными в технике мозаики по эскизам художника-монументалиста Максима Козлова.
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«Терехово»
Источник: metrowalks.com
«Новаторская»
Источник: metrowalks.com
«Нагатинский затон», мозаики по эскизам Максима Козлова
Источник: metrowalks.com
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