Valery nefedov urban landscape design. Architect Valery Nefyodov - about radical changes on city embankments. Public coastal areas vs luxury developments

How do foreign gardens differ from domestic ones? How to properly communicate with a designer when planning a garden plot? What landscaping solutions are best to avoid? All these questions are answered by Valery Anatolyevich Nefedov - Doctor of Architecture, Professor of the Department of Urbanism and Design of the Urban Environment of SPbGASU.

Valery Anatolyevich, what are the current trends in landscape design?
- Today, natural forms are already a kind of established logic, and, in addition to the usual rigid geometry, there can be much more variations. A noticeable departure from traditions, which manifested themselves in symmetry, circularity, orthogonality. If we add more and more alternative free lines and shapes to them, then in the end we will get an approximation to modern design.

How can the unusual composition manifest itself?
- Other compositions are no different from many others in terms of the set and the number of elements, but their originality lies in the collision of some paradoxical elements coming from the texture of the material, the line. In this regard, the world landscape is becoming more and more diverse, since today it is quite capable of absorbing new things within the country. In Russia, you can work with water, plant material, metal. The only thing we lack is an introduction to high technologies.

Can you give an example new form communication, for example, with water?
- Today, water is that rich plastic agent that should be presented more gently: so that it envelops some high-tech surfaces, pleases the eye with an abundance of colors thanks to the backlight. The fountain reveals only a small part of the water resource.

Note that a thin water mirror somewhere in Sweden, Finland is initially made shallow, and at the end of November, when it needs to be turned off, what was under water will represent an expressive first line, a picturesque texture.

The recognition that we are, after all, a northern city, a northern country, forces us to look for methods that cannot be taken by copying the examples of the same Germany, Holland, France. All fresh solutions are a continuation of the peculiarities of the country, the climate.

And if we move from the city to some smaller forms - dacha farming, which is now typical for our country?
- In my opinion, a small scale is a chance to express a person's identity, a special style. But for some reason we have a person, looking at the neighbors' plot, orders himself exactly the same composition. It seems that you need to do it for yourself, but the person borrows routine decisions. In the mentality of Russians, there is still no inner freedom from stereotypes that distinguishes residents developed countries... Ideally, you need to tell the designer: I want a landscape that is not the same as that of my neighbor, make me your own, personalized one. Let its main feature be too a large number of elements, the main thing is that it does not look like another.

If people, different in character, condition, prosperity, ordered really different forms of vegetation, and not flowers in the first place, but, for example, flowering and fruiting bushes, different conifers, we would gradually come to biodiversity. And this is one indicator of sustainable development of landscape design.

Can you give examples of typical solutions that have already set your teeth on edge?
- First of all, these are rockeries, alpine slides, retaining walls with a huge amount of vegetation, all these banal water "cascades". This is an on-duty set, in fact, zeroing the education of a landscape designer who is ordered the same thing. But for this he does not need to study, it is enough to open any magazine and do everything as it is written there.

The point of design is looking for alternatives. Only one who knows how to come up with something new can call himself a landscape designer, while Russian market oversaturated with non-professionals who only know how to assemble a retaining wall with a water cascade.

The future belongs to those who are determined to get a real education. The designer must be prepared for the fact that first he needs to conduct a philosophical dialogue with the customer. After all, the task of a specialist is to reveal the character traits of a client, to understand the peculiarities of his lifestyle, to reveal his cultural attachments, and on the basis of all this to create a design.

What fresh solutions can you recommend to people? What material should you work with?
- The biggest problem in Russia is the acute shortage of information about the latest achievements in world design. Any departure from stereotypes requires additional education. It is necessary to look for dissimilar things, study information from any world exhibitions of landscape design, where there is at least some glimpse of a fresh line, fresh material, fresh interpretation. Let's say each has its own motto. This also applies to any composition, approaching which you, without having a special education, must somehow figuratively name it, express its essence. If this is just a jumble of flowers, stones, and this has no name, then, I think, philosophy is very commonplace.

There is such a concept "garden semantics". This is the meaning that you should read yourself if the composition tells you something. It can be a garden of good or evil, a garden of joy or sadness. If the garden doesn't tell you anything, then the designer hasn't done a normal job. All this imagery appears when the designer is working on the creation of the philosophy of the garden. This is what is important, and not at all a specific combination of microrelief and vegetation. Any real landscape composition, possessing a language, can speak to you. And if you come up, and there are pots in a row, and there is a retaining wall next to it, no communication will happen, because this is just a set of finished products.

What concepts of gardens are more often found at the same French exhibitions? What is the mood of these compositions?
- These are joyful colors, joyful lines. This is a kind of garden that cheers you up. Rarely do you come across compositions made using broken elements, although this also happens - in country style, when there is a broken cart in the middle of the garden, and various pots are hung on it. But most of the customers still ask to do something modern, advanced, local, pleasing - not only with every positive line, but also with freshness of thinking. This is a sea of ​​positive emotions, a kind of message of the kindness of the garden.

What does your own garden look like?
- My garden, which is located next to my entrance, I make with my own hands from scrap materials. I want the neighbors to feel proud that there is at least something arranged around, even if it is even a piece of 10 × 10 meters.
It depends on each of us whether there is even a small garden in the city, where the soul is invested, positive emotions.

Looking sadly at our city in winter, every time I mentally return to the Scandinavian countries. Let's say Stockholm or Helsinki are cities that delight us in the landscape with colors. There are no blooming ones, or there are not many of them. There might be some kind of heather composition in there, and it will shock you, because in January or February you least expect bright colors.

And the most important of such things that are worthy of comprehension, development, continuation are landscape modules of psychological support for the population in the northern countries. These modules are under glass. The temperature there is maintained at +20 ... + 25 ° C. Even in the fiercest winter, when there is snow and ice around, the modules are filled with blooming vegetation, which you can admire with the soundtrack of singing birds. All this is done so that people in winter firmly believe that a warm spring will come. So the resource of nature is used to create positive emotions in humans. In our city, from mid-September to the end of May, a period begins, which we do not think about in the landscape. We use little conifers and evergreens. Heated modules are essential to create a pleasant atmosphere even in winter.

Can the modules be used in suburban areas?
- Today technologies allow heating plants, and it doesn't have to be a greenhouse. You can make a module for yourself that will delight you in winter. There, the necessary moisture will be maintained, and the vegetation will bloom. The sea of ​​flowers in summer has long been a surprise. It is valuable if this happens during the cold season.

If we talk about your professional credo, do you stand for individuality, conversation, communication?
- I am for communication, I am for people to be different, and they have different landscapes. If the population were more educated, understood more subtly, took a deeper interest, there would not be such a mass use of standard solutions, which we observe in the landscape design of summer cottages. It is important that our people from childhood were in a comfortable environment. Then the child grows up to be a more creative and caring person.

All ingenious is simple. What advice can you give to people who want to do something beautiful on the site right now?
- Take climbing plants that can be lifted to any height along the frame, get rid of the belief that saline soils complicate everything for us - nothing like that, we need to change the relief. It is necessary to raise the verticals, and everything will work out.

Valery Anatolyevich Nefedov graduated from LISS - Leningrad Civil Engineering Institute (now - St. Petersburg State University of Architecture and Civil Engineering (SPbGASU)) in 1973. In 1979 he completed his postgraduate studies at the same university.

After completing his studies, he embarked on a teaching career. Currently, she is a professor at the Department of Urbanism and Urban Environment Design at St. Petersburg State University of Architecture and Civil Engineering. Teaches landscape design, term and diploma design.

In addition, she teaches the course "Modern landscape design of the urban environment" at the Faculty of Geography and Geoecology of St. Petersburg state university and teaches at the St. Petersburg State Forestry University at the Faculty of Landscape Architecture.

Valery Nefedov - Doctor of Architecture, Professor, Honored Worker of the Higher School of the Russian Federation.

In the sphere of his professional interests: the world's latest architecture and design, interiors of public and residential buildings, the use of new technologies in the design of urban open spaces.

In addition, he was engaged in the implementation of research directions and methods of architectural and landscape reconstruction of the city based on the concept of sustainable development.

Valery Anatolyevich Nefedov conducts numerous lectures and seminars, not only in Russia, but also abroad. So, for seventeen years he has been conducting master classes, lectures and seminars in the USA, Germany, Italy, France.

He took part in annual exhibitions of diploma projects at the international level, acting as an expert of the Romualdo del Bianco Foundation (Italy), created with the aim of international integration.

Every year he conducts master classes in landscape design at the National Graduate School of Horticulture in the French city of Angers.

One of the issues that is under his close attention is the change in the appearance of his native St. Petersburg, namely, the development of urban and suburban parks, the paradoxes of the city's residential development.

Valery Nefedov wrote more than fifty scientific works(articles, monographs, methodical publications) dedicated to landscape design, modern architecture of the northern capital of Russia, architectural and landscape reconstruction of the urban environment.

In an interview, he said that he had arranged a small garden next to his entrance. In his opinion, the appearance of the city depends on each of its inhabitants, since many are capable of arranging such a garden. In addition, he is sure that the idea of ​​landscape design, which has taken root in society, as a way of arranging only private garden plots is extremely wrong. Landscaping is able to transform streets, squares, embankments, residential yards, making them full-fledged fragments of the urban environment. And in cities where from September to May there is not enough bright colors, elements of landscape design are especially necessary, the professor is sure.

On January 29, 2017, at the age of 68, Valery Anatolyevich Nefedov died - Doctor of Architecture and Professor, Professor of the Department of Urban Planning St. Petersburg State University of Architecture and Civil Engineering (SPbGASU), Honored Worker of Higher Education Russian Federation, member of the Union of Architects of the Russian Federation.

Valery Anatolyevich Nefedov was born on May 20, 1949 in Riga. In 1973 he graduated from the Leningrad Civil Engineering Institute (LISI, now SPbGASU). In 1973-1976 he worked as an architect at the LenzhilNIIproekt design institute. From 1980 to the end of 2016 he taught at the Faculty of Architecture of St. Petersburg State University of Architecture and Civil Engineering. Having started his work as an assistant, Valery Nefyodov, became a professor at the Department of Urban Planning, and for 10 years from 1997 to 2007 he served as Dean of the Faculty of Architecture of St. Petersburg State University of Architecture and Civil Engineering.

In 2005, Valery Anatolyevich defended his doctoral dissertation on the topic: "Architectural and landscape reconstruction as a means of optimizing the urban environment." As a scientific supervisor, he prepared 7 candidates of sciences, as a head of the educational creative workshop, he prepared hundreds of qualified specialists - graduates of the Department of Urban Planning and Urban Studies and Design of the Urban Environment, now working in St. Petersburg, as well as other cities of Russia and the world.

For 18 years Valery Nefedov acted as the coordinator of international educational programs and joint project seminars with universities in Germany, France, Italy. As a visiting professor, he lectured, conducted design seminars on architecture and design in educational institutions in China, USA, France, Sweden. He gave presentations and took part in major scientific international congresses and conferences on landscape architecture in Venice, Porto, Bergen, Zurich, Rio de Janeiro.

Valery Anatolyevich Nefedov is the author of three books: "Landscape design and environmental sustainability" (2002), "Urban landscape design" (2012), "How to return the city to people" (2015) and more than 70 scientific articles on urgent problems architecture, urban planning and design of the urban environment.

In 2007, the outstanding teacher of SPbGASU was awarded the honorary title "Honored Worker of the Higher School of the Russian Federation".

The Urban Planning Committee expresses its sincere condolences to the family and friends of Valery Anatolyevich Nefedov, as well as to the entire team St. Petersburg University of Architecture and Civil Engineering.

We inform you that the farewell and civil funeral service will take place on February 1, 2017 (Wednesday) from 11 to 12 o'clock in the Architect's House at ul. B. Morskaya, 52. The funeral service will take place at 13.30 in the Temple of the Smolensk Icon of the Mother of God at st. Kamskaya, 24.

On January 29, 2017, at the age of 68, Valery Anatolyevich Nefedov, Doctor of Architecture and Professor, Professor of the Department of Urban Planning of the St. Petersburg State University of Architecture and Civil Engineering (SPbGASU), Honored Worker of the Higher School of the Russian Federation, member of the Union of Architects of the Russian Federation, died.

Valery Anatolyevich Nefedov was born on May 20, 1949 in Riga. In 1973 he graduated from the Leningrad Civil Engineering Institute (LISI, now SPbGASU). In 1973-1976 he worked as an architect at the LenzhilNIIproekt design institute. From 1980 to the end of 2016 he taught at the Faculty of Architecture of St. Petersburg State University of Architecture and Civil Engineering. Having started his work as an assistant, Valery Nefyodov, became a professor at the Department of Urban Planning, and for 10 years from 1997 to 2007 he served as Dean of the Faculty of Architecture of St. Petersburg State University of Architecture and Civil Engineering.

In 2005, Valery Anatolyevich defended his doctoral dissertation on the topic: "Architectural and landscape reconstruction as a means of optimizing the urban environment." As a scientific supervisor, he prepared 7 candidates of sciences, as a head of the educational creative workshop, he trained hundreds of qualified specialists - graduates of the Department of Urban Planning and Urban Studies and Design of the Urban Environment, now working in St. Petersburg, as well as in other cities of Russia and the world.

For 18 years Valery Nefedov acted as the coordinator of international educational programs and joint project seminars with universities in Germany, France, Italy. As a visiting professor, he lectured, conducted design seminars on architecture and design in educational institutions in China, USA, France, Sweden. He gave presentations and took part in major scientific international congresses and conferences on landscape architecture in Venice, Porto, Bergen, Zurich, Rio de Janeiro.

Valery Anatolyevich Nefedov is the author of three books: "Landscape Design and Environmental Sustainability" (2002), "Urban Landscape Design" (2012), "How to Return the City to People" (2015) and more than 70 scientific articles on topical problems of architecture, urban planning and urban design Wednesday.

In 2007, the outstanding teacher of SPbGASU was awarded the honorary title "Honored Worker of the Higher School of the Russian Federation".

The Urban Planning Committee expresses its sincere condolences to the family and friends of Valery Anatolyevich Nefedov, as well as to the entire staff of the St. Petersburg University of Architecture and Civil Engineering.

We inform you that the farewell and civil funeral service will take place on February 1, 2017 (Wednesday) from 11 to 12 o'clock in the Architect's House at ul. B. Morskaya, 52. The funeral service will take place at 13.30 in the Temple of the Smolensk Icon of the Mother of God at st. Kamskaya, 24.

Press Service of the Committee for Urban Planning and Architecture
242-31-48,

Valery A. Nefedov, Doctor of Architecture, Professor of the Department of Urbanism and Design of the Urban Environment of the St. Petersburg State University of Architecture and Civil Engineering, Honored Worker of the Higher School of the Russian Federation

MARCH 2013

Valery Anatolyevich, in what, in your opinion,
emotional / intellectual / technological component of the design?

I think that the emotional side of design is one of its main components, since works in this area are addressed, first of all, to the emotions of a person - a user, a consumer, an admirer of everything that is created by designers. They, works, either make him happy or upset and thus form the mood of a person, the atmosphere around him and affect his attitude towards his environment. It is in this that design acts as a "conductor" between the emotions of the person who creates it and everyone to whom it is addressed. Therefore, only a person who is capable of generous emotions and has a “colorful” vision, who sees more and feels more deeply the beauty of the world, can only design.

The intellectual component lies in the designer's ability to create their works from the standpoint of comprehending and assimilating the most modern and advanced information. Design is the carrier of new information and the designer's skill lies precisely in conveying this information in the most accessible way and using it most effectively. But this presupposes the constant intellectual development of the designer himself. In design, it is not relevant to use the knowledge of yesterday, retell a story or borrow old means. Design presupposes a lively and dynamic intelligence, regularly updated and constantly expanded on the basis of familiarization with new information.

Without a technological component, there can be no modern design, which implies the constant development of new materials, techniques and methods of their use in the creation of any object. Design acts as a creative means of expressing new possibilities of materials and technologies, artistic comprehension of which is one of the main professional skills of real specialists in this field. A trained designer can use a resource of material in a perspective and range that for a layman is devoid of any functional and artistic meaning. And only by turning to new resources of materials, you can get a really modern design.

Which cities in the world are filled with a special design atmosphere?

Unambiguously useful for introducing the real values ​​of modern design are cities in which the environment, events and people together constitute a unique atmosphere of initiation into creativity and the constant search for new things in everything. Among such cities, in my opinion, it is worth highlighting Paris, Barcelona, ​​Helsinki, Berlin, Milan, Copenhagen.

These are cities in which, in many design and architecture nominations, events have already taken place and are constantly taking place, bringing revitalization to creative life and that make you think about new opportunities in creative professions, about overcoming complexes and standard solutions, about mastering new technologies and the possibilities of the most non-standard solutions in seemingly well-known design nominations.

A number of these cities have an inexhaustible emotional and cultural resource with an infinite number of centers of the highest culture and a large number of constant creative events (Paris, Barcelona), other cities have earned their fame in promoting design with the involvement of large segments of the population and with a dynamic renewal of the environment while maintaining their traditions (Helsinki), third cities are distinguished by a stable commitment to the latest technologies, perfected in design and architecture (Berlin, Copenhagen) and, finally, in cities such as Milan, one can find a concentrated expression of the centuries-old culture of thinking and creating avant-garde, which is visibly present in the atmosphere of the city and not only during the periods of the largest events in the field of design.

What are the most important skills / abilities / knowledge you see in the work of a modern designer?

A modern designer really needs a lively, open and dynamic thinking, a constant readiness for creative development and renewal, a rich imagination and a delicate sense of proportion, knowledge of international practice in their field. You need the skills of professional communication and interaction with subcontractors, selection useful information from its large mass, the skills of quick and concise graphic expression of its main ideas and convincing presentation to the customer. You need knowledge of the latest materials and technologies, including knowledge of computer technology, ergonomics of space, social and psychological foundations the formation of space for a person, the features of the work on the organization of space and the artistic aspects of its perception.

A designer must be able to assess the existing space from the standpoint of its effectiveness for organizing a given function, understand the essence of the processes taking place in it, see the interests of a person and feel the resource of transforming space using the latest technologies.

Why are international workshops of the School important for a successful designer?

Without knowledge of modern international practice and regular replenishment of this knowledge in the form of international internships, it is generally impossible to become not only successful, but even just a designer. For a designer, for his stable advancement in the profession, the main condition for development is regular participation in events in foreign practice with trips and programs that offer a concentrated expression of the achievements of a particular city or country in the widest range of design. It is useless to look for specific analogs for proposed projects only in a specific design category. The real formation of a modern designer can only take place on the basis of a broad study of modern international design practice, which develops systems thinking and makes it possible to overcome many standard concepts gleaned from the available periodicals or the Internet.

Seeing with your own eyes, understanding and feeling the approach of specialists to solving creative problems in other countries, making sure that the impossible is possible, broadening one's horizons and gaining new convincing arguments in favor of the latest technologies - the meaning of foreign internships. The external point of reference for the formation of their views on design, found there, becomes the most important factor in accelerating the creative development of designers.

Publication in MShD (No. 2) 2009

What is modern landscape design?

It seems to me that modern landscape design should include a vast area of ​​creative activity of specialists who are able to use the possibilities of natural materials to create a comfortable environment for humans. We must immediately emphasize that if we continue to associate landscape design only with the arrangement of individual sites or the restoration of historical parks (which is firmly in the mass consciousness), then our cities will never acquire a decent natural content, and the people in them - a modern environment. Therefore, the interpretation of modern landscape design in international practice has long included an expanded view of it as professional activity in the interests of a person in order to transform the surrounding spaces - streets, squares, embankments, residential yards, gardens and parks into full-fledged fragments of the urban environment. So far, before realizing such an approach to landscape design in Russia, there are many things that are missing.

Namely, this interpretation of landscape design is associated with a much greater need for specialists who know modern technologies and techniques for creating landscape compositions in an urban environment. Need to study new language design based on the use of modern shapes and lines, a combination of living and inert materials, taking into account climatic features and fashion trends.

What are the urgent tasks facing professional landscape designers in Russia today?

There are many tasks today and they are all urgent. In the very general view this means overcoming many stereotypes that prevent the dissemination of modern language and the latest technologies in the field of landscape design. In the minds of many aspiring landscape designers, the conviction is too strong that by leaning on history and studying historical parks, they will be able to equip both individual sites and urban spaces.

Paradoxically, it is the economic crisis that finally creates conditions in Russia for thinking about the high meaning of minimalism, which has long been widespread in international practice, in the interpretation of landscape compositions. Finally, many landscape designers, faced with a reduction in funds from customers, will suddenly realize that, in addition to the usual heap of colorful flower beds, abundantly sprinkled with stones, alpine slides, monumental fountains and cascades, there is the charm of laconic natural remedies, starting with the open surface of the lawn and beautiful field crops! There is a sense in each originally found line, even the contour of ground cover plants, surface texture or sculptural form of plant material!

One of the radical tasks facing domestic landscape designers is a significant expansion of the range of vegetation that can ensure the preservation of the decorative qualities of urban open spaces throughout the year. The Scandinavian countries are a fairly convincing example of overcoming many of our stereotypes in terms of the choice of vegetation, primarily in terms of switching to crops with a constant plant mass, and not necessarily conifers.
Landscape designers will have to learn to notice human needs in the urban environment, from the elementary design of the spaces around the benches for rest, to the creation of the image of each fragment of the urban landscape through the use of geoplastics, characteristic compositions of vegetation, water and land art.
Surrounded by public facilities - banks, offices, hotels, shopping and cultural centers, landscape designers have yet to master the skills of solving problems of integrating architectural objects with their immediate environment, considering it as an extension of the space for a person's stay.

What, in your opinion, should be paid close attention of the students of the International School of Design in the process of teaching landscape design?

I think that students will not be mistaken if they learn to regularly replenish their creative arsenal by constantly studying examples from modern international landscape practice, including familiarizing themselves with the experience of countries such as Germany, France, Sweden, Finland, primarily in relation to urban open green spaces. Then they will have a chance to keep up with developments in modern landscape design much more quickly.

Break free from the captivity of historical illusions applied to the landscape modern city is possible only through a systematic study of foreign realized projects of urban open spaces. One of the main problems of domestic landscape practice is the lack of awareness of specialists about how similar problems are solved abroad. Not all of our professional landscape designers are familiar with the experience of landscape organization of parks and urban open spaces at least in European capitals in the late XX - early XXI century.

As for the priority sections in education, it is definitely necessary to highlight the areas of technology and ecology. The issues of sustainable development of urban areas, which remain steadily "in the shadow" of domestic landscape education, are, oddly enough, directly related to what landscape designers are doing. Even the issues of collecting and using rainwater, not to mention conserving natural resources and saving energy, are also related to the field of landscape design. Haste in creating landscape compositions doomed to costly maintenance or annual reproduction also contradicts the concept of resource conservation.

How, in your opinion, is modern landscape architecture and design presented in Moscow and St. Petersburg?

According to the international scale of values, unfortunately, there is almost no real modern landscape architecture or design in any of these cities. There is a practice of creating long-term monumental works designed for old-fashioned effects of external beauty. Hence the predominance of "dead" materials in the form of granite boulders in the structure of supposedly new pedestrian zones or pompous squares, the filling of representative spaces along streets and avenues with expensive flower compositions.

But at the same time, the issues of creating a "green frame" of the city using vegetation as a decisive factor in structuring territory for any purpose, starting with a car parking, or achieving an ecological balance, are systematically ignored. As a result, all this affects the state of the urban ecology, first of all, the air basin. Even if the existing number of individual vehicles is preserved, this path leads to environmental collapse.

It is obvious that our Largest cities clearly deprived of landscape design precisely not as a means of decoration, but as a means of achieving psychological comfort for a person's stay on the street, is felt by city residents in contact with most of the spaces of streets, squares, embankments, courtyards and parks.

In Moscow, one of the positive examples is the design of the slope along the Moskva River at the Kievsky railway station with a modern interpretation of intersecting flower lines. In St. Petersburg, a certain attempt to overcome historical stereotypes is associated with the design of such highways as Bolshoy Prospekt Vasilyevsky Island and Nalichnaya Street near Lenexpo. The innovations are associated with the volumetric interpretation of the characteristic waves of flowers, as well as the use of ornamental vegetable crops that revive the urban landscape until late autumn.

But, unfortunately, there are no examples of creating really comfortable urban spaces that radically solve the issues of differentiating transport and pedestrian traffic, providing various age groups of the population with meaningful forms of leisure in the natural environment.

How does modern landscape design affect the restoration of historical parks and old estates?

One of the main resources in the use of modern landscape design is the technology of creating compositions from vegetation, water and relief. The possibilities of processing the earth's surface with the achievement of fixed forms of geoplastics have significantly expanded due to the proliferation of new roll materials.

Extension of the period of perception of historical landscape compositions in the evening, not to mention the previously unheard-of possibilities of their dynamic illumination with variable colors, significantly changed the appearance of many landscape objects created centuries ago.

It must be said that while maintaining the general configuration of the floral design of historical objects - both parks and estates - there are many opportunities to introduce new features into their appearance every year. In many ways, this became possible due to the spread of technologies for processing inert materials (including their coloring), as well as through the use of modern installations in the form of seasonal sculpture or land art. The appearance (as well as the disappearance) of such symbols and signs in the historical landscape give it a chance to live a modern life.

It is becoming the norm that historical landscape objects never freeze unchanged. The task of landscape designers is to feel a new time in which old objects can respond to the needs of a modern person.