You can get to the station in three ways: firstly, by arriving there by train along the (so-called red line), or from the side of the station Lenin's Library , or from the station Lubyanka ; secondly, by going to it either from the station or from the station , passing through the station; thirdly, by entering the station from the street.
From what street can you enter it? If you think that you can enter the station from the street of the same name, then you are mistaken - this entrance is currently closed. Previously, this entrance was the main one, and on the sides of it in specially arranged niches there were figures of athletes, but now all that remains of them are empty niches and empty pedestals. However, you can enter the same lobby either from the street Bolshaya Dmitrovka , or with Theater Square . However, this lobby is far from the only one. You can also enter it from Bolshaya Dmitrovka Street and Theater Square. You can also get to the station by entering the passage at the very beginning of the street Tverskaya, or entering the same transition to Manezhnaya Square . However, in order to get to the entrance to the station, you will have to walk along a very long passage.
Station entrance from Bolshaya Dmitrovka street ↓
Station entrance from Theater Square ↓
Station entrance from Tverskaya street. In the background on the right is the building of the historical museum. Left – the building of the Moscow Hotel, around the corner of which you can see the building of the former Lenin Museum, which previously served as the building of the City Duma. There, near this building, is the opposite entrance to this passage ↓
Entrance ha station With opposite side Tverskaya street.
Metro " Okhotny Ryad“This is the metro station closest to Red Square. It is located on the territory of the Tverskoy district of the capital between the stations Sokolnicheskaya line"Lubyanka" and "Library named after. Lenin".
Station history
The Okhotny Ryad station was put into operation as part of the first launch section of the Moscow metro Sokolniki - Park Kultury on May 15, 1935.
Until 1938, the station operated a forklift service to the Komintern (present-day Alexandrovsky Garden) and Lenin Library stations. After the Arbatsky radius began to run on its own line, the branch to the “Alexandrovsky Garden” began to be used only for official needs. In the 90s under Manezhnaya Square construction was underway shopping center, during which this tunnel was half filled.
Until December 30, 1944, the transition to Teatralnaya station was made through the common lobby. On the eve of 1945 it was opened underground crossing.
On November 29, 1959, an exit from the station to an underground passage was built, by the way, the very first underground passage in Moscow, located under Okhotny Ryad. After another corridor crossing to Teatralnaya was opened on November 7, 1974, both crossings began to work only in one direction.
History of the name
The station is named after Okhotny Ryad Street. IN XVIII-XIX centuries On the site of today's street there was Okhotnye Ryady Square. Hunters' spoils were sold on the square: poultry, game, animal skins. In the 19th century, the square began to serve exclusively commercial functions: hotels, taverns, warehouses and shops were built here. In 1956, the square was converted into a street, which from 1961 to 1990 was part of Karl Marx Avenue.
On November 25, 1955, the Okhotny Ryad metro station was renamed in honor of L. M. Kaganovich. The fact is that Kaganovich took an active part in the construction of the Moscow Metro, which began to bear his name. In 1955, they decided to give the Moscow metro the name of Lenin, and it was necessary to assign at least some station to Kaganovich. But in 1957, Kaganovich was removed from all government positions, and already in the fall of 1957 the station returned its former name “Okhotny Ryad”.
Returned on November 5, 1990 original title. “Okhotny Ryad” is the only station of the Moscow metro that has been renamed 4 times in its history.
Description of the station
The main decoration of the station are the pylons, made in the form of multifaceted double columns. The floor is covered with gray granite. The station is illuminated by spherical chandeliers located on the ceiling of the central hall and above the landing platforms.
In the eastern antechamber there is a portrait of Karl Marx, made from mosaic in 1964 by Eugene Reichtsaum.
Specifications
Okhotny Ryad is a three-vaulted pylon station. It is the shallowest deep station of the Moscow metro. The station is located at a depth of 15 meters. It was built using the mountain method individual project using monolithic concrete. The construction method is called “German”. Its essence lies in the fact that first the walls of the station are erected, and then vaults are placed on them.
At the time of construction, Okhotny Ryad was the largest station in the world by area. Initially, the construction of the central hall was not even included in the project, which was redone during the construction work.
Lobbies and transfers
The Okhotny Ryad metro station has a transfer to the Teatralnaya station of the Zamoskvoretskaya line. IN central hall At the station there are escalators along which the transition takes place. The eastern vestibule of the station is combined with the Teatralnaya station, respectively, the transition can also be made through the vestibule. Despite the fact that one more station, namely “Revolution Square”, is included in the transfer hub, direct transition no between stations.
The eastern lobby faces Theater Square.
The western lobby is underground. It has access to Manezhnaya Square. You can get to this lobby directly from the shopping center located under Manezhnaya Square.
Not far from the station are Bolshaya Dmitrovka, Mokhovaya and Okhotny Ryad streets.
Ground infrastructure
Since the station is located in the very center of Moscow, it is difficult not to find places for shopping here. About 200 different stores are located near the station, not to mention the fact that GUM, Petrovsky Passage and the Okhotny Ryad shopping complex are nearby.
There is no need to talk about museums at all. Here are the Lenin Mausoleum, and the Moscow Art Theater Museum, and the Museum of Archeology, and the Zoological Museum of Moscow State University, and the museums of the Bolshoi and Maly Theaters, and a lot of other interesting and educational places.
Not far from the station there are 8 theaters, a huge number of cafes and restaurants, 6 nightclubs where you can try your luck by playing roulette, and a lot of other entertainment that will not let you get bored after you leave the Okhotny Ryad station "to the surface.
For those who are not looking for entertainment, but want to get a higher education, it will be interesting that not far from the metro there are universities such as Moscow State University (Faculty of Psychology), Medical Academy them. Sechenov, Russian State Humanitarian University, School of Private Law, as well as the Moscow Regency Singing Academy.
Useful facts
The station is open to visitors from 5:30 to 1:00.
One of the scenes of the movie “Moscow Doesn’t Believe in Tears” was filmed at the Okhotny Ryad station. The film was filmed in 1977-78, when the station was called “Marx Avenue”. According to the plot, the action at the station takes place in 1958. At that time the station was still called “Okhotny Ryad”. In order for everything to be authentic, during filming they hung a former names. In the episode with the heroine Irina Muravyova, you can clearly see a sign with the name “Okhotny Ryad”.
Okhotny Ryad station
The station was opened to passengers on May 15, 1935 as part of the Sokolnicheskaya metro line. During its existence, the name changed 4 times: Okhotny Ryad (until November 25, 1955), Named after L.M. Kaganovich (until the fall of 1957), Okhotny Ryad (until November 30, 1961) and Marx Avenue (until November 5, 1990).
The station was opened on May 15, 1935 as part of the first launch section of the Moscow Metro - Sokolniki - Park Kultury with a branch Okhotny Ryad - Smolenskaya.
Until 1938, there was a fork traffic from the station (in a ratio of 1:1) in the direction of the stations “Lenin Library” and “Comintern” (now “Alexandrovsky Garden”). After the separation of the Arbat radius into an independent line, the tunnel to the “Alexandrovsky Garden” (at that time this station was called “Comintern”, on December 24, 1946 it became “Kalininskaya”) was used for official needs. During the construction of a shopping center near Manezhnaya Square in the mid-1990s. the tunnel was half-filled (one track, previously used for traffic from the Alexander Garden, was dismantled, the second was preserved).
The underground passage to the Teatralnaya station was opened only on December 30, 1944; previously the transition was carried out only through the common vestibule.
On November 29, 1959, an exit from the station to one of the first underground passages in Moscow (near Okhotny Ryad) was built.
On November 7, 1974, the second transition corridor to the Teatralnaya station was opened; from that moment on, each of the corridors works as a transition only in one direction.
The station got its name from Okhotny Ryad Street (at that time - Okhotny Ryad Square). The square was named after the shops that were located here in the 18th-19th centuries, where they sold hunters' catch - killed game and poultry. In the 19th century, Okhotny Ryad acquired an exclusively commercial character: trading shops, warehouses, hotels, and taverns were located there. In 1956, the square was transformed into a street, which in 1961-1990 was part of Marx Avenue.
On November 25, 1955, the station was renamed the Imeni Kaganovich station: due to the fact that the Moscow metro, which previously bore the name of the Soviet politician, who supervised the construction of the metro, L.M. Kaganovich, received the name of Lenin, the name of Kaganovich was assigned to one of the stations. In 1957, the former party leader was removed from senior positions. government posts, and in the fall of 1957 (it was not possible to establish more precisely), the station was renamed back to Okhotny Ryad. On November 30, 1961, the station was renamed again - to “Marx Avenue” - after the then existing Marx Avenue, named after the founder of communism K. G. Marx. On November 5, 1990, in the wake of the beginning of de-Sovietization, the station was returned to its original name for the second time.
“Okhotny Ryad” is the only station in Moscow that has been renamed 4 times.
The station is a transfer station to the Teatralnaya station of the Zamoskvoretskaya line. The transition is carried out via escalators located in the center of the hall, as well as through the combined vestibule (eastern), which has access to Teatralnaya Square. The Ploshchad Revolyutsii station is also part of the same interchange hub, but there is no direct transition between them.
The western underground vestibule of the station leads to Manezhnaya Square and the underground passage under it; it can also be accessed from the shopping center under Manezhnaya Square.
Okhotny Ryad station is located in the Tverskoy district on the territory of the Central Administrative District of Moscow.
Taking to the city streets:
"Okhotny Ryad" is a station on the Sokolnicheskaya Line of the Moscow Metro. Located between the Lubyanka and Lenin Library stations. Located on the territory of the Tverskoy district of Central administrative district Moscow. Okhotny Ryad is the closest metro station to Red Square.
History and origin of the name
The station was opened on May 15, 1935 as part of the first launch section of the Moscow Metro - Sokolniki - Park Kultury with a branch Okhotny Ryad - Smolenskaya. Until March 1938, there was a fork traffic from the station (in a 1:1 ratio) in the direction of the Lenin Library and Comintern stations (now Alexandrovsky Garden). After the separation of the Arbat radius into an independent line, the tunnel to the “Alexandrovsky Garden” (at that time this station was called “Comintern”, on December 24, 1946 it became “Kalininskaya”) was used for official purposes. During the construction of a shopping center under Manezhnaya Square in the mid-1990s, the tunnel was half filled in (one track, previously used for traffic from the Alexander Garden, was dismantled, the second was preserved). The underground passage to the Teatralnaya station was opened on December 30, 1944; previously the transition was carried out only through the common vestibule. On November 29, 1959, an exit from the station to one of the first underground passages in Moscow (under Okhotny Ryad) was built. On November 7, 1974, the second transition corridor to the Teatralnaya station was opened; from that moment on, each of the corridors works as a transition only in one direction. The station got its name from Okhotny Ryad Street (at that time - Okhotny Ryad Square). The square was named after the shops that were located here in the 18th-19th centuries, where they sold hunters' catch - killed game and poultry. In the 19th century, Okhotny Ryad acquired an exclusively commercial character: trading shops, warehouses, hotels, and taverns were located there. In 1956, the square was transformed into a street, which in 1961-1990 was part of Marx Avenue. On November 25, 1955, the station was renamed the Imeni Kaganovich station: due to the fact that the Moscow metro, which hitherto bore the name of the Soviet politician who led the construction of the metro, L. M. Kaganovich, received the name of Lenin, the name of Kaganovich was assigned to one of the stations. In 1957, the former party leader was removed from senior government posts, and in the fall of 1957 (it was not possible to establish more precisely) the station was renamed back to Okhotny Ryad. On November 30, 1961, the station was renamed again - to “Marx Avenue” - after Marx Avenue, which arose in the same year, uniting three central streets and named in honor of the founder of communism, Karl Marx. On November 5, 1990, during perestroika, the station was returned to its original name for the second time (this also corresponded to the renaming “on the surface”: Marx Avenue was eliminated, and Okhotny Ryad Street reappeared). Okhotny Ryad is the only station in Moscow that has been renamed four times.
Not saved)
N. M. Komarov
Mine No. 10-11 Mosmetrostroy (head A. Bobrov); reconstruction of the year - SMU-5 Mosmetrostroy (head M. Arbuzov)
02 Teatralnaya
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"Okhotny Ryad"- station of the Sokolnicheskaya line of the Moscow metro. Located between the Lubyanka and Lenin Library stations. Located in the Tverskoy district of the Central Administrative District of Moscow. Okhotny Ryad is the closest metro station to Red Square.
History and origin of the name
Okhotny Ryad is the only station in Moscow that has been renamed four times.
Lobbies and transfers
The station is a transfer station to the Teatralnaya station of the Zamoskvoretskaya line. The transition is carried out via escalators located in the center of the hall, as well as through the combined vestibule (eastern), which has access to Teatralnaya Square. The same interchange hub also includes the Ploshchad Revolyutsii station, however, there is no direct transfer between them, since the stations are quite distant from each other.
The western underground vestibule of the station leads to Manezhnaya Square and the underground passage under it; it can also be accessed from the shopping center under Manezhnaya Square.
Technical specifications
The design of the station is pylon, three-vaulted, deep. It was built according to an individual project using a mining method with a lining of monolithic concrete. In this case, the walls of the station were first erected, then the vaults were erected on them (the so-called “German method”). At the time of construction, it was the largest deep-water station in the world. According to the original project, the construction of a central hall was not planned; the project was changed after construction began.
). The name of the station is made in metal letters on a black marble background, the floor is tiled with gray granite. The central hall and landing platforms are illuminated by spherical lamps mounted on the ceiling. Previously, lamps in the form of floor lamps were used to illuminate the central hall, similar to the lamps installed in the central hall of the station "
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- (Retrieved January 5, 2014)
Notes
An excerpt characterizing Okhotny Ryad (metro station)
“No, I don’t want to,” Pierre said, pushing Anatole away and went to the window.Dolokhov held the Englishman’s hand and clearly, distinctly spelled out the terms of the bet, addressing mainly Anatole and Pierre.
Dolokhov was a man of average height, with curly hair and light blue eyes. He was about twenty-five years old. He did not wear a mustache, like all infantry officers, and his mouth, the most striking feature of his face, was completely visible. The lines of this mouth were remarkably finely curved. In the middle upper lip energetically sank onto the strong lower one with a sharp wedge, and in the corners something like two smiles constantly formed, one on each side; and all together, and especially in combination with a firm, insolent, intelligent gaze, it created such an impression that it was impossible not to notice this face. Dolokhov was a poor man, without any connections. And despite the fact that Anatole lived in tens of thousands, Dolokhov lived with him and managed to position himself in such a way that Anatole and everyone who knew them respected Dolokhov more than Anatole. Dolokhov played all the games and almost always won. No matter how much he drank, he never lost his clarity of mind. Both Kuragin and Dolokhov at that time were celebrities in the world of rakes and revelers in St. Petersburg.
A bottle of rum was brought; the frame that did not allow anyone to sit on the outer slope of the window was broken out by two footmen, apparently in a hurry and timid from the advice and shouts of the surrounding gentlemen.
Anatole walked up to the window with his victorious look. He wanted to break something. He pushed the lackeys away and pulled the frame, but the frame did not give up. He broke the glass.
“Well, how are you, strong man,” he turned to Pierre.
Pierre took hold of the crossbars, pulled, and with a crash the oak frame turned out.
“Get out, otherwise they’ll think I’m holding on,” said Dolokhov.
“The Englishman is bragging... huh?... good?...” said Anatole.
“Okay,” said Pierre, looking at Dolokhov, who, taking a bottle of rum in his hands, was approaching the window from which the light of the sky and the morning and evening dawns merging on it could be seen.
Dolokhov, with a bottle of rum in his hand, jumped up onto the window. "Listen!"
he shouted, standing on the windowsill and turning into the room. Everyone fell silent.
- I bet (he spoke French so that an Englishman could understand him, and did not speak this language very well). I bet you fifty imperials, would you like a hundred? - he added, turning to the Englishman.
“No, fifty,” said the Englishman.
- Okay, for fifty imperials - that I will drink the entire bottle of rum without taking it from my mouth, I will drink it while sitting outside the window, right here (he bent down and showed the sloping ledge of the wall outside the window) and without holding on to anything... So? ...
“Very good,” said the Englishman.
Anatole turned to the Englishman and, taking him by the button of his tailcoat and looking down at him (the Englishman was short), began repeating to him the terms of the bet in English.
- Wait! - Dolokhov shouted, banging the bottle on the window to attract attention. - Wait, Kuragin; listen. If anyone does the same, then I pay one hundred imperials. Do you understand?
The Englishman nodded his head, not giving any indication as to whether he intended to accept this new bet or not. Anatole did not let go of the Englishman and, despite the fact that he nodded, letting him know that he understood everything, Anatole translated Dolokhov’s words to him in English. A young thin boy, a life hussar, who had lost that evening, climbed onto the window, leaned out and looked down.
“Uh!... uh!... uh!...” he said, looking out the window at the stone sidewalk.
- Attention! - Dolokhov shouted and pulled the officer from the window, who, entangled in his spurs, awkwardly jumped into the room.
Having placed the bottle on the windowsill so that it would be convenient to get it, Dolokhov carefully and quietly climbed out the window. Dropping his legs and leaning both hands on the edges of the window, he measured himself, sat down, lowered his hands, moved to the right, to the left and took out a bottle. Anatole brought two candles and put them on the windowsill, although it was already quite light. Dolokhov's back in a white shirt and his curly head were illuminated from both sides. Everyone crowded around the window. The Englishman stood in front. Pierre smiled and said nothing. One of those present, older than the others, with a frightened and angry face, suddenly moved forward and wanted to grab Dolokhov by the shirt.
- Gentlemen, this is nonsense; he will be killed to death,” said this more prudent man.
Anatole stopped him:
“Don’t touch it, you’ll scare him and he’ll kill himself.” Eh?... What then?... Eh?...
Dolokhov turned around, straightening himself and again spreading his arms.
“If anyone bothers me again,” he said, rarely letting the words pass through his clenched and thin lips, - I’ll bring him down here now. Well!…
Having said “well”!, he turned again, let go of his hands, took the bottle and brought it to his mouth, threw his head back and threw his free hand up for leverage. One of the footmen, who began to pick up the glass, stopped in a bent position, not taking his eyes off the window and Dolokhov’s back. Anatole stood straight, eyes open. The Englishman, his lips thrust forward, looked from the side. The one who stopped him ran to the corner of the room and lay down on the sofa facing the wall. Pierre covered his face, and a weak smile, forgotten, remained on his face, although it now expressed horror and fear. Everyone was silent. Pierre took his hands away from his eyes: Dolokhov was still sitting in the same position, only his head was bent back, so that the curly hair of the back of his head touched the collar of his shirt, and the hand with the bottle rose higher and higher, shuddering and making an effort. The bottle was apparently emptied and at the same time rose, bending its head. “What’s taking so long?” thought Pierre. It seemed to him that more than half an hour had passed. Suddenly Dolokhov made a backward movement with his back, and his hand trembled nervously; this shudder was enough to move the entire body sitting on the sloping slope. He shifted all over, and his hand and head trembled even more, making an effort. One hand rose to grab the window sill, but dropped again. Pierre closed his eyes again and told himself that he would never open them. Suddenly he felt that everything around him was moving. He looked: Dolokhov was standing on the windowsill, his face was pale and cheerful.
- Empty!
He threw the bottle to the Englishman, who deftly caught it. Dolokhov jumped from the window. He smelled strongly of rum.
- Great! Well done! So bet! Damn you completely! - they shouted from different sides.
The Englishman took out his wallet and counted out the money. Dolokhov frowned and was silent. Pierre jumped onto the window.
Gentlemen! Who wants to bet with me? “I’ll do the same,” he suddenly shouted. “And there’s no need for a bet, that’s what.” They told me to give him a bottle. I'll do it... tell me to give it.
- Let it go, let it go! – said Dolokhov, smiling.
- What you? crazy? Who will let you in? “Your head is spinning even on the stairs,” they spoke from different sides.
- I'll drink it, give me a bottle of rum! - Pierre shouted, hitting the table with a decisive and drunken gesture, and climbed out the window.
They grabbed him by the arms; but he was so strong that he pushed the one who approached him far away.
“No, you can’t persuade him like that,” said Anatole, “wait, I’ll deceive him.” Look, I bet you, but tomorrow, and now we're all going to hell.
“We’re going,” Pierre shouted, “we’re going!... And we’re taking Mishka with us...
And he grabbed the bear, and, hugging and lifting it, began to spin around the room with it.
Prince Vasily fulfilled the promise made at the evening at Anna Pavlovna's to Princess Drubetskaya, who asked him about her only son Boris. He was reported to the sovereign, and, unlike others, he was transferred to the Semenovsky Guard Regiment as an ensign. But Boris was never appointed as an adjutant or under Kutuzov, despite all the efforts and machinations of Anna Mikhailovna. Soon after Anna Pavlovna's evening, Anna Mikhailovna returned to Moscow, straight to her rich relatives Rostov, with whom she stayed in Moscow and with whom her beloved Borenka, who had just been promoted to the army and was immediately transferred to guards ensigns, had been raised and lived for years since childhood. The Guard had already left St. Petersburg on August 10, and the son, who remained in Moscow for uniforms, was supposed to catch up with her on the road to Radzivilov.
The Rostovs had a birthday girl, Natalya, a mother and a younger daughter. In the morning, without ceasing, trains drove up and drove off, bringing congratulators to the big city, all of Moscow famous house Countess Rostova on Povarskaya. The countess with her beautiful eldest daughter and guests, who never ceased replacing one another, were sitting in the living room.
The countess was a woman with oriental type thin-faced, about forty-five, apparently exhausted by her children, of whom she had twelve. The slowness of her movements and speech, resulting from weakness of strength, gave her a significant appearance that inspired respect. Princess Anna Mikhailovna Drubetskaya, as home person, sat right there, helping in the matter of receiving and engaging in conversation with guests. The youth were in the back rooms, not finding it necessary to participate in receiving visits. The Count met and saw off the guests, inviting everyone to dinner.
“I am very, very grateful to you, ma chere or mon cher [my dear or my dear] (ma chere or mon cher he said to everyone without exception, without the slightest shade, both above and below him) for himself and for the dear birthday girls . Look, come and have lunch. You will offend me, mon cher. I sincerely ask you on behalf of the whole family, ma chere.” These words from the same expression on a full, cheerful and clean-shaven face and with an equally strong handshake and repeated short bows, he spoke to everyone without exception or change. Having seen off one guest, the count returned to whoever was still in the living room; having pulled up his chairs and with the air of a man who loves and knows how to live, with his legs gallantly spread and his hands on his knees, he swayed significantly, offered guesses about the weather, consulted about health, sometimes in Russian, sometimes in very bad, but self-confident French, and again, with the air of a tired but firm man in the performance of his duties, he went to see him off, straightening his rare White hair on a bald head, and again called for dinner. Sometimes, returning from the hallway, he walked through the flower and waiter's room into a large marble hall, where a table for eighty couverts was being set, and, looking at the waiters wearing silver and porcelain, arranging tables and unrolling damask tablecloths, he called Dmitry Vasilyevich, a nobleman, to him. who was taking care of all his affairs, and said: “Well, well, Mitenka, make sure everything is fine. “Well, well,” he said, looking around with pleasure at the huge spread-out table. – The main thing is serving. This and that...” And he left, sighing complacently, back into the living room.
- Marya Lvovna Karagina with her daughter! - the huge countess's footman reported in a bass voice as he entered the living room door.
The Countess thought and sniffed from a golden snuffbox with a portrait of her husband.
“These visits tormented me,” she said. - Well, I’ll take her last one. Very prim. “Beg,” she said to the footman in a sad voice, as if she was saying: “Well, finish it off!”
A tall, plump, proudly looking lady with a round-faced, smiling daughter, rustling with their dresses, entered the living room.
“Chere comtesse, il y a si longtemps... elle a ete alitee la pauvre enfant... au bal des Razoumowsky... et la comtesse Apraksine... j"ai ete si heureuse..." [Dear Countess, how long ago... she should have been in bed, poor child... at the Razumovskys' ball... and Countess Apraksina... was so happy...] lively voices were heard women's voices, interrupting one another and merging with the noise of dresses and the moving of chairs. That conversation began, which is started just enough so that at the first pause you can stand up, rustle with your dresses, and say: “Je suis bien charmee; la sante de maman... et la comtesse Apraksine" [I am in admiration; mother’s health... and Countess Apraksina] and, again rustling with dresses, go into the hallway, put on a fur coat or cloak and leave. The conversation turned to the main city news of that time - about the illness of the famous rich and handsome man of Catherine's time, old Count Bezukhy, and about his illegitimate son Pierre, who behaved so indecently at the evening with Anna Pavlovna Scherer.