not saved)

Design engineers:

N. M. Komarov

The station was built

Mine No. 10-11 of Mosmetrostroy (headed by A. Bobrov); reconstruction of the year - SMU-5 Mosmetrostroy (head M. Arbuzov)

Out to the streets: Station transitions:

02 Theater

Ground transport: Station code: "Okhotny Ryad" at Wikimedia Commons Okhotny Ryad (metro station) Okhotny Ryad (metro station)

Rokossovsky Boulevard Cherkizovskaya Preobrazhensky metro bridge R. Yauza Krasnoselskaya PM-1 "Northern" Komsomolskaya Red Gate Chistye Prudy Lubyanka Okhotny Ryad Lenin's Library Kropotkinskaya Frunzenskaya Sports Luzhnetsky metro bridge Sparrow Hills R. Moscow university Vernadsky avenue southwestern Troparevo Rumyantsevo Salaryevo Prokshino Stolbovo

"Okhotny Ryad"- station Sokolnicheskaya line of the Moscow metro. Located between the stations "Lubyanka" and "Library named after Lenin". It is located on the territory of the Tverskoy district of the Central Administrative District of Moscow. Okhotny Ryad is the nearest 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.

Vestibules and transfers

The station is a transfer station to the Teatralnaya station of the Zamoskvoretskaya line. The transition is carried out along the escalators located in the center of the hall, as well as through the combined vestibule (east), which has access to the Theater Square. The station "Revolution Square" also enters the same transfer hub, but there is no direct transition between them, since the stations are quite distant from each other.

The western underground lobby 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. Built according to individual project mining method with monolithic concrete lining. At the same time, the walls of the station were erected first, then vaults were erected on them (the so-called " german way"). At the time of construction, it was the largest deep-laying station in the world. According to the original project, the construction of the central hall was not planned, the project was changed after the start of construction.

). The name of the station is written in metal letters on a black marble background, the floor is lined 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 lamps installed in the central hall of the station »

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Notes

An excerpt characterizing Okhotny Ryad (metro station)

“No, I don’t want to,” said Pierre, pushing Anatole away, and went to the window.
Dolokhov held the Englishman's hand and clearly, distinctly pronounces the terms of the bet, addressing primarily to Anatole and Pierre.
Dolokhov was a man of average height, with curly hair and blond hair. blue eyes. He was 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 descended on the strong lower one in a sharp wedge, and something like two smiles constantly formed in the corners, one on each side; and all together, and especially in combination with a firm, insolent, intelligent look, made 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 put 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 head. Both Kuragin and Dolokhov at that time were celebrities in the world of rake and revelers in St. Petersburg.
A bottle of rum was brought; the frame, which did not allow one to sit on the outer slope of the window, was broken down by two lackeys, apparently in a hurry and timid from the advice and cries of the surrounding gentlemen.
Anatole, with his victorious air, went up to the window. He wanted to break something. He pushed the footmen away and pulled the frame, but the frame did not give up. He broke the glass.
“Well, come on, strong man,” he turned to Pierre.
Pierre took hold of the crossbars, pulled, and with a crack turned the oak frame inside out.
- All out, otherwise they will think that I am holding on, - said Dolokhov.
“The Englishman is boasting… huh?… good?…” said Anatole.
“Good,” said Pierre, looking at Dolokhov, who, taking a bottle of rum in his hands, went up to the window, from which he could see the light of the sky and the morning and evening dawns merging on it.
Dolokhov, with a bottle of rum in his hand, jumped up to 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 he did not speak this language very well). I bet fifty imperials, want a hundred? he added, turning to the Englishman.
“No, fifty,” said the Englishman.
- Well, for fifty imperials - that I will drink the whole bottle of rum without taking it from my mouth, I will drink it, sitting outside the window, right here (he bent down and showed a sloping ledge of the wall outside the window) and not holding on to anything ... So? …
“Very well,” said the Englishman.
Anatole turned to the Englishman and, taking him by the button of his tailcoat and looking at him from above (the Englishman was short), began to repeat the terms of the bet in English.
- Wait! Dolokhov shouted, banging the bottle on the window to draw attention to himself. - Wait, Kuragin; listen. If anyone does the same, then I pay a hundred imperials. Do you understand?
The Englishman nodded his head, giving no indication as to whether or not he intended to accept this new wager. Anatole did not let go of the Englishman, and despite the fact that he, nodding, let it be known that he understood everything, Anatole translated Dolokhov's words into English for him. A young, thin boy, a life hussar who lost that evening, climbed to the window, leaned out and looked down.
“U!… u!… u!…” he said, looking out the window at the pavement stone.
- Attention! Dolokhov shouted and pulled the officer off the window, who, tangled in his spurs, awkwardly jumped into the room.
Putting the bottle on the windowsill so that it would be convenient to get it, Dolokhov cautiously and quietly climbed out the window. Lowering his legs and bracing himself with both hands on the edge of the window, he tried on, sat down, lowered his arms, 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 at 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 kill himself to death,” said the more sensible man.
Anatole stopped him:
Don't touch it, you'll scare him, he'll kill himself. Huh?… What then?… Huh?…
Dolokhov turned around, straightening himself and again spreading his arms.
“If anyone else will poke their nose at me,” he said, rarely letting his words pass through his clenched and thin lips- I'm going to drop it right here. Well!…
Saying "well!", he turned again, let go of his hands, took the bottle and raised it to his mouth, threw back his head and threw up his free hand for an advantage. One of the footmen, who had begun to pick up the glass, stopped in a bent position, without taking his eyes off the window and Dolokhov's back. Anatole stood straight, his eyes open. The Englishman, pursing his lips forward, looked sideways. 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 faint 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 apparently emptied and at the same time rose, bending its head. "Why is it 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 whole body, sitting on the sloping slope. He moved all over, and his hand and head trembled even more, making an effort. One hand went up to grab the window sill, but went down again. Pierre closed his eyes again and told himself that he would never open them again. Suddenly, he felt everything around him move. He looked: Dolokhov was standing on the windowsill, his face was pale and cheerful.
- Empty!
He tossed the bottle to the Englishman, who deftly caught it. Dolokhov jumped from the window. He smelled strongly of rum.
- Fine! Well done! That's the bet! Damn you completely! shouted from all directions.
The Englishman took out his purse and counted out the money. Dolokhov frowned and remained silent. Pierre jumped to the window.
Lord! Who wants to bet with me? I will do the same,” he suddenly shouted. “And you don’t have to bet, that’s what. Tell me to give you a bottle. I'll do... tell me to give.
- Let it go, let it go! Dolokhov said smiling.
- What you? you are crazy? Who will let you in? Your head is spinning even on the stairs, - they started talking from different sides.
- I'll drink, give me a bottle of rum! Pierre shouted, striking the table with a decisive and drunken gesture, and climbed out the window.
They seized him by the arms; but he was so strong that he pushed far away the one who approached him.
“No, you can’t convince him like that for anything,” Anatole said, “wait, I’ll deceive him.” Listen, I'm betting with you, but tomorrow, and now we're all going to ***.
“Let's go,” Pierre shouted, “let's go! ... And we take Mishka with us ...
And he grabbed the bear, and, embracing and lifting him, began to circle with him around the room.

Prince Vasily fulfilled the promise given at the evening at Anna Pavlovna's to Princess Drubetskaya, who asked him for her only son Boris. He was reported to the sovereign, and, unlike others, he was transferred to the guards of the Semenovsky regiment as an ensign. But Boris was never appointed adjutant or under Kutuzov, despite all the troubles and intrigues of Anna Mikhailovna. Shortly after Anna Pavlovna's evening, Anna Mikhailovna returned to Moscow, directly to her wealthy relatives, the Rostovs, with whom she stayed in Moscow and with whom her adored Borenka, who had just been promoted to the army and immediately transferred to the guards warrant officers, was brought up and lived for years. The guards had already left Petersburg on August 10, and the son, who had remained in Moscow for uniforms, was supposed to catch up with her on the road to Radzivilov.
The Rostovs had Natalia's birthday girl, mother and younger daughter. In the morning, without ceasing, trains drove up and drove off, bringing congratulators to the large, well-known house of Countess Rostova on Povarskaya, all over Moscow. The countess with her beautiful eldest daughter and the guests, who did not cease to replace one another, were sitting in the drawing room.
The countess was a woman with an oriental type of thin face, about forty-five years old, apparently exhausted by her children, of whom she had twelve people. The slowness of her movements and speech, which came from the weakness of her strength, gave her a significant air that inspired respect. Princess Anna Mikhailovna Drubetskaya, like a domestic person, was sitting right there, helping in the matter of receiving and engaging in conversation with the 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 spoke to everyone without exception, without the slightest nuance both above and below him to people standing) for himself and for dear birthday girls . Look, come and have dinner. You offend me, mon cher. I sincerely ask you on behalf of the whole family, ma chere. These words, with the same expression on his full, cheerful and clean-shaven face, and with the same firm handshake and repeated short bows, he spoke to everyone without exception or change. After seeing off one guest, the count returned to the one or the other who were still in the drawing room; pulling up chairs and with the air of a man who loves and knows how to live, valiantly spreading his legs and putting 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 sparse gray hair on his bald head, and again called for dinner. Sometimes, returning from the hall, he would go through the flower room and the waiter's room into a large marble hall, where a table was laid for eighty couverts, and, looking at the waiters, who wore silver and porcelain, arranged tables and unrolled damask tablecloths, called Dmitry Vasilyevich, a nobleman, to him, engaged in all his affairs, and said: “Well, well, Mitenka, see that everything is fine. So, so, - he said, looking with pleasure at the huge spreading table. - The main thing is serving. That's it ... ”And he left, sighing smugly, again into the living room.
- Marya Lvovna Karagina with her daughter! the huge countess, the outgoing footman, reported in a bass voice as he entered the drawing-room door.
The Countess thought for a moment and sniffed from a golden snuffbox with a portrait of her husband.
“These visits tortured me,” she said. - Well, I'll take her last. Very stiff. Ask, - she said to the footman in a sad voice, as if saying: "well, finish it off!"
A tall, stout, proud-looking lady with a chubby, smiling daughter, rustling her 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 ball at the Razumovskys ... and Countess Apraksina ... was so happy ...] female voices, interrupting one another and merging with the noise of dresses and the movement of chairs. That conversation began, which is started just enough to get up at the first pause, make a noise with dresses, say: “Je suis bien charmee; la sante de maman… et la comtesse Apraksine” [I am in awe; mother's health ... and Countess Apraksina] and, again making a noise of dresses, go into the hall, 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 man and handsome man of Catherine's time, the old Count Bezukhy, and about his illegitimate son Pierre, who behaved so indecently at the evening at Anna Pavlovna Scherer.

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 has changed 4 times: Okhotny Ryad (until 11/25/1955), named after L.M.

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 line "Okhotny Ryad" - "Smolenskaya".

Until 1938, a forklift operated from the station (at a ratio of 1:1) in the direction of the Lenin Library and Komintern stations (now Aleksandrovsky Sad). After the separation of the Arbat radius into an independent line, the tunnel to the Alexander Garden (at that time this station was called Komintern, which became Kalininskaya on 12/24/1946) was used for official needs. During the construction of a shopping center near Manezhnaya Square in the mid-1990s. the tunnel was half filled in (one track was dismantled, which previously served for movement from the Alexander Garden, the second one was preserved).
The underground passage to the Teatralnaya station was opened only on December 30, 1944; previously, the passage was carried out only through a common lobby.
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 for the transition only in one direction.
The station got its name from Okhotny Ryad Street (at that time - Okhotny Ryad Square). The area was named after those who were here in XVIII-XIX centuries shops where they traded the prey of hunters - broken 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 station named after Kaganovich: 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 the top 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 - into "Prospect Marx" - according to 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 original name was returned to the station 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 along the escalators located in the center of the hall, as well as through the combined vestibule (east), which has access to the Theater Square. The same transfer hub also includes the Ploshchad Revolyutsii station, 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 reached from the shopping center under Manezhnaya Square.

The Okhotny Ryad station is located in the Tverskoy District on the territory of the Central Administrative District of Moscow.

Exit to the city to the streets:

Sokolnicheskaya line of the Moscow metro.
It 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".
Station code: 010.
Transfer to the station "Teatralnaya".

The station got its name from St. Okhotny Ryad.
From November 25, 1955 until the autumn of 1957, it was called "The Name of Kaganovich", and from November 30, 1961 until November 5, 1990 - "Marks Avenue".

The eastern ground lobby, shared with the Teatralnaya station, has access to the city with access to the city on Theater Square. The western underground lobby of the station leads to Manezhnaya Square and the underground passage under it, it can also be reached from the Okhotny Ryad shopping center.

The station is a transfer station to the Teatralnaya station of the Zamoskvoretskaya line. The transition is carried out along the escalators located in the center of the hall, as well as through the combined vestibule (east). The same transfer hub also includes the Ploshchad Revolyutsii station, but there is no direct transition between them.

Pilon three-vaulted station of deep (15 m) foundation. It was built according to an individual project by a mining method with a monolithic concrete lining. At the same time, the walls of the station were first erected, then vaults were erected on them (the so-called "German method").
Architects Yu. A. Revkovsky, N. G. Borov and G. S. Zamsky.
Design engineer N. M. Komarov.
The station was built by Mine No. 10-11 of Mosmetrostroy (headed by A. Bobrov), reconstructed in 1997 by SMU-5 of Mosmetrostroy (headed by M. Arbuzov).

Massive pylons are made in the form of double polyhedral columns lined with white and gray marble. The lining of the track walls is being replaced from yellowish glazed ceramic tiles to light marble, the name of the station is made in metal letters against a background of black marble. The floor is paved with gray granite. The central hall and landing platforms are illuminated by spherical lamps mounted on the ceiling. In the eastern anteroom there is a mosaic portrait of Karl Marx (author E. Reichzaum, 1964).

Until 1938, a forklift operated from the station (at a ratio of 1:1) in the direction of the Lenin Library and Komintern stations (now Aleksandrovsky Sad). After the division of the Arbat radius into an independent line, the tunnel to the Alexander Garden was used for official needs. During the construction of a shopping center near Manezhnaya Square in the mid-1990s. one track was dismantled, which previously served for movement from the "Alexandrovsky Garden", the second was preserved.

In the project, the station was called Okhotnoryadskaya.

A year after the opening, in 1936, a scene from the film "Circus" was filmed in the station lobby coub.com/view/x11ah
In 1977-78. the shooting of the film “Moscow does not believe in tears” took place on Prospekt Marx, and the old name was hung especially for the filming of the film, because according to the plot of the film, the action takes place in 1958, when the station was called “Okhotny Ryad” coub.com/view/ x1f3p

The previous station on the Lubyanka line.
The next station on the Lenin Library line [

Belonging to the metropolitan capital. Nearby are the Lenin Library and the Lubyanka station. Included in the Tver region. From here you can easily get to Red Square.

How did the name come about

Okhotny Ryad is a metro station that appeared in May 1935. It was part of the first launch site, which belonged to the capital's transport complex. They organized a branch from this place to Smolenskaya. There was a forklift type movement until 1938.

Metro station "Okhotny Ryad" had a balance of moving vehicles 1:1 when moving to the "Library im. Lenin" and "Comintern", which was later renamed "Alexander Garden". Moving away from the Arbat, there is an opportunity to get into a separate line with a tunnel, which is used in business affairs. The ability to quickly travel to big city gets it thanks to the Moscow metro. Okhotny Ryad underwent a number of changes when it was built in the mid-90s of the last century. The tunnel was filled up to ½. One track was dismantled, and the second was left intact. Prior to that, in 1944, a passage to the Teatralnaya station was opened. Previously had to use a large lobby.

During 1959, an underground passage was laid under the Okhotny Ryad metro station, the first in the metropolitan transport network. In 1974, a second similar structure appeared, leading to the Teatralnaya station. Work is underway in each transition in a one-way direction.

old times

During the nineteenth century, they were engaged only in trade, leaving goods in warehouses. There was an opportunity to stay in a hotel or visit a tavern. When 1956 came, the square that used to be here was replanned into a street, which in the period from 1961 to 1990 was a segment of Marx Avenue.

"Okhotny Ryad" - the area where in 1955 the station point was named after Kaganovich. This is due to the fact that it previously had a name associated with the name of this Soviet politician. He led the process of building a transport complex. Then they paid tribute to Lenin, naming the entire network after him, and leaving only one station to Kaganovich.

In 1957, he was removed from a leading public position, and now he did not enjoy such honor and respect. One more time there were changes - the station became "Prospect im. Marx". Three large streets, which were of great importance, were connected here. When the restructuring processes took place in 1990, the station gained its initial name- Okhotny Ryad metro station. The point had to go through a name change four times, which in itself is unique for Moscow.

Interior decoration

Here you can transfer to the "Teatralnaya". You need to proceed to the escalator, which is located in the center. You can go through the east vestibule, from where there is also an exit. There is a node for the transfer, from which you can get to the "Revolution Square". However, you will not find a direct transition. Stations are very far away.

The underground part in the west is part of Manezhnaya Square. There is a transition to it. Can be passed through shopping center. Chechulin created a project for this building, the house on the surface was reconstructed. It was pulled out during the competition and renamed. The project was designed in such a way that there were outside, but they were lost over time. They were created by M. Manizer, and a teacher from the circus school A. Shirai was used as a model for one statue.

Curious details

When the film "Moscow Does Not Believe in Tears" was filmed, the authors decided to focus on the time of filming in 1958. During the episode of the trip in the car, the track wall with the name of the station was filmed. When the film was released in 1979, the checkpoint itself changed its name to Marx Avenue. Thus, the effect of transferring the viewer into the past for 20 years was created. The most interesting thing is that the shooting itself took place at Novoslobodskaya.

Technical features

The station has a pylon structure and three arches, it is laid deep. In an individual mode, a project was created, based on the mountain method. Monolithic concrete was taken under the coating. To begin with, walls were erected, and then vaults, relying on german version design. When the point was built, it was the largest such deeply buried station. In line with initial plan they did not want to build a hall in the center, but then radical changes took place.

The style in which the place is decorated

Here you can see structures that look like columns with many facets, the cladding consists of gray and white marble. Before that, it was changed by removing the yellow ceramic tiles. The name of the item was written in metal-colored symbols. The background is completely black. The floor was made of gray granite. There are lighting devices on the territory of the hall and near the landing platforms. Previously, there were floor lamps similar to those on Novokuznetskaya.

The convenience of the point lies in the fact that Red Square is easily accessible from here. The metro station "Okhotny Ryad" is decorated in the east with an image of Marx from a mosaic created by E. Reichzaum.

If we take the statistics for March 2002, the passenger flow at the entrance amounted to 97,000 people, and at the exit - 95,000 people. The transport point receives the first people at 5:30 am, the last - at 1:00 am.

Thanks to this place, the needs of many people in transportation are satisfied. The work is carried out in a coordinated and proper manner.

Stalin metro. Historical guide Zinoviev Alexander Nikolaevich

Okhotny Ryad

Okhotny Ryad

Even before the opening, the Okhotny Ryad station received the epithet "the heart of the metro" - it was built in the very center of the capital and was supposed to have a light appearance, despite its deep location. Also during the construction of the station, the project was changed: it began to have a central hall. The name of the station was given by the old street, which was located here in the 17th-19th centuries, where there was a lively trade in hunters' prey. In the 19th century, specialization disappeared, and various goods began to be traded here.

By 1935, monumental buildings were built here: the house of the Committees of the Council of Labor and Defense (now - the building State Duma RF) and the Mossovet Hotel (Moscow). It was necessary to take into account the proximity to these buildings and be able to build pavilions in conditions dense building. A way out was found - two vestibules were located on the first floors of the buildings.

For the northern vestibule was rebuilt old house, standing on the corner of B. Dmitrovka and Okhotny Ryad - the project of architect D.N. Chechulin. The first floor was decorated in the form of a plinth, in which the entrance to the metro was located. The windows of the upper floors are separated by pilasters, and a balustrade was erected on the entablature. High niches on the sides of the doors were supposed to accommodate statues in them. Some time after the opening of the station, figures of athletes stood in two of the four niches. Inside the lobby is decorated with a coffered ceiling with small spherical lamps. Some time after the opening, a typical sculpture of Stalin was added to the interior.

The southern vestibule is located on the first floor of the Moskva Hotel building, the authors of the project are architects L.I. Saveliev and O.A. Stapran. The interior was distinguished by the processing of the ceiling and wall cladding. This famous hotel was demolished in 2004, thus losing the old lobby.

In the escalator entrance hall, along its axis, there were massive high floor lamps. The vaulted ceiling is finished with shallow caissons. On the sides are large tetrahedral columns.

The underground hall of the station was designed by architects N.G.Borov, G.S.Zamsky. Yu.A. Revkovsky. In terms of its dimensions, it was the largest deep-laid station in the world at the time of its opening! The authors of the station tried to save passengers from the feeling of depth. The station pylons, built in the form of double columns, are lined with light Italian marble. The vault of the central hall is richly coffered with complex profile squares. The vaults of the side halls are decorated with stucco molding in the form of a meander. At present, all halls are illuminated by chandeliers in the form of a ball, but before the construction of the passage in the center of the hall, the middle nave was illuminated by massive floor lamps located along the axis of the station.

Art. Okhotny Ryad. Sculpture "footballer" in the niche of the ground vestibule

Art. Okhotny Ryad. The lobby built into the hotel "Moscow"

In November 1955, it was decided to give the Moscow metro the name of V.I. Lenin, and the name of Kaganovich, who led the construction of the metro, to name central station. Decided to rename the station Okhotny Ryad. The station named after Kaganovich did not bear its name for long: in 1957, after Khrushchev's victory over the "anti-party group", which included L.M. Kaganovich, the station returned its former name.

In 1961, Okhotny Ryad Street became part of the formed Prospekt Marx, and on November 30, 1961, in order to bring the name of the station in line, it was given the name Prospekt Marx. In 1964, the northern vestibule was decorated with a panel with a portrait of Karl Marx (artist E. Reichzaum). On November 5, 1990, the original name was returned to the station.

Station losses

1. Floor lamps from the central hall of the station. They were dismantled due to large passenger flows and the construction of a passage in the central hall. The lighting has been replaced with ball chandeliers. Also, floor lamps were dismantled in the escalator hall of the lobby.

2. Sculptures in the niches of the ground vestibule.

3. Sculpture of I.V. Stalin in the northern vestibule.

4. Lobby in the hotel Moscow. Demolished along with the hotel building in 2004.