Vladimir Zimmerling raised numerous monuments in the former USSR as author and coauthor. From ca. 1960 till mid 1970-s he realized USSR state orders for the construction of monuments in collaboration with the sculptor Dmitrij (Daniil) Ryabichev. Their probably most famous work from that period is the Memorial for the Siberian warriors in Omsk-city, opened to the 30th anniversary of the victory in the Great Patriotic War in 1975. The contracts with the Moscow sculpture factory testify that Vladimir Zimmerling was entrusted the creating of the central figure of that memorial ― the Solder with a sword (an imperial image imprinted e.g. on Soviet postcards) ― and the bas-reliefs, see a separate album. One of the earliest monuments where the collaboration of Dmitrij Ryabichev and Vladimir Zimmerling is documented is the Monument for the 14 Turkestan Comissioners opened in 1962 in Tashkent, Uzbekistan.: according to the contract, Vladimir Zimmmerling committed to "model 7 figures on the right half of the monument". The last joint art work of these two sculptores ―the three figure composition "Courage" (1976) is linked with the same city - Tashkent, the capital of the Uzbekistan republic. It is dedicated to the memory of the victims of the devastating 1966 Tashkent earthquake. According to the contract with the Mytishchi plant of art casting from 5 March, 1976, "sculptors, art director, sculptor Ryabichev D.I. and sculptor Zimmerling V.I. called in the following "Author" commt to create and raise the three-figure composition of the monument "Courage"" . This monument is featured e.g. on a Soviet stamp from 1979. Several orders are linked with portraits of the USSR Heroes and Heroes of Socialist Labor (Герой Советского Союза, Герой Социалистического труда - the highest awards in the USSR). Vladimir Zimmerling's portrait of the war hero Vassily Protasyuk (1924-1948) was created in 1978 on the basis of such an order. This monument is raised on Protasyuk's tomb in the village of Guran in the Irkutsk district, see the photos in the web. A notable monument in Central Russia, where Vladimir Zimmerling acted as coathor is the Monument for the 850-year annersary of Vladimir -city (1960) raised by Daniil Ryabichev. For this 20 meter high monument Vladimir Zimmerling created one of three central figures ― the Worker along with the thematic bas-reliefs of the corresponding side. A worker's figure on a 1979 monument shows a similar stylistics.
From late 1970-s till 1984 Vladimir Zimmerling collaborated with the architect Eduard Barklai (1925-1984). In the 1980-s, they raised many monuments in Uzbekistan, notably ― in the Kashkadarya and Samarkand districts. They also created projects of ensembles for the Moscow plant "Emitron" and the Moscow Institute for geology and mineralogy (1979-1980).
The collaboration with Uzbekistan went on after 1985 as well, but some of the most interesting and least ideologically-bound Uzbek projects including the “Ali-baba” relief and a fountain designed for the city of Shakhrisabz were stopped due to the financial crisis in the USSR. The idea of that fountain was later realized in the composition “The Nereids I” (1986 ― 1993) , but only as an interior scuplture.
In the late 1980-s, the magistrates of Ivanovo-city turned to Vladimir Zimmerling with a proposal of creating a sculpture gallery of the local poets fallen in the Great Patriotic War. He created the sculpture portraits of the poets Nikolai Maiorov (1987) and Alexei Lebedev (1988) raised in the Arts Square of Ivanovo-city. In the same period, Vladimir Zimmerling created the Ivanovo City Mark in form of a weaving shuttle (contract from 1985) and a plaque in honour of Olga Varentsova (1988).
The Mandelstam society made a request that Vladimir Zimmerling raise a plaque for Natalia Shtempel in Voronezh-city: this plaque however does not pattern with the category ‘sculpture order’. Negotiations were held with Heidelberg to raise a plaque for Osip Mandelstam in that German town, but this project was not fulfilled.
The day of the state sculpture orders ― the system supporting Soviet sculptors ― ended with the disintegration of the USSR. On this site, Vladimir Zimmerling's contracts and state orders from 1950 up to 1989 are group into six periods: 1950-s, 1960-s, 1970-1976, 1977-1979, 1980-1984 and 1985-1989. A separate album shows Vladimir Zimmerling contracts for Lenin's portrayals: as an expert in Lenin's sculpture iconography, Vladimir Zimmerling was regularly assigned orders to create busts, bas-reliefs or figure of L. - the geogrpahy is extremely wide.
An all this time and later, throughout the 1990-s and till 2003 Vladimir Zimmerling went on realizing the projects he was most fond of ― the portraits of outstanding poets, musicians, scientists, see the caption Sculptures. This group of his art works has been regularly shown on his personal exhibitions and on all-Soviet and international exhibitions, but did not make it way to pedestals. In 1995 ― 2000, Vladimir Zimmerling created a series of 12 monumental works designed for a multiple increase and a spacious interior, see the caption Antique Suite. They are realized as models and probably still are waiting in the wings and waiting for the right place ― spacious parks, field or gorges: the sculptor himself left definite comments on that score.
A minimalist project for the War Memorial - the "TEMPLE IN FORM OF A WREATH" (1990) was not realized either. It has a striking resemblance to Vladimir Zimmerling' s chamber works in the "Thin band" series. It is a monumental variation of a Moebius band - a motif exploited by the sculptor late in "DYNAMICS" (1993-1994).