Russian Architecture Research Articles

Chronicle of ZVS-2024

From 19 to 23 June Krasnoyarsk hosted the XXIV Interregional Architectural Festival “Zodchestvo in Siberia 2024” (ZVS-24). The article presents the chronicle of ZVS-24, geography of participants, the works submitted to the review competition, stars of Russian architecture invited for master-classes, topics of round table discussions, excursions and other events.

Архитектура аннинского времени: рождение образа империи

The article is devoted to the problems of the Russian architecture of the 1730s, the era of Empress Anna Ioannovna’s reign. That period has not attracted much attention of researchers until recently, the reasons being poor preservation of the monuments of the 1730s and the lack of notable achievements, especially compared with the magnificent architecture of the Elizabeth’s 20-yearlong reign. In recent historical research, both the years of Empress Anna Ioannovna’s rule in the history of Russia of the 18th century and the figure of the Empress herself have undergone a noticeable revision. Anna’s decade appears to have been a period of stabilization and consolidation of the country’s transformations that took place during Peter the Great’s time. Research into the architecture of that time show that it was under Empress Anna Ioannovna that Petersburg acquired the characteristics of a capital city and began to be considered an imperial residence. In the 1730s, the most significant buildings initiated by Peter the Great were completed: the building of the Twelve Collegia, the Kunstkamera, and the Peter and Paul Cathedral. The new construction of palaces and public buildings over that time, as well as the transfer of former palace buildings to a number of institutions, testified to the desire for a visual articulation of the ruling elite. The article attempts to re-examine the indifference towards the architectural achievements of the period under consideration and suggests taking a closer look at it.

Античные маскароны в системе смыслов русской архитектуры XIX — начала ХХ века

The article discusses the basic semantic and compositional principles of the location of ancient-themed mascarons in the space of the Russian architecture of the 19th — early 20th centuries on the example of buildings in Moscow and St Petersburg. They have appeared in the focus of the search for artistic expression by Russian sculptors and architects. Nevertheless, mascarons have never been the subject of specialized scientific research. The accents they bring to the figurative concept of structures are very instructive for understanding the system of meanings of some works of Russian architecture. All this determines the relevance of addressing this issue. The study uses formal stylistic and comparative methods of analysis.

Features of the Architecture of Modern Residential Buildings in the City of Vladimir

For the first time, an analytical review of examples of the inclusion of new residential buildings in different time periods from the 1930s to the first quarter of the XXI century in the development of the city of Vladimir is given. One of the most important tasks of modern architecture is to find a practical solution to the theoretical problem of the interaction of tradition and innovation. The study of this problem on the example of historical cities in Russia occupies a special place in the theory of architecture, since a valuable historical and architectural environment needs a delicate approach when integrating new objects into it. The valuable historical buildings of the city of Vladimir mostly consist of stone houses built in the classicism style of the XVIII–XIX centuries, which formed the image of the historical center. However, not only the conscious appeal of architects to historical examples of local architecture served to reflect classicism in the appearance of buildings of subsequent eras, but also political and socio-economic aspects. The peculiarities of environmental adaptation techniques used in the construction of residential buildings by Soviet and Russian architects are noted.

Masterpiece of the Leningrad School of Constructivism – House of Culture Named after Ilyich (Cultural and Leisure Center «Moscowsky»)

Architects of the 1920–1930s acted in the context of the new communist agenda, constructing the spatial environment of the person of the future. The projects of that era realized a dialectical connection between formality (geometricity) and functionality (utilitarianism). Constructivism became the key style of this stage; he was characterized by experiments with volumes, rectangular and curvilinear shapes. House of Culture named after Ilyich, which is the focus of this study, became one of the signs of the time — the era of palaces and houses of culture, where cinemas, concerts, sports, rehearsal halls, libraries, music schools, premises for clubs and circles were located under one roof. The article presents an analysis of the volumetric-spatial solution, the functional characteristics of the building and the history of the existence of the building of the House of Culture, and also identifies the problem of the preservation and restoration of constructivist architecture. In 2020, the House of Culture named after. Ilyich received the status of an object of cultural heritage of the Russian Federation of regional significance. The analysis of the scientific context makes it possible to conclude that today in the scientific community there is an increased attention to avant-garde architecture as a striking phenomenon of Russian architecture and a change in the protective status of the House of Culture building is a positive marker of a change in attitude towards the architecture of the 1920–1930s.

Neoclassicism in Russian Architecture of the 21st Century

Статья посвящена третьей волне русского неоклассицизма, охватывающей период с 1990-х по 2020-е годы, крупные реализованные проекты которого приходятся на XXI век. Цель статьи – теоретически осмыслить направление, определить генезис, этапы эволюции и формальную концепцию стиля; уточнить круг архитекторов и основных построек; провести сравнение с двумя предшествующими волнами русского неоклассицизма – начала и середины ХХ века.

КИРПИЧНЫЙ «СТИЛЬ» В АРХИТЕКТУРЕ УЧЕБНЫХ ЗАВЕДЕНИЙ РОСТОВА-НА-ДОНУ КОНЦА XIX – НАЧАЛА ХХ ВЕКОВ

The buildings of educational institutions in the period of the late XIX - early XX centuries are one of the most important elements in the formation of the architectural environment of provincial cities, including Rostov-on-Don. The buildings of gymnasiums, commercial, clerk, and technical schools often formed a kind of spatial framework of the central part of the city, being unique objects. Primary schools, which had common typical features, were part of the central core of individual residential areas, including peripheral ones. Regardless of the status and level of the educational institution, the number of students and its place in the structure of the city, most educational buildings of primary, secondary and secondary specialized education were built in the brick “style”. At the same time, it should be noted the variety of artistic techniques that determine the appearance of educational buildings of various types. In addition to the so-called “average brick “style””, more complex techniques for solving facades are widespread in the architecture of most primary schools: turning to the stylized forms of medieval and Old Russian architecture, solving classical details in brick, combining simplified geometric decor with forms in the Art Nouveau style, combining light and red brick.

В. В. Верещагин и «изобретение» Севера в литературе и публицистике конца XIX–начала XX века (часть вторая)

The paper, based on the book “On the Northern Dvina. Through wooden churches”, considers the artist V.V. Vereshchagin’s perception of the North. It is shown that it is based on his professional and artistic interest in the monuments of traditional wooden architecture of the XVI-XVII centuries. The artist views the latter as a kind of classic – the pinnacle of Russian art, the personification of its tradition, destroyed or distorted by later stylistic experiments. Moreover, he even places them in a global cultural context, using very tendentious analogies based on his personal experience of acquaintance with the East. On the other hand, Vereshchagin is fully aware of and carefully records the ethnographic features of the Dvina area. Without dividing the North into regions or territories, perceiving it as a single nationally significant space, the artist resorts to subjective-emotional gradation as a means of differentiation: his assessment of the “quality” of a particular monument, settlement, or area is sometimes speculative, litereally depends on the mood. At the same time, the Vereshchagin text reveals key themes and motifs of the northern discourse of the 1890s-1910s, but otherwise articulated. Thus, the thesis that the North passed the peak of its development in the late Middle Ages is revealed through the interpretation of European and other borrowings in Russian architecture. The “remoteness” and “abandonment” of the region are shown as, on the one hand, the problem of “undermanagement”, inattention to the needs of the region, and on the other hand, a consequence of the weak infrastructure development of the northern provinces.

Effect of Technical Safety Regulations on Form-Making in Russian Architecture on the Example of the Mountain Dwellings by BIG in Denmark

Effect of Technical Safety Regulations on Form-Making in Russian Architecture on the Example of the Mountain Dwellings by BIG in Denmark

Dialogues of styles

Every major style goes through a series of metamorphoses after its inception. Styles echo each other, learn from each other, argue and penetrate each other. The selection of materials in this section contains the results of historical observations and research, showing these processes on specific examples. How was the great style of classicism reflected in the works of its fiery overthrowers? How was the Enlightenment style transformed on the Far Eastern land? How did Russian architects influence the new architecture of China? How is the cultural heritage of Soviet and German cities reinterpreted? All these materials are united by the theme of the dialogue of styles and the metamorphoses that arise in this process.

APPLICATION OF THE “PILLAR-FREE GAVIT” PRINCIPLE IN RUSSIAN CHURCH ARCHITECTURE

The article analyses the experience of using the constructive technique of intersecting arches (according to the “gavit principle”), originating from Armenian medieval architecture, in Russian architecture of the second half of the 19th century - 20th century and at the turn of the 21st century. The author considers the experience of understanding this constructive ceiling system in the practice of modern church construction.

The influence of Italian architectural traditions on the formation of the appearance of the Suyumbike tower of the Kazan Kremlin

This article examines options for cultural and historical understanding by humanitarians of the architectural style of the Suyumbike tower. The authors consider the influence of the architectural traditions of the Apennine Peninsula of the late Middle Ages and the Renaissance on the architectural concept of the Suyumbike Tower. The hypothesis of "Italian influence" is confirmed in the facts of the biographies of famous architects Aristotle Fioravanti and Pietro Antonio Solari, who arrived in Russia in the 17th century from the Apennine Peninsula. The contribution of Apennine masters to the development of the architecture of the Kazan Kremlin is assessed. The authors made a comparison of the historical iconography of the Suyumbike Tower of the Kazan Kremlin and modern versions of its artistic reconstructions. The conclusion is made about the productivity of cultural and historical synthesis in the architectural appearance of the Kazan tower Suyumbike, which incorporated elements of the Italian and Eastern style, rethought by Russian architects.

ВТРАЧЕНІ ЕЛЕМЕНТИ АРХІТЕКТУРНИХ ПАМ’ЯТОК КИЄВА УКРАЇНСЬКОГО БАРОКО

The article is dedicated to the research of the loss of important architectural and compositional elements in Kyiv architectural monuments of the Ukrainian Baroque of the XVIIth – XVIIIth centuries. The author analyzes the architectural development of such Kyiv buildings as the Onufriivska Tower and the Church of Conception of Ann of the Kyiv-Pechersk Lavra, the Resurrection Church, the st. Illia Church, the Temple of Nikolas, the Intercession Church, the Old Building of the Kyiv-Mohyla academy, cookhouse and Church of the Holy Spirit of the Brotherly Epiphany Monastery, St. Sophia Cathedral, Church of the Ascension of the Phlor’s Monastery. All these objects have common destiny because of loss of their important Baroque details during XVIII–XIX centuries. Instead, they gained the forms of other styles, which did not detract from the national signs of these monuments. Such changes were made for various reasons: changes in fashion and styles in architecture, functional and utilitarian needs. However, such transformations were often anti-Ukrainian in nature, and they even ended up replacing Ukrainian symbols with Moscow ones. Let us highlight this very incident with the butt of the story: the reconstruction of the St. Sophia Cathedral in 1882. This unique monument and shrine was adorned with characteristic elements of the Ukrainian Baroque – sloping pediments on western and eastern façades. In fact, the temple was redecorated with elements of Byzantine and Russian architecture. During the Soviet time, the practice of replacing Ukrainian architectural symbols with Russian ones continued. Let us illustrate this with the example of the Ascension Cathedral of the Phlor’s Monastery in Podil. For a long time, researches did not pay attention on such a facts, but now it is time to restore justice to our national symbols. In the author’s opinion, today it is necessary to carry out in-depth research on historical monuments with a view to developing a concept and developing large-scale restoration projects that would restore their original beauty and completeness.

Петровский «Аптекарский дом» в Китай-городе. Судьба исчезнувшего здания Москвы

The Moscow ensemble of the Main Pharmacy was built in the first decade of the 18th century and turned out to be one of the most remarkable buildings in Russia. The new construction attracted attention due to the location between the Nikolsky Gates of the Kremlin, the Resurrection Gates of Kitay-Gorod and the Berg Office of the Mint. The architecture of the building successfully combined the best traditions of ancient Russian architecture with the techniques of Western European building art and elements of oriental decoration. Polychrome volumetric tiles played special role in the design of the multi-tiered main facade. These ceramic inserts formed the platband frames, order details, friezes, cornices and other elements. According to the state programs of Peter I for the development of the pharmacy business, special attention was paid to the new building, and contemporaries called the erected Pharmacy “one of the best in the world”. The experience of creating the ensemble and the appearance of the building influenced the character of the new parade construction of the public architecture of St. Petersburg. This explains the interest in the study of the building, which was lost in 1874. In order to understand and visualize the changes in the state of the building, its graphic reconstructions of different historical stages were carried out. The presented digital models reflect not only the external solution of the facades, but also the arrangement of the internal layout.

Neoclassicism with a British Accent: Edwardian and Georgian Reflections in Russian Architecture of the 1900s–1910s

The article is dedicated to one of the stylistic trends of architecture of the Russian Empire in the early decades of the 20th century, namely neoclassics. The repertoire of classical architecture as such is cosmopolitan, but the very idea of arousing the classics at the beginning of the last century, marked by the appearance of Art Nouveau and the beginnings of modernism, turned out to be equally close to Great Britain in the Edwardian era and Russia during the time of the last emperor. This unanimity in the rejection of stylistic innovations is interesting as a phenomenon and undoubtedly deserves special study. At this stage, it can be stated that in Russian neoclassicism there was also a place for Anglomania, which was expressed, however, not in formal echoes of the Edwardian style, but in an interest in the history of the British classical tradition (primarily, the architecture of the Georgian era). The Edwardian idea of reviving the noble style of the past was embodied in Russia both in direct appeals to the legacy of Charles Cameron, who, serving the order of Catherine the Great, was an agent of Georgian architecture, and in an appeal to English scholars, who provided rich material on ancient Roman archaeology. The English influence in Russian neoclassicism is traced in the article from the very beginning (i. e. the moment when the Mansion of the Racing Society in Moscow, considered the first building of this stylistic movement, was designed by Ivan Zholtovsky in 1903) through the programmatic “Cameron-style” architecture of the Prince Sergey Shcherbatov’s house in the same place, created by Alexander Tamanyan, to those “Georgian” apartments inside the Palace on the Moika river embankment that were designed by Andrey Beloborodov for Prince Felix Yusupov, one of the most famous Anglomaniacs of St. Petersburg. “Georgian” reflections are also found in the Moscow mansion of Gavriil Tarasov built by Zholtovsky. Its exterior contains some references not only to Palladio’s Palazzo Thiene (Vicenza), but also to London’s Burlington House designed by Colen Campbell. Thus, the British “accent” in Russian neoclassicism of the 1900s–1910s sounds no less obvious than the Italian one.

УСАДЬБЫ УРАЛЬСКИХ ЗАВОДОВЛАДЕЛЬЦЕВ XVIII В.: ИЗМЕНЕНИЕ ТИПОВ И АРХИТЕКТУРНОГО ОБЛИКА

The article deals with one of the aspects of the private life of factory owners during the formation and development of industrial production in the 18th century Urals, which related to the choice and arrangement of their place of residence. The study shows that many of the factory owners possessed houses in county towns, built entire manor complexes and even palaces near their factories. This concerned primarily representatives of the taxable estates, who achieved nobilization through their entrepreneurial activities. It was they, especially in the initial period, who often had to live in their factories or nearby for a long time and take a direct part in management. The article presents facts regarding the construction of manor complexes at Nevyansk, Sysert, Revda, Kyshtym and other factories by representatives of the Demidovs, Stroganovs, Turchaninovs and other clans. It is concluded that as the lifestyle of factory owners changed, the possibility of their moving away from their factories and preferences in favor of living in the capital, the type of their housing also changed. From the “chambers” at the beginning of the century, they gradually moved on to the construction of rich estates, and in the second half of the 18th century — own capital palaces, many of which have become outstanding monuments of Russian architecture.

CHARACTERISTICS AND SIGNIFICANCE OF THE WORK OF RUSSIAN ARCHITECTS IN THE CITY OF NIKŠIĆ IN MONTENEGRO, THE END OF THE 19th AND THE FIRST HALF OF THE 20th CENTURY

Introduction: During its long and dramatic history, Montenegro has had close political, economic, and cultural ties with Russia. However, in the context of architecture, the connections between these two countries are the least known and explored. Purpose of the study: The present study aims to present for the first time some of the most significant achievements made by Russian architects in the city of Nikšić in Montenegro in the period between the end of the 19th and the first half of the 20th century to a wider professional audience. We present two cases: the project of the Cathedral Church of Saint Basil of Ostrog, which was designed by the architect Mikhail Timofeevich Preobrazhensky, and the project of the Upper Ostrog Monastery, the most significant achievement of the architect Vladimir N. Sukurenko. Methods: The methodological approach required classification and comparison of archival materials through the processes of synthesis, analysis, and deduction. Based on the guidelines of the Law on the Protection of Cultural Property of Montenegro, we formed criteria that were used to evaluate the work of the aforementioned architects. The criteria are sorted into three groups. The first group involves building characteristics, where we evaluate authenticity and integrity, degree of preservation, uniqueness, and rarity. In the second group, covering the significance of the building, we assess the historical and scientific significance, archaeological significance, architectural and artistic significance, and technical significance. Finally, in the third group of criteria, we study the age of the buildings, social and economic importance, environmental and landscape importance. Results: Based on our criteria, we find that the Cathedral Church of Saint Basil of Ostrog is a symbol and the most important spatial element of the identity of the city of Nikšić, while the Upper Ostrog Monastery, one of the most important sanctuaries in orthodox Christianity, represents the pinnacle of the construction and architectural process.

Evolution of transport service architecture in Russia and the Soviet Union (Saratov)

The article studies in the national history of the architectural typology evolution of transport services in Russia and the Soviet Union. The progress of motor transport since the end of the 19th century and new tasks put forward by this process, require an intensive typological search for innovative architectural solutions. Since the beginning of the 20th century, motor transport services together with the developing motor transport network become significant elements of the urban development, largely determining their new image. The architecture of transport service facilities directly relates to the current development of vehicles in technological and socio-economic aspects.The purpose of the study is to analyze and generalize the architecture typology of the transport service in Russia, depending on technological and social factors.

Theatre for Zheleznogorsk in the architect G. P. Stepanov’s creative activity

23 February 2024 marks the 100th anniversary of the birth of Georgy Petrovich Stepanov (1924-2007), a Soviet and Russian architect, Doctor of Art History, Professor, Honoured Art Worker of the RSFSR, Honorary Member of the Russian Academy of Architecture and Construction Sciences. A major project implemented by G. P. Stepanov was a theatre for Zheleznogorsk in the Krasnoyarsk region. On the basis of the revealed archival data and published materials, the stages of the search for the architectural appearance of the theatre building for the Siberian city are restored. The structure built in neoclassical style influenced the further creative path of the Leningrad architect and the directions of his scientific interests and pedagogical work.

Chronicle of Zodchestvo in Siberia 23

From 14-17 June the XXIII interregional architectural festival “Zodchestvo in Siberia 2023” took place in Irkutsk. The article presents the chronicle of “Zodchestvo in Siberia 2023”, the geography of participants, the list of speakers, the stars of Russian architecture, invited to give master-classes, as well as the themes of excursions.