Russian Architecture Research Articles

Titelbild: Mauerwerk 1/2015

AbstractWith the Burdenko residential and business building, Russian architect Sergey Skuratov has created a communicative clinker brick sculpture in the historic centre of Moscow. The textured façade design using clinker bricks specifically developed for the project determines the overall appearance, especially with reference to the sculptural effect created by the protrusion of various clinker bricks in the façade (cf. pages A5 and A6). Photo: Hagemeister

Итальянские этюды С. А. Иванова: к проблеме реконструкции памятников античной архитектуры в первой половине XIX века

The paper focuses on theoretical and archaeological research undertaken by Sergei A. Ivanov (1822–1877) — a Russian architect and art historian — during his stay in Italy from 1846 till his death. Ivanov did a lot to reconstruct several architectural monuments dating back to Classical antiquity. Compared with his predecessors’ similar attempts, Ivanov’s work was based on meticulous measuring and archaeological study of the ruins. He proposed original interpretation of such reliquiae as the Baths of Caracalla in Rome, and a number of the most significant buildings at Pompeii. Later, after his journey to Greece in 1857–1858, he created reconstructions of several Greek monuments as well. High professional level of Ivanov’s projects and the scope of his work would have made him a name, but his results so far remain underestimated. Although published only partly, they were highly praised by the reviewers, and should be actually referred to as the first Russian works on reconstruction of ancient Greek and Roman architecture based on precise investigation of archaeological material and scrupulous research of original monuments.

«Русский Палладио»: об одном механизме освоения классики в отечественной архитектуре XX века

Palladianism was the necessary element of neoclassical waves in Russian architecture — from the 1900/10s through 1930/50s up to nowadays. What determined the popularity of Palladio? First of all, the architect’s belief in law underlying the form. Order as the paradigm of proportionality was the embodiment of this law. The specific character of “Four books…” also contributed to his popularity. This treatise was to some extent the practical builder’s manual for both trained architects and laymen. There was also another reason for Palladio’s attractiveness: along with the Classicist, there was also Mannerist Palladio. The former longs for law while the latter individualizes the expression of this law in a particular building. The “demand for Palladio” also resulted from the cultural isolation from the antique sources. This kind of art lost its relation with the reality and history. Imitation of history needs fake architecture, so Palladio was the right person to do the task.

Architecture of Neogothic Castles, Palaces, Estates, Mansions and Profitable Houses in the Russian Empire XIX Century

The publication is devoted to development of neogothic architecture in Russia. The little-known facts concerning features of a shaping of architectural forms in neogothic stylistic of the XIX century are considered. The comparative analysis of domestic and foreign monuments of architecture of neogothic style is carried out. Features of development of neogothiccastles, palaces, estates, mansions and profitable houses are accented.

Evolution of Application of Neogothic Forms in the Russian Architecture of the XVIII-XIX Centuries

The publication is devoted to development of Neogothic architecture in Russia. The little-known facts concerning features of a Neogothic stylistics of the XVIII-XIX century are considered.

От античных мавзолеев к ротондальным постройкам эпохи классицизма. Генезис архитектурной формы и конструкции

The author of the article examines the examples of using annular barrel vault with central pier in the Late Antique domed constructions. Studies of such buildings in the 16th–18th centuries did a lot for the emergence of the similar constructions in the architecture of that period. Architects of Western Europe adopted Ancient Roman engineering experience, which allowed them to use rotunda forms not only in the church architecture or fortification, but in residential constructions as well. Its wide expansion into palatial residences, villas, and particular private hotels built in the age of Classicism has contributed to significant changes in the outward appearance of buildings. Descriptions of annular barrel vault with central pier are left in treatises, ouvrages and practical manuals published within that period. The knowledge of these, together with architectural analysis of the surviving buildings, whose representational domed lounges are based on the said type of vault, help identify characteristic features of numerous edifices created by representatives of various West European architectural schools. Research of the use of such constructions in Russian architecture both via surviving historical monuments and the drafts of lost buildings or unrealized designs is under consideration in the article. This study is useful for architectural attribution of the monuments of Russian Classicism.

Архитектурная типология бесстолпных храмов домонгольской Руси

Pillarless churches were not typical for the Old Russian architecture of the pre-Mongolian period. The Church of Elijah the Prophet in Chernigov is the only one with surviving ancient vaults that represents Byzantine atrophied Greek cross type. The structure of other pillarless churches has traditionally been classified as pre-Mongolian version of the 15–16 centuries. “Pskov stair-step” type vaults that carried a dome narrower than a naos. However, such a design was still unknown in the 11–12 centuries. This article is an attempt to include Russian pre-Mongolian pillarless churches into Byzantine architectural typology. It invites us to look afresh at the churches and their possible reconstructions, taking into consideration all the peculiarities of their layouts and the results of most recent studies. At closer look number of churches turned out to be too large to have either «Pskov vaults» or any kind of vaulted structure without pillars. Two churches in Pereiaslavl’ and Vladimir-Volynskii (with parts of east wall protruding into the apse) are more likely to have had two-pillar structures. The article suggests that the church in Novii Olgov gorodok is a compact octagon in combination with cruciform layout. Along with St. Andrew church in Pereiaslavl’ (and perhaps “Staraia kafedra” in Vladimir-Volynskii) where galleries were added to the octagon type, these three examples represent Old Russian interpretation of the Byzantine architectural type. Old Russian single-nave churches on the whole were seldom as tiny as those in Byzantiium. This leads us to the assumption that their pilarless structure was determined not only by the scale of the building, but rather by the choice of specific type (e.g. compact octagon).

Триумфальная тема в творчестве Ивана Коробова и Ивана Мичурина. Интерпретация античной традиции в европейской архитектуре XVII — первой половины XVIII века

The author of the article examines Ivan Korobov’s and Ivan Michurin’s architectural works made for the coronation events on the occasion of the Empress Elizaveta Petrovna’s enthronement. He analyses the design of the triumphal gate in Moscow, created by the architects in 1742, in the context of European architecture of 17th — first third of the 18th century. The author makes an attempt to link the features of these designs with the architecture of the similar European constructions and the architects’ personal experience in acquaintance with the architecture of Netherlands, especially Flemish Baroque, which became known to them during their training there in 1710s–1720s. Close attention is also paid to the urban context of the Triumphal arches in Russia and Europe. The key point of the article is that the architecture of the Moscow Triumphal gate may be considered as one of the important components in formation of Russian architecture of the 1730s–1760s, within the period prior to the prime of the Baroque style, especially of Francesco Bartolomeo Rastrelli’s version.

Neogothic Public and Industrial Buildings in the Russian Empire XIX Century

The publication is devoted to development of neogothic architecture in Russia. The little-known facts concerning features of a shaping of architectural forms in neogothic stylistics of the XIX century are considered. The comparative analysis of domestic and foreign monuments of architecture of neogothic style is carried out. Features of development of domestic neogothic public and industrial buildings are accented.

Russian Sections at World and International Fairs

Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.

The Self-Portrait by Alexander Brullov

Is devoted to watercolour self­portrait of the Russian architect and graphic artist. The author attributes this work basing on archival documents and suggests the probable time and place of its creation.

Financial Architecture and Corporate Performance: Evidence from Russia

Authors: Kokoreva Maria Sergeevna - assistant professor, lecturer, HSE Higher School of Economics, deputy head of the school of finance, researcher of the scientific and educational laboratory of corporate finance, director of the joint educational program for the preparation of bachelors in the direction of "Economics" USU and HSE. E-mail: maria_kokoreva@mail.ru.
 Anastasia N. Stepanova National Research University The Higher School of Economics, anstepanova@hse.ru
 In this paper we study the performance effects of capital structure, ownership structure choices and corporate governance mechanisms of Russian companies. To address the lack of research in corporate performance modeling in emerging markets we contribute to the literature by introducing cluster analysis of financial architecture and market performance of Russian companies. Our idea is to find out the efficient and inefficient types of financial architecture in emerging markets. On the sample of 50+ largest Russian nonfinancial companies within the period of 2005-2010 years we demonstrate the existence of three sustainable types of financial architecture in Russia. Using cluster analysis we form the cluster of companies in pre-crisis period and then demonstrate the relationship between the financial architecture type and the level of corporate market performance.

"Russian Architecture Prototype” in the Role of Shaping the Form of Contemporary Architecture in Harbin

The paper tries to use the idea of architecture typology basing on the theory of prototype to analyze the “Russian architecture prototype” wildly distributed in Harbin, which is representative by “Russian building”, and discuss the “Russian architecture prototype” in the role of shaping the form of contemporary architecture in Harbin. We wish to summarize the former experience and provide reference for architectural creation in Harbin in the future.

Historicism, Nationalism, and Museum Architecture in Russia from the Nineteenth to the Turn of the Twentieth Century

Starting in the mid‐nineteenth through the beginning of the twentieth century, museums as cultural monuments became instruments for national awakening and symbols of statehood and nations. Museums preserved and constituted the people's past. They were places for the public to learn more about nations' histories and cultures. Elements of various historical styles were used for museum decoration to create a harmony between collections and the museum environment, while representing the history of visual art. Russian museums were no exception in this trend. Russia's position between East and West found its reflection in its museums' architecture and iconographic programs. While stressing links to the European tradition, Russian museums, especially those in Moscow, used elements of “Russian style” as a symbol of political and religious originality. This iconographic system enabled Russian art to be placed in historical contexts while emphasizing its unique national character.

К проблеме авторства Успенского собора в Дмитровe

The article is devoted to Dormition Cathedral in the town of Dmitrov, a very significant architectural site in terms of Italian influence of the 16th century. The clarity and directness of the spatial system and of the décor, certain features different from the Archangel Cathedral and many other early Russian buildings in the “Italian style”, can be regarded as proof of an Italian architect’s participation in this project. The formal and stylistic features of the building are closely connected with the ideological and political circumstances of its construction. In order to date it correctly, we must have a full knowledge of how the “Italian manner” in Russian architecture spread in the first quarter of the 16th century. In the present article, we can only venture to suggest that it simultaneously embodies the beginning and one of the peak achievements of this trend, executed by a master for whom order was not just a model to be reproduced, but almost his “native language”.

(Re)presenting Russian Architecture

Against the widespread and enduring international interest in Russian literature, music, ballet, and painting, the dearth of scholarly work in the West on almost all aspects of Russian architecture stands in sharp contrast. This article will address the reasons for the disparity. My efforts to improve the situation, both in photographic work and in publishing, took a circuitous route, both in Russia and within Western academic circles. After intensive photographic documentation in central Russia during the 1970s, the easing of travel restrictions in the 1980s enabled the expansion of my work to distant regions, including the Russian north, Ural Mountains, Siberia, and the Far East. In addition to a survey of my fieldwork, this article discusses the creation of systems to preserve and disseminate photographic documentation. Included is a small selection of photographs that span forty years of my work in Russia.

Lindsey Hughes on Peter the Great: A Personal Memoir

SEER, Vol. 88,Nos. 1/2,January /April2010 PART ONE Lindsey Hughes on Peter the Great: A Personal Memoir JAMESCRACRAFT Well known as she is for her work on Peter theGreat, Lindsey Hughes was drawn to intensive study of his reign only gradually, and then reluctantly. As an undergraduate at Sussex University and a postgra duate at Cambridge she majored inRussian studies, as we would say in the United States, with concentrations in language, literature and visual art. Her Cambridge thesis (1976), a pioneering work in English, was devoted to late seventeenth-century 'Moscow Baroque5 architec ture seen as an instance of early 'Westernization5 inRussia. Portions of the thesis were soon published as articles, which served in turn as my introduction to her work; in my own monograph on architectural developments in Petrine Russia I cited four of these articles as well as the dissertation while quoting from them several times. She was now the unique authority on Moscow Baroque architecture outside Russia and I was pleased to claim a convergence of views on the subject's historical significance.1 She had made an impressive debut as an early modern Russian architectural or more broadly cultural historian, and I was in her debt. But that was scarcely the end of it.Researching the transmission of Baroque architectural forms from Europe to Russia had immersed Lindsey (as I soon came to know her) in the simultaneous transmission of the new (post-Renaissance) graphic art and in the roles of the local people involved, both artists and patrons. An article (1982) and then book (1984) on Prince Vasili Vasil'evich Golitsyn ensued. Golitsyn was a Westernizing patron second in importance only to Russia's 'regent5 in the 1680s, Grand Princess Sofiia Alekseevna, the subject of another series of articles (including a seminal one in this journal) that culmi nated in a major monograph published in 1990.The impactof this James Cracraft is Emeritus Professor of Russian History at the University of Illinois at Chicago. 1 James Cracraft, The Petrine Revolution in Russian Architecture, Chicago, IL and London, 1988,pp. 99, 100,106-07,345 ( ?30>32,44)> 34^ ( .47)>359~6o JAMES GRAGRAFT I5 thoroughly researched, engagingly written and judiciously feminist study remains, I think, incalculable. Sofr?a Alekseevna was thereby not simply restored toRussian history but given at long last her rightfully prominent place in it.2 At some point after leaving Cambridge, possibly while she was lec turingat theUniversity ofReading (1977-87),Lindsey began toying with the idea of writing a biography of Peter the Great, the undeserv ing winner (as shemightwell have thoughtofhim) in the struggle for power with his elder half-sister Sofiia that issued in the latter's deposi tion and virtual imprisonment and the beginning of Peter's (or his party's) de facto rule. A touch of revenge playfully fueled her motiva tion here, I suspect: the debt the crass upstart owed to hisWesternizing half-sister would be revealed together with his quite shabby post-coup treatment of her, and the Petrine 'cult' would be thereby eviscerated for all to see. But an admirable professional restraint held Lindsey back from taking the plunge. She was neither excessively committed, like so many historians, to the period of her debut, determined to defend its importance at all costs; but nor was she as yet confident that she could master themassive documentation and controversial historiography of the Petrine era sufficiently to satisfy her own high standards. And then there were the many repugnant aspects of Peter's long reign to con sider. At any rate, I seem to recall a conversation along some such lines in the course ofmy first,very pleasant meeting with Lindsey over lunch at a restaurant in the shadow of the British Museum (then also the British Library), our mutual workplace in London, in 1979. She told me about her shift in focus from the architectural history of the Moscow Baroque to biographical study of Golitsyn and Sofiia. And I assured her, in response to her cordial inquiry, that I had no intention of writing a biography of Peter while rather needlessly observing that to do so successfully would be a daunting task. Probably...

Review: Russian Architecture and the West, by Dmitry Shvidkovsky

Review: <i>Russian Architecture and the West</i>, by Dmitry Shvidkovsky

Heritage at Risk: The Fate of Modernist Buildings in Russia

This article paints an overview of the preservation of twentieth-century architecture in Russia, arguing that, despite growing international concern over the survival of modernist buildings and growing expertise on their conservation, Russian preservation lags far behind the rest of the world. Dushkina describes the effects the collapse of the Soviet Union and the wave of private capital investment have had on architectural heritage, and how suspect methods of preservation—either reconstruction or facadism—have become popular in Moscow's heated real-estate market, even as critical preservation of the listed monuments of twentieth-century Russian architecture has faltered.

Erich Mendelsohn's Red Banner Factory and Saint Petersburg's Industrial Architecture

This article describes one of the major monuments of 1920s Russian architecture, Erich Mendelsohn's Red Banner which the German architect designed for the Leningrad Textile Trust based on his successful factory designs in Weimar Germany. Shtiglits describes the influence that this iconic building had on later industrial architecture in Leningrad, then analyzes present plans to develop housing on the factory site, which will entail only the preservation of the factory power plant, as other, more imaginative schemes, including a proposal to transform the complex into an art factory, have faltered.