2nd edition. M., . - p.: 187 l. ill. The illustrations are made in the technique of phototype. The title page and the dedication page are made using the technique of zincography. Bound in white full-fabric (calico) publisher's binding. On the front cover in polychrome embossing: the title of the edition. Composite endpapers made of paper with an allegorical pattern embossed in gold. Torchonized cut. 32.2x25 cm.
Vashkov, Sergei Ivanovich (1879 - 1914) - graduate of the Imperial Stroganov School of Technical Drawing, student of V.M. Vasnetsova, Russian artist and architect, famous master of Russian church arts and crafts, publisher of the magazine "Svetilnik", a zealous successor of the Russian tradition in various areas of creative activity. In 1900, Evpraksia Georgievna Olovyanishnikova (1851-1925) invited a young twenty-year-old artist S.I. Vashkov and a year later appointed P.I. Olovyanishnikov and Sons. This catalog is a kind of report of the masters of the Partnership on the creative work done during the ten-year period of 1901-1910.
Customers t-va P.I. Olovyanishnikova and Sons were members and relatives of the imperial family, high-ranking persons, representatives of the merchant class and the clergy. In the album you can see: Icon lamps. Easter eggs. Ark for the Holy Gifts. Panagia. Icon "Christ - Emmanuel". Pectoral cross. Silver fold. Triptych. Miter. Altar cross and banner. Dish for collecting money in the temple. An antidote dish. A surplice for a deacon. Felon. Icon of Kazanskaya B.M. Ripida. Altar menorah. Wedding crown. Salary for the icon of Christ the Almighty. Icon of Iverskaya B. M. Majolica candlestick. Chalice with a device for the Holy Communion. Sakkos. Mantles on phelonion and surplice. Portable candlestick. Requiem table. Altar crosses. Prayer Gospel. Water bowl. Analogue for the icon. Altar Gospel. Chalice of white topaz. Panagia. Salary for the icon of the Mother of God. Wooden warehouse. Icon cases. Icons of St. Nina, Enlightener of Georgia. Arch icon. Michael. Airs embroidered with silks and pearls. Silver ark. Removable cross. Trikiry. Dikyriy. Candlesticks. Enamel cross. Bishop's staff. Church furniture. Candle box. Altar shroud. Monstrance. Mirnitsa. Stands for lamps. Three candlesticks on the altar. Analogue for the Gospel. Altar cross and icon. Regimental warehouse. Baptism vests. The censer. Bass kiot. Brackets for lamps. Cross on the altar. Hanging lantern in the porch of the temple. Icon - Queen of Heaven. Icon of St. Nicholas Miracle. Prayer cross. Banners. Memorial service. Cross on Calvary. Chandelier. The reliquary for the stone on which Pr. Seraphim Sar. Throne. Scanned salary for the icon of Kazanskaya B.M. Easter three-candlesticks. Church chandelier. Vessel with device for Holy Communion. Salaries for icons. The altar menorah. Basmanny iconostasis. Shroud tomb. Bass throne. Cancer for the coffin of St. Macarius. Staves of the Archimandrite and Abbot.
Short reference: Vashkov, Sergei Ivanovich (July 4 (16), 1879, Sergiev Posad - November 7 (20), 1914, Moscow) - Russian artist, architect, designer and teacher. One of the masters of Moscow Art Nouveau. Born on July 4 (16), 1879 in Sergiev Posad in the family of journalist Ivan Andreevich Vashkov (1846-1893). In 1893 he began to study at the Imperial Stroganov School of Technical Drawing, from which he graduated in 1901 with the title of a learned draftsman. In 1900, he had an internship at the jewelry workshop of C. Faberge. Even before receiving a diploma, he was invited to work by a Moscow company church utensils“Commercial and industrial partnership P.I. Olovyanishnikov and his sons, where he was engaged in updating the design of religious utensils produced by the company. In 1901 he became the artistic director of the Olovyanishnikov factory. In 1911, the fundamental publication "Religious Art" was published, in which photographs of objects made according to the drawings of S.I. Vashkov. To the most significant works of the artist in this genre, according to the art critic M.V. Nashchokina include: the tomb of St. Paul of Obnorsk in Vologda, the tombs of Saints Hermogenes and Macarius in the Moscow Kremlin, the gravestones of the Karneevs and Zybin in Moscow, and a number of others. Vashkov created his own original artistic language, which combined ancient Russian and ancient Christian motifs. In his works, the artist used filigree, filigree, embossing, woodcarving, enamel and other traditional techniques, but combined them in original ways. In 1909 Archbishop Anthony (Khrapovitsky) remarked excitedly:
“The Lord took pity on us, lovers of church splendor: the ancient inspired art of sacred objects was restored by the new artist S.I. Vashkov, whose name will occupy one of the most honorable places in the history of our church splendor, perhaps, along with Andrei Rublev and Simon Ushakov.
Vashkov's architectural works are few in number, but important for the history of Moscow Art Nouveau. Shortly before his death, in 1913, Vashkov and his associates founded a new art journal, Svetilnik, and became its editor-in-chief. From March 1914 he served as a full-time teacher at the Stroganov School. He lived in Moscow on Arbat, 12 and on Chistoprudny Boulevard, 14. He was buried at the Vagankovsky cemetery.
VASHKOV, SERGEY IVANOVICH (SERGIEV POSAD 4(16) 07/1879 - MOSCOW, 7(20) 11/1914)
In 1893 he entered and in 1901 graduated from the Imperial Stroganov School of Technical Drawing with the title of an academic draftswoman. At the same time, his work attracted the attention of the well-known Moscow company of church utensils - the P.I. Olovyanishnikov with sons. Having not yet received a diploma, in 1901 Vashkov was invited by the artistic director of the Olovyanishnikov factory and devoted himself entirely to updating the traditional industry, which had long fallen out of the context of modern artistic development - to creating unique, truly artistic church utensils. Vashkov's original report on his work at the Olovyanishnikov factory was the fundamental publication Religious Art (Moscow, 1911), which is an album of photographs of church and civil utensils made according to his drawings. The most significant creations of the artist in this genre include: the tomb of St. Paul of Obnorsk in Vologda, the tombs of Saints Hermogenes and Macarius in the Moscow Kremlin, the tombstones of the Karneevs and Zybin in Moscow; decoration and interior decoration of churches in the Novaya Chartoria estate in the Volyn province and in the Fedorovsky town of Tsarskoye Selo near St. Petersburg, the temple of the Krasnostok monastery in the Grodno province. In these works, Vashkov, combining ancient Russian motifs with ancient Christian ones, synthesized his original plastic language, in which medieval forms received a new reading, reflecting the subject-spatial vision of a person at the beginning of the 20th century. Actually, it was Vashkov who managed to fully embody in the sphere of temple construction the idea of creating an integral aesthetically meaningful environment, which was developed by W. Morris. The synthesis of his artistic thinking was based on a vivid feeling of the infinitely diverse in its manifestations of man-made ancient Russian art, which he learned on trips around Russia, and on a subtle sense of rhythm and style of modernity. Ten years later, formulating his creative credo, Vashkov wrote about this:
“In the course of ten years of work, I did not consider it necessary to slavishly copy ancient examples of art, repeat what has long been expressed and experienced ... Forms of plastic art, like literary forms, must develop and change, replenishing with new types, but without losing its typicality. A language that does not change under the influence of new forms becomes dead. The same thing happens with art.”
Thanks to the ascetic activity of Vashkov, after almost two centuries of domination of trivial handicrafts, authentic works of art of his time, asserting the revival of church art - one of the oldest national types of arts and crafts. The artist widely used almost all the techniques traditional for Russia - filigree, filigree, embossing, wood carving, metal perforation, casting, enamel, silk embroidery, inserts of precious stones, etc. However, their combination, as a rule, was unusual - wood carving and enamel, filigree and mother-of-pearl carving, beadwork and decorative silver casting, painting and precious fabrics. Vashkov also used such exotic species as coconut wood as an ornamental material. A huge role in the creative development of Vashkov was played by V.M. Vasnetsov. The young artist considered him his teacher, although he was not formally a student of the master. This statement can be understood - it was Vasnetsov in the 1870-1880s who most clearly and artistically expressively outlined the path of development of national Russian art, based on immersion in the elements of folk art and folklore, which turned out to be very fruitful for the development of the neo-Russian style. In a certain sense, one can draw a parallel between the works of M.V. Nesterov, who developed Vasnetsov's principles in painting, and Vashkov's works in applied art, which also largely inherited the outstanding painter. The shade of a reverent, aesthetically sensual attitude towards ancient Russian art characteristic of both of them, the desire to read it in the spirit of modern religious and nostalgic symbolism is a characteristic sign of the era. These qualities are also read in the architectural works of Vashkov. He was engaged in architectural design from time to time, so his works in this area are few, but extremely important for their time. The profitable house in Moscow at the Church of the Holy Trinity “that on Gryazeh”, designed and built in 1908-1909, is widely known. - the first experience of the artist in architecture, where he, in fact, acted as a decorator of a previously designed structure. The main decorative theme of the building was the “carpet” of decorative reliefs stylizing the bas-reliefs of the Dmitrovsky Cathedral in Vladimir. Vashkov “inhabited” the facade plane with clumsy fairy-tale beasts, birds of paradise and unprecedented plants. Here, as it were, a return to mythological characters, seen in a new way, characteristic of the era of symbolism, took place. Even more purposefully and original Vashkov's appeal to the world of Russian folklore was realized in wooden dacha I.A. Aleksandrenko, erected in 1908 in the village of Klyazma. It drew attention to itself by the individuality of the figurative characteristics, the integrity of the architectural and stylistic solution of the entire site (in the same character, the artist designed outbuildings, garden benches , lanterns, a fence with carved gates and wickets), bright multi-colored wooden plot carvings, stained-glass windows, tiled stoves and fireplaces, and, finally, that feeling of genuine man-made that all Vashkov’s creations breathe. Among the images placed on the facades of the Klyazma dacha, one can find many ancient symbols that worried its author - the coast, the bird Alkonost, the double-headed eagle, and finally the lamb, personifying Christ, the peacock - the bird of Eden, etc. The poetic nature of Vashkov's artistic language is the flesh of the flesh of his nature who never tired of admiring the beauty of life, the harmony and perfection of nature. He wrote: “In moments of admiration for nature, art composes fantastic tales in which the sky, the sun, the moon and stars come to life, all the forces of nature are spiritualized, and the animal world speaks the language of man and shares his admiration.” In this sensitive listening of the artist to the voices of the commodity world, the nature of a peculiar worldview of symbolism, imbued with images of the change of seasons, individual natural states, their connection with human passions, was exposed. In 1910, Vashkov designed a parochial school for the village of Klyazma, and in 1914 he made sketches of a memorial church in honor of the 300th anniversary of the Romanov dynasty. This is the pinnacle of his work, the visible embodiment of his artistic worldview. The graceful volume of the one-domed temple was lavishly decorated with plot majolica, subsequently made by the Abramtsevo factory. Sudden death did not allow the artist to complete his work; the church was erected after his death in 1914-1916. arch. IN AND. Motylev. The forms of the temple figuratively gravitated towards the monuments of Moscow of the 15th-16th centuries. and, in particular, "Godunov" architecture. However, their interpretation also reflected the influence of Art Nouveau aesthetics, which focuses on the pictorial perfection of architectural details, striving for simplicity and conciseness of the architectural language. It is interesting to compare the project of the temple with the projects of the Old Believer churches by I.E. Bondarenko - such a comparison irrefutably testifies to the influence of this new modern layer of religious architecture on Vashkov's work. Shortly before his death, in 1913. the artist with a group of like-minded people created a new art magazine "Lamp", designed to popularize domestic art and scientific research in the field of its history. Being the editor-in-chief of the publication, Vashkov managed to rally an authoritative circle of artists and scientists around him. Its editorial board included D.V. Ainalov, N.P. Kondakov, N. V. Pokrovsky, A.V. Prakhov, F.I. Schmidt, N.I. Troitsky, V.M. Vasnetsov, M.V. Nesterov, A.V. Shchusev and others. Not alien to literary activity, the artist not only edited, but also wrote articles about Russian art for the magazine, which complements his creative portrait.
WORKS OF THE MASTER
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1906(?) - 1907 |
Interior decoration and utensils for the church in the estate of N.I. Orzhevskaya "New Chartoria". Volyn province. |
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Dacha I.A. Aleksandrenko. settlement Klyazma. Moscow region (burned down in the late 1990s) |
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1908 - 1909 |
Profitable house at the Church of the Holy Trinity, "that on Gryazeh". With the participation of arch. L. Kravetsky and engineer-building. P. Mikini. Moscow, Chistoprudny Boulevard, 14. (Figure on pages 10, 64 and 205) |
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1900 - 1910s |
Tomb of St. Pavel Obnorsky, Vologda. |
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1910 - 1911 |
Parish school named after Ivan and Pelageya Apeksandrenko. (Builder - architect E.I. Zelensky), pos. Klyazma Moscow region (Figure on page 65) |
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1911 -1913 |
The project of the parochial school for the city of Kostroma, (not implemented). |
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1913 |
Temple-monument in honor of the 300th anniversary of the Romanov dynasty Sts. Nicholas of Myra and Metropolitan Alexy. With the participation of arch. IN AND. Motylev. (Murals based on sketches by S.I. Vashkov were started by the sculptor N.P. Gavrilov). settlement Klyazma. Moscow region (Figure on page 207) |
THE CONTRIBUTION OF THE ENTREPRENEURIAL SURNAME OLOVYANISHNIKOV TO THE DEVELOPMENT OF RUSSIAN RELIGIOUS ART IN THE END OF THE 19TH - BEGINNING OF THE XX CENTURIES
Starting a conversation about the Russian jewelry art of the late XIX - early XX century, we immediately list the largest and most significant Russian (St. Petersburg and Moscow) jewelry firms - Faberge, Sazikov, Khlebnikov, Postnikov, believing that it should be attributed to the manufacturers of church bells. However, the Olovyanishnikovs left a bright mark in the jewelry business, creating magnificent works in the "Russian style" (or as it is also called "neo-Russian style" or disapprovingly - "pseudo-Russian"). By the beginning of the 20th century, the wealthy Yaroslavl merchant family Olovyanishnikov owned 35 stone shops, bell foundries and lead bleaching factories in Yaroslavl, a lead bleaching, paint-grinding and lead-rolling factories in the village of Volokushi, Yaroslavl province, as well as trading offices in the capital (St. Petersburg), Moscow, Tula, Yaroslavl, Nizhny Novgorod and Vologda, a factory of church utensils in Moscow. With regard to religious jewelry art, we should talk about the Moscow Olovyanishnikov factory, which in 1917 employed 206 workers. In terms of its importance, this factory in Moscow was second only to the leading factory in the jewelry industry, owned by I.P. Khlebnikov Sons and Co. The Olovyanishnikovs could not compete with the St. Petersburg firm of Carl Faberge. The Faberge firm was one of the world leaders in the jewelry art. The Olovyanishnikov factory produced a wide range of church utensils made of silver, gold and bronze, priestly vestments, furniture and church sculptures made of wood and marble. In addition to religious products, the factory also produced secular products (for example, lamps and dishes). The Olovyanishnikovs firm undertook responsible and time-consuming orders for the manufacture of shrines for relics and church cupolas. The emergence of the unique “Russian style” of the Olovyanishnikovs’ church utensils is associated with the name of V. M. Vasnetsov’s favorite student, the talented artist Sergei Ivanovich Vashkov (1879–1904), who headed the art department of the factory for more than 15 years. The artist was sure that the purpose of the artistic products of the factory is to educate the aesthetic and moral sense of a person. The ideas embedded in an artistic product must be understandable to the person who acquires it. Ideas accessible to understanding, Vashkov found in the art of early Christians and in the art of Ancient Russia . Vashkov and his co-workers created in a truly national spirit, so art historians considered their works to be stylistically close to the products of Russian folk arts and crafts. The church utensils they created were alien to social elitism, as they were focused on pilgrims from all social strata, united by a common participation in the sacraments. Vashkov was opposed to the senseless embellishment of church utensils and considered it necessary to use only symbols that carry a Christian semantic load: a dove with an olive branch ("Noah's dove"), a fish (a secret symbol of the first Christians), a lamb, a Phoenix bird (a secret symbol of Christ among the early Christians) and etc. From folk art, Vashkov borrowed images of lions and the Sirin bird in ornaments, but still he strove for the greatest simplicity of lines. Stones in Vashkov's products found a place for themselves only if it was necessary to clearly emphasize the composition. Possessing impeccable artistic taste, tact and a strong religious outlook, the artist avoided secularism and frivolity, preferring oxidized silver and silvered bronze to gold. He preferred to use gold in the form of gilding. At the international exhibition in Turin in 1911, S. I. Vashkov received a gold medal, and the company itself received four (!) "Grand Prix" and a special award "For Cooperation". Victor Ivanovich Olovyanishnikov (1874 - 1932) received an honorary diploma at this exhibition. On the eve of the celebration of the 300th anniversary of the Imperial House of the Romanovs, the Olovyanishnikovs' firm carried out an order of national importance: the casting of an ensemble of bells and church utensils for the Cathedral in the name of the Feodorovskaya Icon of the Mother of God under construction in St. Moscow) station. The initiative for the construction of this temple came from the "Union of the Russian People", and the temple was built on nationwide donations. The winner of the temple design competition was civil engineer S.S. Krichinsky, who presented a project in the style of Rostov churches of the 17th century. The temple was built according to the technology of the new - the twentieth century - from reinforced concrete. It was built in about two years (1911 - 1913). The facade of the temple, lined with white old stone with ornaments by V.I. Traubenberg, the family tree of the Romanovs and the Feodorovskaya icon, made of majolica in the workshop of P.K. Vaulin according to the drawing of the artist S.P. Chekhonin. Another icon, located above the entrance, was made according to the drawing by V. M. Vasnetsova in the mosaic technique. The iconostasis of the temple was carved from linden in the Moscow workshop of the Palekh icon painter I.M. Dikarev, there they made icon cases and painted icons - copies of ancient Russian ones. Golgotha and the royal place were made in the same workshop. V.S. Shcherbakov. The entourage of the Sovereign ordered a silver tabernacle in the form of a small copy of the Assumption Cathedral in the Kremlin from the Olovyanishnikov firm. It was donated by His Majesty's Retinue to the Feodorovsky Cathedral. Olovyanishnikov's firm made liturgical vessels for the cathedral, copying vessels from the 17th century from the Ipatiev Monastery in Kostroma. Bells were also cast with the names of the members royal family. According to Vashkov's project, a true masterpiece was created - an openwork bronze chandelier in the form of a Monomakh's cap with a diameter of three sazhens. A real event in the life of Russian jewelry art was the manufacture at the Moscow factory of the Olovyanishnikov firm, according to the project of Vashkov, of a letter of allegiance to the Russian nobility on the occasion of the 300th anniversary of the Romanov dynasty, a casket and a dish for presenting it to the Sovereign. The casket was made of cast silver, decorated with enamels and precious stones. The hipped lid of the casket was crowned with a red winged griffin with a black sword and shield - the coat of arms of the Romanov boyars. The dish was a beautiful carved product made of mammoth ivory, set in silver and bearing the image of the State Emblem. Russian Empire. In 1913, the Moscow factory of the Olovyanishnikovs received the high and honorary title of the Supplier of the Supreme Court. Before the outbreak of the First World War, the imperial family managed to place a large order at the factory - a coat of arms and a shrine for the relics of the Holy Patriarch Hermogenes for the Assumption Cathedral of the Moscow Kremlin. This work turned out to be the last for the remarkable Russian artist and jeweler Vashkov. He passed away in 1914. Many art historians are inclined to believe that this last work by Sergei Vashkov is his best, most perfect work in terms of the integrity and harmony of the artistic solution.In 1918, the Bolsheviks who seized power closed the Yaroslavl bell production and the Moscow factory of church utensils. The lead bleaching plant in Yaroslavl was nationalized, which has survived as a fairly successful enterprise to this day. The most tragic thing for Russia is that most of the best works of the Olovyanishnikovs' firm perished. The magnificent decoration of the Feodorovsky Cathedral in St. Petersburg has not come down to us. Now it is being restored.The material about the masterpieces of jewelry art created by the masters of the Olovyanishnikov company was used in conducting lessons on world artistic culture and Russian church art (an elective course) at the St. In order to create a visual range in these lessons, rich illustrative material was used, since the Olovyanishnikovs themselves were the owners of the monthly magazine Svetilnik, dedicated to the religious art of Russia and its history. "Lamp" was published in 1913 - 1917, published articles on church archeology, theological issues, works on outstanding works of architecture and art, following in line with national traditions. The magazine was beautifully designed and contained from 10 to 15 illustrations per 30-60 pages of text. In 1911, the Olovyanishnikovs released an album-collection "Russian Religious Art", where they presented the products of the factory for 1901-1911. The album contained 188 sheets of tone photographs with images of more than 300 items of church utensils, 41 samples of brocade self made and 38 secular items.
Moscow has a huge number of magnificent luxurious buildings that create a unique ensemble of the city - an open-air museum. Architectural styles of different eras can be seen on the streets of the capital. These are classical porticos with a colonnade, flowing bay windows of modern balconies, "neo-Russian" window openings and Gothic turrets at the corners of houses. But invariably the attention of a pedestrian is attracted by two Moscow houses with incredible beauty. carved patterns along the facade.
Muscovites called one of them "the house with the animals."
Everyone is surprised and wondering what kind of house this is? Now there is an aquarium on the lower floor of the house, and people all the more associate this building with something “animal”. However, this house was built in 1908–09. as profitable for the people of Trinity Church on the Muds, which is located on Pokrovka Street and is currently being restored. The project of the house was developed by the architect Lev Ludwigovich (Leon Wojciech) Kravetsky with the participation of civil engineer Peter Karlovich Mikini. Both of them came from Poles, but studied and worked in Russia. The money for the construction of the house was allocated by the merchant family Olovyanishnikov, whose members were trustees and patrons of this church and lived on Pokrovka. The family owned a factory of church items known before the revolution, which made items from gold, silver, bronze, wood, and brocade vestments. 
At the beginning of the 20th century, in Moscow architectural practice, it became fashionable to turn to ancient Russian motifs of antiquity, and architect Kravetsky decided to decorate the facade of the house with fabulous bas-reliefs. I took up sketches of future jewelry famous architect, designer and artist Sergey Ivanovich Vashkov. Bas-reliefs served as models for fantastic animals, birds and trees. Demetrius Cathedral in Vladimir, which S.I. Vashkov considered the pinnacle of Vladimir architecture. But the artist did not just copy these ancient drawings, but created on their basis unique inimitable mythical images of unimaginable lions, griffins, unicorns and other fabulous creatures. Although more ancient images of outlandish animals can still be seen at St. George's Cathedral in Yuryev-Polsky.
St. George's Cathedral Yuryev-Polsky The house was originally built in three floors - the parishioners of the church lived on the first floor, and the other two were intended for renting and making a profit. When in the Soviet years the house turned into a communal apartment, in 1945 two more floors were completed for housing. Now on the lower floors of the house there is the Marine Aquarium-Oceanarium, the Russian Bibliophile antique book store, and on the other floors there is the Apart Hostel and residential apartments. You can get acquainted with the detailed history of the Church of the Trinity on Gryazeh, the amazing icon "Three Joys" and the unusual "house with animals" .
Another unusual house, nicknamed by Muscovites "lace" or "openwork"
, located on Leningradsky Prospekt (d. 27). It was built in 1940-1941 by architects A. Burov and B. Blokhin. Shortly before the war, these architects erected three series of large-block houses from concrete blocks. This house was the third and best in this experiment, since at that time the country needed concrete for the construction of factories and fortifications, and residential buildings were not massively built from concrete blocks. The house was built just before the war and in fact was an exemplary beginning of the Soviet large-block construction, since it used blocks of the maximum size, a whole floor high, which remain so in our time. 
The method of prefabricated construction from prefabricated concrete blocks made it possible to speed up, reduce the cost and mechanize the construction process of a residential building. But along with the beginning of the so-called mass "block construction", this house was lucky - it was decorated on the facade with a beautiful openwork pattern with floral ornaments according to the sketches of the artist V. Favorsky. Openwork lattices made of concrete are installed on the kitchen windows overlooking Leningradsky Prospekt, because this side is shady. It was in this house that for the first time in the USSR industrial concrete blocks were used as constructive and at the same time as decorative elements building. Such a new block layout system was approved by the USSR State Construction Committee in 1955 for use in mass construction, but in the end such houses were not put into production. It's a pity…
In addition to the innovation in the construction of the house, a new system was introduced here interior layout apartments. The house consisted exclusively of small apartments designed for one family. It was planned to place a cafe inside the house and Kindergarten. The idea of social living was incorporated in the layout of the house: there was only one elevator, two bright staircases, all the premises of the attendants went out into the lobby of the only entrance. Now it is also a residential building with shops and a bank on the lower floor. total area typical two-room apartment with isolated rooms of 55 meters, the kitchen area is already 14 meters, and even with such an openwork on the window!
"Musical and forest house" on Tverskaya street.
The outstanding architect Andrei Konstantinovich Burov lived on Tverskaya Street at 25, built according to own project in 1936. This house was awarded the Moscow City Council award as one of the best houses in Moscow. It very unusually stands out among all the monumental buildings of the Soviet period on this street and resembles with its external elements Italian palazzos with arches and murals. In addition, it was built unusually, in two parts and for different customers. The left part of the house from the side of Tverskaya was the first to be built in 1936 by order of the People's Commissariat of Forests. Therefore, it is decorated with numerous murals on a forest theme using the sgraffito technique based on sketches by Vladimir Andreevich Favorsky. Recently, right in front of this house, tents with shops were demolished from the corner of Blagoveshchensky Lane, as a result of which a cozy green square was formed. And most importantly, the facade of the house was opened from this side, where above front door can read the unique inscription "House of Engineers of the People's Commissariat of Forests"
. By the way, it was on the site of this square and this part of the house that until 1929 there was a church in the name of the Annunciation Holy Mother of God which gave the street its name. 
Church of the Savior Not Made by Hands in the village of Klyazma, Moscow Region
Part 1.
Lermontovskaya street, 20.
The temple was built in 1913-1916 in honor of the 300th anniversary of the Romanov dynasty by the architect V.I. Motylev according to the drawing by S.I. Vashkov, a student of Vasnetsov. It was built at the expense of the merchant of the 2nd guild Ivan Aleksandrovich Aleksandrenko.
The church is completed with a dome with kokoshniks and decorated with beautiful majolica panels.
The temple is an interesting example of the neo-Russian style with a hint of Art Nouveau.
You can read the inscription in ancient script on the tiled ribbon of the drum about the year of foundation.
It was going to be consecrated as the church of Nicholas the Wonderworker and Alexy, Metropolitan of Moscow. After the revolution of 1917 the temple was devastated, it also suffered externally.
In 1989 it was consecrated as the Icon of the Savior Not Made by Hands and restored.
Sergei Ivanovich Vashkov (July 16, 1879, Sergiev Posad - (November 20, 1914, Moscow) - Russian artist, architect, designer and teacher. One of the masters of Moscow Art Nouveau
Architectural works by S.I. Vashkov are few in number, but according to M.V. Nashchokina are important for the history of Moscow Art Nouveau.
He worked at the Moscow company of church utensils "Commercial and industrial partnership of P. I. Olovyanishnikov with his sons", where he was engaged in the design of religious utensils. In 1901 he became the artistic director of the Olovyashnikov factory.
In 1911, the fundamental edition "Religious Art" was published, it contained photographs of objects made according to his drawings. According to the art historian M. V. Nashchokina, the main works include: the tomb of St. Paul of Obnorsk in Vologda, the tombs of Saints Hermogenes and Macarius in the Moscow Kremlin, the tombstones of the Karneevs and Zybin in Moscow and others.
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Mikhail Novinsky
Architect-designer, founder and head of the studio
Mikhail Novinsky was born in Moscow, in 2004 he graduated from the Moscow State Art Academy named after M. Stroganov with a degree in interior design. Since 2003, she has been designing private and public interiors, designing furniture and interior design items, and architectural design. In its portfolio, it has dozens of implemented objects of various sizes, complexity and purpose, and located both in Russia and in the CIS countries, Europe and Asia. In 2010 he founded his own design studio - MNdesign, specializing in interior design in modern styles– minimalism, contemporary, loft and others. Member of the Art Design Guild of the Moscow Union of Artists. Laureate and nominee of Interia Awards, Best Interior (Union of Architects of Russia), Pinwin, Russian Project, Best Office Awards, other Russian and international competitions. Works have been published in Architectural Digest, Interior+Design, SALON-Interior, Objekt, Design Diffusion News, Interiors the Best, Archilovers, Archidom, Houzz, other print and online publications, and have also been included in the book Big Design for Small Workspaces by the international publishing house Images Publishing Group. Permanent participant of TV programs Housing problem and Dacha answer to NTV
Anastasia Konnova
Lead Designer, Partner
Was born in Moscow. Graduate of the Faculty of "Interior and Equipment" MGHPA them. S.G. Stroganov. Since 2003, she has been designing private and public interiors, interior design items, and has been teaching. She worked in various design studios, a design institute, large architectural bureaus. Member of the Art Design Guild of the Moscow Union of Artists. Laureate of Interia Awards 2015, Best Interior 2017 (Union of Architects of Russia), PINWIN 2015, nominee for Russian Project 2018, Best Office Awards 2015. Works were published in Architectural Digest, Interior + Design, SALON-Interior, Objekt, Interiors the Best, Archilovers, Archidom and other print and online publications, and also included in the book Big Design for Small Workspaces by the international publishing house Images Publishing Group. Studio Partner
Mark Grishin
Architect-designer, head of the architectural and drawing department
Born in Moscow. Graduated from the Faculty of "Interior and Equipment" MGHPA them. Stroganov. More than 10 years engaged in the design of architectural structures, private and public interiors, furniture, architectural visualization. He worked in several design studios and architectural bureaus, as well as as a private designer in Moscow and the Krasnodar Territory. BIM-design specialist. Works have been published in Architectural Digest, Interior+Design, Interiors the Best, Archidom, and other print and online publications. Member of the team since 2012
Asya Balueva
Architect-designer, visualizer
Was born in Moscow. Graduated from the Moscow Architectural Institute (MARHI). She worked in large design bureaus and design studios, was engaged in interior visualization. He has a wide experience in design - from small apartments to urban planning concepts. In the studio since 2015
Olga Pogorelova
Leading designer
Born in the Belgorod region. In 2010 she graduated from the Faculty of Architecture and Civil Engineering of BSTU named after V.G. Shukhov. After graduating from the institute, she was engaged in architectural design, reconstruction of buildings, worked in several architectural offices, as well as as a private architect and designer. Works have been published in Houzz, InMyRoom, Archidom and other publications. Participated in television projects on the channel "Your House". Cooperating with the studio since 2013
