Baranovsky Architectural Encyclopedia. Despite the falls
Volume 2. Book 1, 2. Public buildings. In...
Reprint from the publication. SPb. 1902-1908.
The publication includes the best examples of artistic and architectural creativity of masters from all over the world for that period of time. The encyclopedia includes graphic tables with detailed images of building facades and their fragments; plans, various projections, perspectives, sections, etc., illustrating all the richness of world culture, manifested in a variety of topics and plots, where architecture and architecture, one way or another, manifest themselves. There was nothing like it either before or after this edition either in Russia or in the world. The richness and quantity of the material presented on the pages of the volumes allows architects, artists, developers, as well as everyone who is interested in architecture, to find answers to their questions, get the necessary ideas for further creativity.
Volume 1. Architecture of confessions (churches, mosques, chapels, tombstones, etc.). The first volume of the encyclopedia includes information about the architecture of confessions.
Volume 2. Book 1, 2. Public buildings. The second volume of the book of the first and second encyclopedias includes information about public buildings.
Volume 3. Exhibitions, spectacles, sports. The third volume of the encyclopedia includes information about architectural structures intended for exhibitions, spectacles and sports.
Volume 4. Dwellings and services. The fourth volume of the encyclopedia includes information about dwellings and services.
Volume 5. Streets, squares, parks. The fifth volume of the encyclopedia includes information about streets, squares and parks.
Volume 6. Parts of structures (facades, entrances, balconies, stairs, etc.). The sixth volume of the encyclopedia includes information about parts of buildings (facades, entrances, balconies, stairs, etc.).
Volume 7. Architectural and sculptural details. The seventh volume of the encyclopedia includes information on architectural and sculptural details. Each volume contains approximately 2,000 illustrations.
Circulation 30 copies.
Every artistic contribution invested in the common treasury,
should be conscientiously included in the total,
by which the acquisitions of the human spirit are measured.
Gavriil Vasilievich Baranovsky, like many intellectuals of his generation, was shaped by the worldview of romanticism, developing it in his work to a new frontier - Russian modernity. In the year of his birth - 1860 - Arthur Schopenhauer died, convincing his contemporaries that the world is confused, a person is shrouded in blinding instincts, and only a creative genius in this chaos is a guiding star.
What could be further from a boy born in provincial Odessa in the family of a petty official? Such a beginning of life, it would seem, is not illuminated either by the light of heroic romance or the seal of exclusivity ... But it is all the more interesting to understand how Gavriil Baranovsky embodied the type of person by his fate, matching the deeply romantic worldview of a man of art with the practicality and rationality of a master and scientist.
In 1880, Gavriil Baranovsky entered the architectural department of the Academy of Arts as a volunteer. Life in the capital at that time was turbulent, social problems were vigorously discussed, and students actively participated in this. Baranovsky publicly expressed regret over the execution of two young Narodnaya Volya members, Alexander Kvyatkovsky and Andrey Presnyakov, who made an unsuccessful attempt on Alexander II. This was enough for him to be expelled from school - for political reasons.
But a year later he entered the second year of the future Institute of Civil Engineers, in which he showed himself very well. He graduated from the Gavriil Baranovsky Institute in 1885, having received excellent reviews and a silver medal for the best architectural project. Pavel Yulievich Syuzor became its leader and teacher, who later became famous for one of the brightest and most controversial examples of Art Nouveau - the Singer House on Nevsky Prospekt, which will be built 15 years after that moment.
The first independent work of the young architect was small: the decoration of the house church, the construction of a family tomb. But the first notable works were tenement houses on the Fontanka embankment. Although the mature works of Gavriil Baranovsky are classified as Art Nouveau, his first steps as an architect were not so defined stylistically. The apartment building at 64 Fontanka embankment pays tribute to the classical canons in the Italian version. At the same time, the architect uses facing bricks and ceramics as decor, creates an outstanding cornice that is brought forward. Note that this house was one of the first in St. Petersburg to have central heating. It is also difficult to determine the style of the neighbor's house on Lomonosov 14, built in the 1890s. The building - also an apartment building - at 14 Chernyshev Lane has become quite striking. The two houses look like a single complex, although these are two different buildings, designed in a similar way. The same principle of facade decoration is used here, although even more colorful and fractional. In fact, Baranovsky built up a whole small quarter, and upon completion of tenement houses he became their manager. This allowed him to soon become the owner of his own similar institution: Baranovsky's profitable house was preserved on Dostoevsky Street.
As is clear, a galaxy of tenement houses has already been the beginning of cooperation with the legendary Eliseev brothers. But these buildings are almost 10 years old, which Gavriil Baranovsky worked on various projects of the Eliseev family. In addition to tenement houses, he designed mansions, shops and even an almshouse for them. There is a legend that such close cooperation was due to kinship - supposedly the architect married a woman from this family. However, the surviving documents do not confirm this: in 1889, Gavriil Vasilyevich married E.B. Kobeleva, and lived with her to the end. The truth here is that his wife's brother did work with the architect - he was his assistant. And orders from the Eliseevs are explained by successful cooperation and satisfying results. In all this work, Baranovsky showed himself to be an architect, consistently rethinking the principles of classicism in the spirit of modernity. He used new methods of three-dimensional layout, and in the building of his own tenement house, erected in the same years, he innovatively did without decorations at all, encircling the house with ribbon balconies.
The trading houses of the Eliseev brothers, built in St. Petersburg and Moscow by Gavriil Baranovsky, became a real creative success of this union, glorifying the architect and making an excellent advertisement to the industrialists. At the intersection of Malaya Sadovaya Street and Nevsky Prospekt, there is an early modern building that attracts attention with a huge stained-glass window on the side of the avenue and sophisticated exterior decor. The entrance to the store is decorated with sculptures by the Estonian master A. Adamson with a characteristic symbolic meaning: "Industry", "Science", "Trade" and "Art". Inside the building there were three trading halls, the best storage cellars in Europe, and on the second floor there were office premises (such as a bank, an office) and even a concert hall that was rented out to theater troupes. Wealth, splendor, even some pretentiousness of buildings caused an ambiguous reaction of contemporaries, and some even called the style of new St. Petersburg buildings (like Eliseevsky or Singer's house) - "merchant". But Petersburgers eventually accepted this building and the names of its creators were not lost in the people's memory even during the Soviet renaming.
The second incarnation of this image is the Moscow Eliseevsky store ("Eliseev's store and cellars of Russian and foreign wines"), also built by Baranovsky in the Art Nouveau style a couple of years before. In fact, the concept of a chic store that catches the attention of buyers with a bright luxury store was first “tested” in Moscow. Eliseevsky shops entered the galaxy of works of early Russian Art Nouveau along with the works of Shekhtel, Klein, Fomin. So what is early Russian modernism in architecture, which rethought the fruits of romanticism of the past century on the threshold of the 20th century? This is an attempt to embody - holistically and substantively. Rejection of the dictate of formal ideals (as in classicism) in favor of new convenient solutions that outwardly imitate natural forms; the smoothness of the corners, innovative materials (stone, iron), and the close relationship between the building and its elements are characteristic of this style. The interior of the Art Nouveau building is no less important than its general architecture, much attention is paid to all forms of external, staircase decoration,. The idea of synthesis of all arts for the expression of a single idea rules the ball here. So, entering the restored store on Tverskaya, the visitor is almost stunned by the inventive and bright decor with lots of accents - dazzling chandeliers, tiles, wall decorations. For romanticism (and modernity in architecture), attention to national roots and their rethinking is very important - it is not for nothing that art critics often classify modernity by country. “Our beauty is in the original and rational,” G. Baranovsky himself formulated this. There is something folk, spreading in the interior of the shops - as if you find yourself in a fabulously abundant Russian tower (this feeling is created by the chosen design of the columns, decor on floral themes and color schemes).
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| Buddhist temple |
In the work of G. Baranovsky, the “national” theme, albeit in the colonial spirit characteristic of romanticism, can be traced. So, he was the author of the building of the Russian Geographical Society (which, in particular, was patronized by the Eliseevs), erected in 1907-1909 and preserved at the address: Grivtsova Lane, 10. This building is distinguished by the use of large stained-glass windows and strict forms. It is noteworthy that the metal shelving of the library in it is fixed directly on the foundation of the building. Another famous and already truly exotic project by Baranovsky is a Buddhist temple (datsan), built in St. Petersburg according to the canons of Tibetan architecture. To create it, a scientific council was created, which included oriental ethnographers. Among them was Nicholas Roerich - he also made 8 large stained-glass windows with images of good Buddhist symbols. This building, built and developed under the leadership of Baranovsky by a whole team of authors, connects features with and was one of the most expensive Buddhist structures in the Russian Empire at that time.
G. Baranovsky is known not only as a representative of Russian modernism, but also as a systematizer and public figure. We have already mentioned his teaching at the Institute of Civil Engineers: he also compiled a collection of works of graduates called “Jubilee collection of information about the activities of former students of the Institute of Civil Engineers (Construction School)”, in 1894-1905 he published the journal “Builder” and contributed to the development of architectural communities.
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| House on Lomonosova, 14 |
But the multi-volume “Architectural encyclopedia of the second half of the 19th century”, which began in the late 1890s, brought him the greatest fame. Until now, this encyclopedia, and especially the seventh volume "Details", is a storehouse of ideas for facade decoration.
From 1902 to 1908, seven volumes of this work were published (the sought-after architect could afford to work not “on the table”). The first is devoted to the “architecture of confessions”, then - catalogs of public buildings (educational, administrative, professional), spaces of “spectacles”, exhibitions and theaters. The fourth volume is devoted to “dwellings and services”, while the fifth one describes the architectural solutions of streets, squares, and parks. The last two volumes are devoted to fragments of buildings and details. According to this clear composition (sequence) of the encyclopedia, it is clear that Baranovsky approached its creation as an architect: having based the main themes - religious and educational buildings as the most important manifestations of the human Spirit, he gradually completes this work “before finishing”, descriptions of the most private details, in which architectural art is manifested. At the same time, the direct speech of the author is very interesting, who, in the preface to the work, as a real modernist, indicates that only in the 19th century did architecture become inherent in “the desire to free itself from the age-old traditions of imitation and convention and become a direct expression of the ideas and requirements of its time.” This is what makes the project of the encyclopedia, with all the humility of the chosen minimally subjective genre, nevertheless very bold: to describe the evolution of art and the human spirit in the language of architecture.
Baranovsky Peter Dmitrievich - Russian, Soviet architect, better known as a restorer of monuments of ancient architecture, as well as one of the authors of new methods of restoration and conservation of architectural objects.
Baranovsky was born into a family of Dorogobuzh peasants on February 14, 1892 in the village of Shuyskoye, Vyazemsky district, Smolensk province. In 1912, he graduated from the Moscow Construction and Technical School, having received a license to carry out construction work. While still a student of twenty years old, he developed a project for the restoration of the cathedral of the Boldin Monastery near Dorogobuzh, built by Fyodor Kon. For this work, Baranovsky was awarded the gold medal of the Russian Archaeological Society. During the work on the project, the future architect personally examined and measured the Vvedensky Church of the Holy Trinity Boldinsky Monastery - even then he was attracted by the work of the restorer. Having received payment for his first project - 400 rubles, Baranovsky bought a camera for shooting ancient architectural monuments.
After graduation, for some time Baranovsky worked in the construction of railway and industrial facilities. In particular, he was an assistant architect of the Tula iron-smelting plant, served in the Construction Department of the Central Asian Railway in Ashgabat, and at the same time studied at the art history department of the Moscow Archaeological Institute.
With the outbreak of the First World War, Baranovsky was called up as a military engineer, and served on the Western Front as the head of the construction site. When the news of the revolutionary events in October 1917 reached the front, as in many units, almost everyone at Baranovsky's duty station went home without permission. Pyotr Dmitrievich remained, sealed the warehouses and guarded them until the arrival of representatives of the new government, protecting property from the attack of marauders.
In 1918, without waiting for the end of the civil war, Baranovsky went to Yaroslavl to restore the Transfiguration Monastery and the Metropolitan's Chambers, damaged during the White Social Revolutionary rebellion. The Spaso-Preobrazhensky Monastery is known for the fact that the famous "Lay of Igor's Campaign" was discovered on its territory.
Meanwhile, in 1918, Baranovsky graduated from Moscow University with a gold medal, having received a diploma in architectural history. Diligence, interest in science and talent helped him earn a good reputation during his studies, so the famous scientists V.K. Kleiman and V.A. Gorodtsov gave Baranovsky good recommendations for teaching. In 1919, Pyotr Dmitrievich began teaching the history of Russian architecture at the Yaroslavl branch of the Moscow Archaeological Institute and at Moscow State University (until 1923). In just a few months, the novice teacher wrote a dissertation on the architectural treasures of the Boldin Monastery, after which he received a professorship. Since 1919, Baranovsky was a senior researcher at the Moscow section of the GAIMK, and then a senior researcher-architect of the TsGRM.
In the early 1920s, Pyotr Dmitrievich returned to Moscow and began work on the protection and restoration of ancient monuments. It draws up reports on objects in need of repair and restoration and submits them to the government. The idea of Pyotr Dmitrievich was to organize museums on the territory of the most interesting ancient monuments.
In 1921, Baranovsky went on his first expedition (there were 10 of them in total) to the Russian North. In his memoirs, he said that he went on this trip along the Pinega and its tributaries during his regular summer vacation, guessing the dates. Pyotr Dmitrievich went on a long trip alone, without assistants, as if he was actually going on vacation. The most valuable thing that Professor Baranovsky put in his luggage was three pounds of salt. In those years, in the north, money was worth nothing, and it was possible to buy food, hire a boat or a cart only in exchange for scarce salt. Pinega, Wonga, Pocha, Chakola, Pirinem, Kevrola, Chukhchenem, Sura, Vyya - Pinega villages have stood along the banks of these rivers for centuries, each of which had one, or even two or three ancient tent churches - the forerunners of the beautiful Church of the Ascension of the Lord in Kolomna. There were also three-story mansions, and mill-fortresses, and many other rare monuments of Russian wooden architecture, which Baranovsky was keenly interested in.
In his subsequent expeditions, first under the guidance of Academician Igor Emmanuilovich Grabar, and then on his own, Baranovsky made measurements, studied churches and civil buildings, in particular, the Solovetsky Monastery. In 1922-1923, Baranovsky studied churches in Nizhny Novgorod, and in 1929 he worked in Belarus.
At first, the authorities were favorable to the activities of Professor Baranovsky. In those years, in order to surely protect the religious building from destruction, it was necessary to open a museum in it. It was in this way that the Holy Trinity Gerasim-Boldinsky Monastery was preserved. Here, in 1923, Pyotr Dmitrievich organized a branch of the Dorogobuzh Museum. Together with like-minded people, he collected everything that could be saved from the destroyed surrounding churches to the monastery, and they also managed to transport the collection of the abolished museum in Yelnya here. But Baranovsky understood the precariousness of his position, at any moment a loyal attitude could be replaced by disgrace. Therefore, he hired the photographer Mikhail Pogodin, who took up documenting the collection of the museum and the monastery itself. Pyotr Dmitrievich's fears were justified. In 1929, the museum was destroyed, almost all of Pogodin's photographs were destroyed, describing the work of the photographer as "class alien". In 1930, the director of the Boldin Museum, Semyon Buzanov, was arrested. He was sent to the camps, where he died. The director of the Dorogobuzh museum managed to escape from the persecution of the authorities. In 1943, the monastery itself was destroyed. This time, the act of vandalism was committed by the Nazi invaders in response to the resistance of the local population.
A year after the establishment of the first museum in Boldino, Baranovsky succeeded in giving the Kolomenskoye estate the status of a museum, and became its first director (1924). During 1927-1933, unique monuments of wooden architecture appeared in Kolomenskoye, such as: the house of Peter I, the Mokhovaya Tower from the Sumy prison, an outbuilding from Preobrazhensky and others. Baranovsky not only documented the condition of these monuments, but also restored them in his own way, removing all the later layers and extensions, reviving the original appearance of the buildings. It was in Kolomenskoye that Baranovsky organized his school of restorers.
Baranovsky, by the nature of his activity, was obliged to measure and describe the churches intended for demolition. He was the last visitor to the ancient Chudov Monastery on the Kremlin grounds before it was demolished in 1929. All that the professor managed to save from the monastery was the relics of Metropolitan Alexy.
Despite the increasingly tough anti-religious policy, in the late 1920s, Baranovsky began the restoration of the Kazan Cathedral, which was closed in 1918. Having stood for a long time without proper care, the temple was rapidly deteriorating and required immediate repair. The efforts of the restorer did not bring results - the authorities nevertheless decided to demolish the church, and at the end of the 30s the church of the Kazan Icon of the Mother of God disappeared from Red Square. Only due to the fact that Baranovsky managed to make all the measurements of the temple, the Kazan Cathedral was recreated in 1993 - this was done by his student.
In the period from 1922 to 1950, among other objects, the architect examined and partially restored the Borovsky Pafnutiev Monastery and the Lyutikov Monastery in Przemysl (both located in the Kaluga Region), the Church of the Great Martyr George in Yuryev-Podolsky, the Knyagin Monastery and the Monastery of the Great Martyr Dmitry Solunsky in the Vladimir Region .
In 1930, Baranovsky again went on an expedition, this time to the White Sea-Onega, along the Volga. All participants in the research trip remembered him for the fact that a telegram almost flew to Moscow with the question of where to bury Pyotr Dmitrievich Baranovsky, on the spot, or to take the body to Moscow. The thing is that the time allotted for the expedition was running out, and in the village of Piyala the church and several rare monuments remained undocumented, the fate of which Baranovsky was very worried about. Trying to save time during the measurement of the church, Baranovsky showed imprudence and fell from a ten-meter height. When the expedition leader was pulled out from under the rubble, he was no longer breathing. But, fortunately, a strong body responded to resuscitation, and four hours later Baranovsky regained consciousness. Pyotr Dmitrievich spent two weeks in the first-aid post in the village of Chekuyevo, and as soon as he was able to walk, he immediately went to explore the local church. Despite the assurances of the expedition members and local residents that there was nothing of value in the temple for a long time, Pyotr Dmitrievich, nevertheless, examined it. The reward for perseverance was an amazing find - a wooden carved door of the 12th century (transported to the Kolomenskoye estate-museum).
By decision of the Soviet authorities, there was no place for churches on Red Square, which became the venue for demonstrations of workers. Thus, the threat of extinction hung over one of the greatest monuments of ancient Russian architecture - the Intercession Cathedral, better known as St. Basil's Cathedral. With all the energy inherent in him, Baranovsky came out in defense of the temple. Regarding the demolition of the ancient monument, he spoke rather sharply with Kaganovich, and when this conversation did not produce results, he sent an equally impudent telegram to Stalin. Perhaps it was thanks to Baranovsky that the temple was not destroyed, but such vigorous activity did the defender a disservice. The architect was arrested, and at first the sanctions were limited to a severe reprimand, but in 1933 Baranovsky was accused of anti-Soviet activities and exiled to Siberian camps, where he stayed for three years. In the city of Mariinsk, Kemerovo region, where the camp was located, Baranovsky worked as an assistant to the head of the construction unit. One of his works of the period of imprisonment is the building of the agricultural museum in Mariinsk.
After his release in 1936, Baranovsky, according to existing laws, could not immediately return to Moscow, so he settled behind "101 kilometers", and for some time worked in the museum of the city of Alexandrov. After returning to the capital (1938), Petr Dmitrievich Baranovsky worked in the structures of the state protection of monuments, was one of the founders of the VOOPIK (1966).
Largely thanks to Baranovsky, the ancient Spaso-Andronikov Monastery, known for the fact that Andrei Rublev lived and worked here, has also been preserved. In the first years of Soviet power, a colony for homeless children was located on the territory of the monastery, and this caused considerable damage to the monastery. Returning from prison, Baranovsky began to examine the Spaso-Andronikov Monastery. He was lucky to find an old slab on the territory of the former monastery - it was the tombstone of the grave of Andrei Rublev, dating back to the 15th century. This happened late in the evening, and Baranovsky postponed a more detailed study until the morning. And in the morning it turned out that the workers managed to crush the tombstone, and sprinkled it with fragments on the soaked monastery paths. However, with the joint efforts of Professor Baranovsky and Academician I.E. Grabar succeeded in turning the monastery into a museum of ancient Russian art. The official decision was made in 1947, and the museum itself opened in 1960.
At the same time, Petr Dmitrievich was working on another large-scale project - the restoration of the Krutitsy metochion - one of the most famous monasteries in Moscow. Thanks to the talent of the architect, it was possible to restore the original appearance of Krutitsy and preserve the architectural complex for future generations. In gratitude for the work of Baranovsky, a memorial plaque with the name of the architect was installed on one of the walls of the Krutitsy metochion.
In the post-war years, Professor Baranovsky worked as an expert of the Extraordinary Commission for the Investigation of Fascist Atrocities in the Temporarily Occupied Territories. Together with the troops that liberated Chernihiv, he entered the city. After examining the city's monuments, in particular the Church of Paraskeva Pyatnitsa, dating from the 17th century, he discovered at its base an even more ancient building made of plinth bricks. Temples were erected from this building material in the pre-Mongol era - i.e. the find was a contemporary of the Tale of Igor's Campaign.
Despite the repressions and three years in the camps, Pyotr Dmitrievich did not lose his integrity in relation to his beloved work. In almost destroyed (70% of residential buildings were destroyed) Chernigov, he appeared at the bureau of the city committee of the party with a demand to adapt one of the workshops of a brick factory for the manufacture of thin plinth bricks, which was necessary for the restoration of the Chernigov church of Paraskeva Pyatnitsa. Baranovsky not only forced the members of the party bureau to listen to him, but also got an appointment with the secretary of the Central Committee of the Communist Party of Ukraine, and eventually received a positive answer. Restoration work was launched even before the end of the war. Despite the fact that at that time the inhabitants of the city lived in dugouts, because there were not enough materials for the construction of housing, no one showed discontent. Moreover, one day the indignant citizens of Chernihiv brought to the architect a man who stole plinths in order to build a stove for himself. According to professional architects, restorers and historians, the restoration project of this church and its implementation have become the world standard of restoration.
In addition to fruitful activities in the field of conservation and restoration of valuable architectural monuments, Baranovsky was collecting information about Russian architects. His collection included materials on more than 1,700 ancient Russian architects. From these materials, Baranovsky wanted to create a Dictionary of Old Russian Architects. According to academician I.E. Grabar, an erudite architect like Baranovsky, was not in all of Europe. Baranovsky has many restorers and architectural historians trained by him. It was he who was the first to put into practice new methods of recreating the original appearance of the structure from the surviving fragments, and also developed a method for strengthening ancient buildings with the help of reinforced concrete. Baranovsky during his career created more than 100 restoration projects, of which 70 were implemented, and also explored several hundred ancient temples, monasteries and other structures located on the territory from the White Sea to Azerbaijan. The archive of the architect was transferred to GNIMA, and in 2000 it began to be published.
Pyotr Dmitrievich Baranovsky died at the age of 92 in 1984 and was buried in the Donskoy Monastery in Moscow.
History reference:
February 14, 1892 - Pyotr Dmitrievich Baranovsky was born in the village of Shuyskoye, Vyazemsky district, Smolensk province
1912 - Baranovsky graduated from the Moscow Construction and Technical School
1911 - Baranovsky developed a project for the restoration of the cathedral of the Boldin Monastery near Dorogobuzh, built by Fyodor Kon
1914 - the beginning of the First World War, Baranovsky was called to the front as a military engineer
1918 - Baranovsky graduated from Moscow University with a gold medal, having received a diploma in architectural history
1918 - Baranovsky went to Yaroslavl to restore the Transfiguration Monastery and the Metropolitan's Chambers
1919-1923 - Baranovsky taught the history of Russian architecture at the Yaroslavl branch of the Moscow Archaeological Institute and at Moscow State University
1919 - Baranovsky was a senior researcher at the Moscow section of the GAIMK, and then a senior researcher-architect of the TsGRM
1921 - Baranovsky went on the first expedition along the Pinega and its tributaries
1922-1923 - Baranovsky studied churches in Nizhny Novgorod
1929 - architect Baranovsky P.D. worked in Belarus
1923 - Professor Baranovsky organized a branch of the Dorogobuzh Museum in the Holy Trinity Gerasim-Boldinsky Monastery
1924 - Baranovsky succeeded in giving the Kolomenskoye estate the status of a museum, and became its first director
Late 1920s - Baranovsky begins repairing the Church of the Kazan Icon of the Mother of God on Red Square, and also makes measurements of the church
1930 - Baranovsky again went on an expedition, this time to the White Sea-Onega, along the Volga
1933 u/ - Baranovsky was repressed on charges of anti-Soviet activities
1936 - Petr Dmitrievich comes out of prison and works for some time in the museum of the city of Alexandrov
1938 - Pyotr Dmitrievich Baranovsky returned to Moscow and worked in the structures of the state protection of monuments
1943 - Professor Baranovsky worked as an expert of the Extraordinary Commission for the Investigation of Fascist Atrocities in the Temporarily Occupied Territories
1960 - on the initiative of Baranovsky Spaso-Andronikov, the monastery in Moscow acquired the status of a museum
1964 - Petr Dmitrievich worked on another large-scale project - the restoration of the Krutitsy Compound
1984 - Pyotr Dmitrievich died and was buried in the Donskoy Monastery in Moscow Gavriil Vasilievich Baranovsky(born March 25, 1860, Odessa; died 1920, Petrograd) - Russian architect, civil engineer, art critic and publisher.
Gavriil Vasilievich Baranovsky was born into the family of collegiate secretary Vasily Ivanovich Baranovsky. He studied at a real school in Odessa, after which he entered the architectural department of the St. Petersburg Academy of Arts as a volunteer. He was expelled for political reasons and continued his education at the Institute of Civil Engineers, graduating in 1885.
G. V. Baranovsky began his architectural activity in 1883-1885 under the direction of P. Yu. Syuzor. The first independent project is the Main Palace Office. From 1888 he was the chief architect of the Baltic Shipyard.
From 1891 Baranovsky was the architect of the Empress Maria's charitable Department of Institutions. Designs the Eye Hospital in St. Petersburg.
Baranovsky married the daughter of G. P. Eliseev, the head of the Eliseev trading house, after which he became the house architect of the Eliseevs. Baranovsky's first work in this capacity was Eliseev's apartment building at 64 Fontanka Embankment (1890). Baranovsky reconstructs the numerous real estate of the Eliseevs, his two most famous works are the House of the Eliseev Brothers trading partnership on Nevsky Prospekt and the Moscow Eliseevsky store on Tverskaya (together with V. V. Voeikov and M. M. Peretyatkovich). Since 1898, Baranovsky was officially the chief architect of all Eliseev enterprises.
He was a member of the board of the Society of Civil Engineers, a member of the Council for Mining Affairs under the Ministry of Agriculture and State. property (since 1904), served in the Technical Construction Committee (TSK MVD) (since 1885 - a technician, since 1902 - a supernumerary member of the TSK MVD, since 1907 - a full-time member of the TSK MVD).
G.V. Baranovsky - author, publisher and editor of the magazines "Our Housing" (1894-1895) and "Builder" (1895-1905). Organized the release and edited the seven-volume "Architectural encyclopedia of the second half of the XIX century." Participated in the drafting of the building charter.
He taught at the Institute of Civil Engineers in 1897-1905.
G. V. Baranovsky died in 1920.
Projects and buildings.
St. Petersburg:
. Workshop buildings at the Baltic Shipyard. Petersburg, 1880 together with E. I. Zhiber and A. P. Novitsky
. Chapel-tomb of the family of D. A. Polivanov (1885-1888)
. Domonolov's house on the 7th line of Vasilyevsky Island (1885-1888)
. House of G. G. Eliseev - Add-on of an art workshop at Birzhevaya line, 18 (1887)
. Okhodny house of G. V. Baranovsky - Dostoevsky street, 36 (1897)
. Profitable house of G. G. Eliseev. St. Petersburg, Embankment of the Fontanka River, 64 (1889-1990)
. House of Eliseev - Chernyshev lane (Lomonosov street), 14 (1891-1892)
. The mansion of G. G. Eliseev on Birzhevaya line, 12, 14 - reconstruction and interior decoration. (1893-1894)
. The mansion of I. A. Durdin - Sverdlovsk embankment, 36 (1895) (Rebuilt).
. House. Chernyshev lane (Lomonosov street), 12 (1899)
. The building of the women's gymnasium of Princess A. A. Obolenskaya (A. B. Meshchersky) and the tenement house, Baskov lane, 8 (1899-1900)
. House of the trading partnership "Brothers Eliseev" - "Eliseevsky store" (Nevsky Prospekt, 56 / Malaya Sadovaya, 8 1902-1903)
. The building of the Russian Geographical Society, Grivtsova Lane, 10 - 1907-1909).
. Pawnshop building. St. Petersburg. Moika Embankment, 72 (1909)
. Residential building at the Buddhist temple. Primorsky prospect, 93 (1909-1910)
. Buddhist temple in St. Petersburg - Primorsky prospect, 91 (1909-1915)
. Own cottage "Arfa Castle" in Kellom
Moscow:
. Residential building in Kozitsky lane, 1 (1898-1901), together with V. V. Voeikov and M. M. Peretyatkovich (perestroika)
Other jobs:
Villa Eliseeva in Orro (Estland; now Toila-Oru, Estonia), 1897-1899. The villa was surrounded by a park. In 1934, Estonian industrialists bought a villa with a park and presented it to the President of the Republic of Estonia K. Päts as a summer residence. The villa was destroyed during the Great Patriotic War (it was blown up by the Germans during their retreat in 1944), and the park is now one of the tourist attractions in Estonia.
. G. V. Baranovsky was also the author of some works in the Mogilev province and in Nizhny Novgorod.
Main publications:
. G. V. Baranovsky. Anniversary collection of information about the activities of former students of the Institute of Civil Engineers (Construction School) 1842-1892. Issue. 1. - St. Petersburg: Publishing House of the Institute of Citizenship. engineers, 1892. - 184 p.
. G. V. Baranovsky. Anniversary collection of information about the activities of former students of the Institute of Civil Engineers (Construction School) 1842-1892. Issue. 2. - St. Petersburg: Publishing House of the Institute of Citizenship. engineers, 1893. - 216 p.
. G. V. Baranovsky. Buildings and structures of the All-Russian Artistic and Industrial Exhibition of 1896 in Nizhny Novgorod. - St. Petersburg: Editorial Board of the magazine "Builder", 1897. - XIV + 146 p.
. G. V. Baranovsky. On the question of the method of publishing the magazine "Architect", an organ of the Imperial St. Petersburg Society of Architects. - St. Petersburg: Type. E. Evdokimova, 1897. - 4 p.
. G. V. Baranovsky. On the issue of the draft building charter. - St. Petersburg: Type. "Builder", 1915. - 11 p.
Architectural Encyclopedia:
. G. V. Baranovsky. Architectural encyclopedia of the second half of the 19th century:
. T. 1. Architecture of confessions. - St. Petersburg: Edition of the magazine "Builder", 1902. - XX + 500 p.
. Vol. 2, part 1. Public buildings. - St. Petersburg: Editorial board of the magazine "Builder", 1908. - XXII + 732 p.
. T. 2. Part 2. Public buildings. - St. Petersburg: Edition of the magazine "Builder", 1908. - XX + 298 p.
. T. 3. Exhibitions, spectacles, sports, etc. - St. Petersburg: Editorial Board of the Stroitel magazine, 1903. - XVIII + 490 p.
. T. 4. Dwellings and services. - St. Petersburg: Editorial Board of the magazine "Builder", 1904. - 776 p.
. T. 5. Streets, squares, parks. - St. Petersburg: Editorial Board of the magazine "Builder", 1907. - XII + 484 p.
. T. 6. Parts of structures. - St. Petersburg: Editorial Board of the magazine "Builder", 1904. - X + 494 p.
. T. 7. Details. - St. Petersburg: Editorial board of the magazine "Builder", 1904. - X + 528 p.
Literature:
. Baranovsky // Architects-builders of St. Petersburg-Petrograd at the beginning of the 20th century. Exhibition catalogue. - L., 1982. - Ss. 21-22.
. Leningrad: Guide / Comp. V.A. Vityazeva, B.M. Kirikov. - Edition 2, stereotypical, with changes. - L.: Lenizdat, 1988. - 366 p. - ISBN 5-289-00492-0
. Goryunov V. S., Isachenko V. G., Taratynova O. V. Gavriil Baranovsky // Architects of St. Petersburg. XIX - early XX century / comp. V. G. Isachenko; ed. Yu. Artemyeva, S. Prokhvatilova. - St. Petersburg: Lenizdat, 1998. - 1070 p. - ISBN 5-289-01586-8
. Kirikov B. M., Fedorov S. G. Architect-Encyclopedist (G. V. Baranovsky) // "Leningrad Panorama". - 1985. - No. 2. - S. 29-32.
. Taratynova O. V., Goryunov V. S. New about the work of the architect G. V. Baranovsky // Issues of history, theory and practice of architecture. Interuniversity thematic. Sat. works. - L., 1985. - S. 83-88.
en.wikipedia.org
Baranovsky Gavriil Vasilievich - architect and publisher. His encyclopedia contains drawings and photographs of the best and most worthy, in the author's opinion, architectural objects of the late 19th century, both in Russia and in Europe.
The richness and quantity of the material presented will help architects, artists, developers, as well as anyone interested in architecture, to get inspiration and a lot of ideas for their work. After all, as you know, new? this is a well-forgotten old one :-)
Author's Preface
In this edition, we had in mind to give perhaps the complete collection of the best examples of artistic and architectural creativity of the second half of the 19th century: there is no doubt that it was during this period that the desire to free itself from the age-old traditions of imitation and convention and become a direct expression of the ideas and requirements of its time was clearly revealed in art. .
A relatively simple task obliged us only to a strict choice of material, but did not set us any definite limits; however, doubts soon arose, which led to unexpected consequences.
First, at the very beginning of the matter, we had to make sure that, guided by personal taste, we risked making our work too subjective and thereby narrowing its meaning. Secondly, complete freedom of choice and the absence of definite boundaries naturally carried us farther and farther, prompted us to capture a range of subjects, as wide as possible, and - in the end - led to the idea of giving, instead of a simple collection of the best works, a work no less practical, but more ideological: there was an irresistible desire to carry out an experience - not that of history, but at least a pragmatic characteristic of the latest architecture in its consistent development and to prepare material for a comprehensive assessment of the evolution of this branch of art taking place before our eyes.
Such a formulation of the question imposed duties that were extremely difficult and in many cases almost impossible to fulfill. However, the exciting tasks decided the matter irrevocably.
Our enthusiasm will be easily understood by those who have devoted themselves to the study of any field of art or knowledge even for a minute. There, in the world of what has been lived through, thought through, and felt, every thought, every new movement, every peculiar touch, in one way or another, influenced the general course of affairs, was reflected in positive participation in the work of generations, and something added to the wealth of this century.
From this point of view, every artistic contribution invested in the common treasury must be conscientiously included in the total by which the acquisitions of the human spirit are measured.
Guided by this principle, we defined our intentions as follows: to collect, as far as possible, everything that could serve to characterize modern architecture in all its applications and directions; systematize all the material according to the content of the compositions; establish authorship in the most precise way and draw - as far as possible - a chronological order, believing that this latter will to some extent reveal the continuity of ideas and explain this or that phenomenon ...
How successfully we will solve the problem, the future will show. Now we consider it not superfluous to note one thing: everything that has been prepared so far, and especially the experience of the first part of our work, leads to the conclusion that it is very far from the complete realization of the goal and that it is beyond the power of one person.
This circumstance justifies in advance all those shortcomings, which will be pointed out in abundance by criticism and which we ourselves are fully aware of and could enumerate if the need arose. Nevertheless, we still managed to sketch out a fairly broad program and give at least a general picture of the architecture of the late 19th century; let us outline what is possible more fully; much outlined in general terms; and we will leave much to others to finish. (…)
(…) Finally, one more remark. We have in mind mainly the artistic side of the subject; if the utilitarian side is also not left without attention, then only as much as was required to clarify the architectural physiognomy of this work. Therefore, one should not look in our book for what is not included in its program.
G.V. Baranovsky
About chronology
If exact dates are not set for some projects, this is done to avoid errors. Nevertheless, we have tried in all such doubtful cases to keep the sequence of placement corresponding to reality, which compensates to some extent for the indicated shortcoming.
