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Architectural encyclopedia of the second half of the XIX century: In seven volumes / G. V. Baranovsky. - St. Petersburg: Edition of the editors of the magazine "Builder", 1902-1908.

Baranovsky G. V. Architectural encyclopedia of the second half of the XIX century / G. V. Baranovsky. - St. Petersburg: Edition of the editors of the magazine "Builder", 1902-1908.

Gavriil Vasilyevich Baranovsky (March 25, 1860, Odessa - 1920, Petrograd) - Russian architect, civil engineer, art critic and publisher. He 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. He taught at the Institute of Civil Engineers in 1897-1905. 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 (from 1904), served in the Technical and Construction Committee (TSK MVD) (since 1885 - technician, since 1902 - supernumerary member of the TSK MVD, since 1907 - full-time member of the TSK MVD). Since 1907 - a real state councilor.

GV Baranovsky left behind a fundamental illustrated "Architectural encyclopedia of the second half of the 19th century." He was the initiator of the publication of the encyclopedia, its author and editor. The publication includes the best examples of artistic and architectural creativity of masters from all over the world for that period of time. 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.

The publication has been digitized by the Russian State Library.

  • Volume I. The architecture of confessions. - 1902. - XXII, 500 p.; ill. (Yandexdisk, 241 MB)
  • Volume II (A-B). Public buildings. - 1908. - XXI, 731 p.; ill. (Yandexdisk, 693 MB)
  • Volume II (C-D). Public buildings. - 1908. - XX, 297, 316 p.; ill. (Yandexdisk, 619 MB)
  • Volume III. Exhibitions, spectacles, sports, etc. - 1903. - XVIII, 502 p.; ill. (

    - (March 25, 1860 around 1920, Petrograd), Russian architect, architectural historian, publisher. Lived and worked in St. Petersburg. In 1885 he graduated from the Institute of Civil Engineers (IGI), in 1885 1917 he served in the Technical Construction Committee of the Ministry ... ... encyclopedic Dictionary

    Baranovsky Gavriil Vasilievich- (1860-1920), architect, architectural historian. Graduated from IGI (1885). He dealt with issues of construction legislation and urban planning. Member of the Board of the Society of Civil Engineers. The early buildings of Baranovsky are residential buildings on ... ... Encyclopedic reference book "St. Petersburg"

    - (1860 1920), architect, architectural historian. Graduated from IGI (1885). He dealt with issues of construction legislation and urban planning. Member of the Board of the Society of Civil Engineers. The early buildings of B. residential buildings on the embankment of the river ... ... St. Petersburg (encyclopedia)

    - (1860 1920), Russian architect. Worked in St. Petersburg. Buildings with facades in the spirit of eclecticism are marked by rational planning decisions (a residential building on the Fontanka embankment, 1890); later built in the Art Nouveau style (partnership complex ... ... encyclopedic Dictionary

    - (1860-1920), architect. Worked in St. Petersburg. Buildings with facades in the spirit of eclecticism are marked by rational planning decisions (a residential building on the Fontanka embankment, 1890); later built in the Art Nouveau style (the partnership complex "Brothers ... ... Big Encyclopedic Dictionary

    - (1860 1920). He graduated from PIGI in 1885 with the title of citizen. eng. He had a private practice in St. Petersburg. The son-in-law of the merchant G. G. Eliseev, for whom he built in St. Petersburg (1902 03) and remodeled in Moscow (1903, Tverskaya St., 14) trading houses. He built a profitable house along Kozitsky ... ... Big biographical encyclopedia

    - ... Wikipedia

    - ... Wikipedia

    Baranovsky is a Russian surname. Surnames Male: Baranovsky Alexander Ivanovich (1890 1965) Soviet graphic artist and architect. Baranovsky, Boris Evgenievich chief choreographer of the Moscow Academic Operetta Theater, Honored ... ... Wikipedia

    Baranovsky G.V.- BARANOVSKY Gavriil Vasilyevich (1860–1920), architect. Worked in St. Petersburg. Buildings with facades in the spirit of eclecticism are marked by rational planning decisions (a residential building on the Fontanka embankment, 1890); later built in the Art Nouveau style ... ... Biographical Dictionary

Books

  • Architectural encyclopedia of the second half of the XIX century. In 7 volumes. Set of 8 books, Baranovsky Gavriil Vasilyevich. 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…
  • Architectural encyclopedia of the second half of the XIX century. Volume 2. Book 1, Baranovsky G.V.. The encyclopedia was recreated according to the edition of 1902-1908, for the first time it is printed in 7 volumes (8 books), in the original format and in full. The author of the encyclopedia Baranovsky Gavriil Vasilyevich, ...

Architectural historians, specialists in the field of monument protection, genealogists, local historians, and journalists gathered to discuss issues related to the search for and introduction into the scientific discourse of new documents that reveal previously unknown facts of the architect’s biography, the history of some of his buildings and the problem of the demand for the heritage of Gavriil Baranovsky.

It is no coincidence that the house of the Russian Geographical Society in St. Petersburg became the venue for scientific discussion, because this is the only building of the architect that has never changed its purpose and has been preserved in the form in which Gavriil Baranovsky conceived it at the beginning of the 20th century.

The external and internal appearance of the structure of the Headquarters of the Russian Geographical Society in St. Petersburg combined imperial representativeness and, at the same time, democracy inherent in science, and romanticism, inseparable from the spirit of geographical travel.

(From the speech of A. Ilyina).

Life and destiny

Gavriil Baranovsky went down in history as one of the most progressive Russian architects of the early 20th century, who left many amazing buildings. “Architectural historians appreciate Baranovsky very much, but for the general public, this is a rather mysterious figure,” says Elena Travina, a researcher of the architect’s biography.

Gavriil Vasilyevich Baranovsky (1860–1920) – architect, architectural historian, publisher. In 1885-1917 he served in the Technical and Construction Committee of the Ministry of the Interior, while in 1897-1905 he taught at the Institute of Civil Engineers, dealt with issues of building legislation.

His most famous works in St. Petersburg are the House of the Eliseev Brothers Trade Association on Nevsky Prospekt, the building of the Russian Geographical Society, a Buddhist temple, and his own dacha Villa Arfa in Kellomyaki (now Komarovo).

In 1894–1905, he published the Stroitel magazine, as an author and editor he created the fundamental Architectural Encyclopedia of the Second Half of the 19th Century (vols. 1–7, 1902–1908).

Elena Travina did a lot of work in the Russian and Finnish archives, during which she managed to dispel many myths and establish historical facts regarding the life and work of Gavriil Baranovsky. Until recently, it was believed that the “court architect of the Eliseev merchants” could belong to their family, and, possibly, was married to one of the daughters (sisters) of the head of the trading house. In fact, the only wife of G.V. Baranovsky was Ekaterina Vasilievna Kobeleva - the daughter of a real state adviser to the non-commissioned master of the horse of the Highest Court. In 1890, the son Vasily (1890–1945) was born to the Baranovsky couple, who graduated from the Imperial School of Law in 1911, and in 1914 as an external student at the Conservatory in piano. After the October Revolution, the second profession was very useful to the son of a famous architect, when lawyers were not needed, however, like architects.

In 1917, the Baranovsky family ended up at their dacha in Kellomyaki, Gavriil Vasilyevich himself was left without his favorite job and, having lived for three difficult and anxious years, died of heart failure in July 1920. Buried at the local cemetery. Elena Travina managed to find a record of his death in the parish register of the Spiritual Church in Kellomäki in the National Archives of Finland. Thus, another myth was dispelled - about the cause of death and the place of burial of the architect, which, unfortunately, could not be found at the Komarovsky cemetery. Installing a memorial plaque on the cemetery fence is simply necessary, - Elena Travina believes, - in order to perpetuate the memory of the outstanding architect, teacher, architectural historian, who did so much for Russia. So far, all attempts to implement this plan rested against a blank wall, - the researcher stated bitterly.

Researchers drew basic information about the architect from the “Jubilee Collection of Information on the Activities of Former Pupils of the Institute of Civil Engineers (Construction School)”, compiled by G.V. Baranovsky in 1893. For many years this collection was the only source of information about the architect, which also contained the only portrait of him that has come down to us.

Viktor Kryukov (Helsinki) for the first time introduced the participants of the round table to some documents from the family archive. Viktor Kryukov's great-grandmother was the sister of Gavriil Baranovsky's wife, and, according to experts, the materials preserved in this family are priceless. V. Kryukov presented a photograph of the architect himself, previously unknown to researchers, portraits of Vasily Baranovsky's son and his wife, violinist Nora Duesberg, unknown photographs of the Arfa Villa during and after construction. The speaker said that the family keeps the correspondence of relatives, the study of the family chronicle continues and, perhaps, in the near future, specialists will receive new information from the life of Gavriil Baranovsky and his entourage.

Villa Nordisk - "Harp" (Harppulinna, Finnish) - the own summer house of the architect Gavriil Baranovsky, built in 1913 in Kellomyaki on a high bank. A park with fountains and a concrete pond in the form of an artist's palette in front of the southern facade of the house was laid out on the site around the dacha. A two-tiered viewing terrace with a beautiful view of the Gulf of Finland was built into the cliff.

The villa was destroyed at the end of the Second World War and its appearance has come down to us from a few photographs. The site has been preserved in its original size, a pond, a gazebo and an observation terrace have also been preserved.

Old photographs from the 30s XX centuries allow architects to get an idea of ​​​​its appearance. Asymmetric volumes characteristic of Art Nouveau, an abundance of open terraces, glazing of the veranda, lightness and elegance of the design distinguished this work.(See: Ushakova O.B. Villa "Harp" by G.V. Baranovsky. Experience of graphic reconstruction // Fontanka: cultural and historical almanac. 2015. No. 18. P. 86-91).

Villa Harp and Villa Orro

Architectural historian Svetlana Levoshko thanked the organizers for organizing a round table dedicated to the outstanding architect, a hero of his time, who embodied a new type of architect at the turn of the 19th and 20th centuries, who did tremendous work: he was engaged in design, pedagogical, publishing and journalistic activities. “The breadth of coverage, approaches in his work, the legacy he left required more attention from specialists, but to date there is not a single fundamental study dedicated to his personality and creativity,” the researcher emphasized.

On the example of two now lost villas built according to the project of G. Baranovsky on the coast of the Gulf of Finland in Kellomyaki and Toila-Oru (Estonia), Svetlana Levoshko demonstrated the strongest qualities of an architect, among which, in addition to style, innovative and engineering talent stands out.

Architect Olga Ushakova continued the theme of Baranovsky's dacha buildings, presenting a virtual reconstruction project for the Arfa villa. The work was carried out within the framework of the global project "Documentation of the Lost" by students of two St. Petersburg universities: the State University of Architecture and Civil Engineering and the University of Information Technologies, Mechanics and Optics under the guidance of the author of the report. Due to the fact that the drawings of the villa have been lost, the creative team based on archival materials - photographs, memoirs of contemporaries and analogues had to recreate the architectural image of the villa "Harp" based on a 3D model.

Specialists in the field of monument protection have been sounding the alarm for more than one year about the surviving buildings on the territory of the former site of the Villa Arfa. Unique buildings - a gazebo, an observation terrace can be demolished overnight by new owners due to the fact that they are not included in any of the lists of cultural heritage sites.

Researcher Svetlana Marakhonova presented a photo album of the family of the head of the Eliseev Brothers trading house, Grigory Eliseev, dedicated to the estate in Orro (now Toyla-Oru). The unique album of photographs was preserved by the descendant of the only daughter of the merchant, Marietta Eliseeva, and contains detailed images of the views, interiors of the villa and its surroundings.

The house that Baranovsky built

One of the most striking reports was made by art critic Anna Ilyina, who for the first time presented a description of the interior of the Scientific Library of the Russian Geographical Society .

The researcher noted that the library of the Russian Geographical Society is a unique special book collection located in an outstanding architectural structure and interior. “The priceless book collection was created simultaneously with the Russian Geographical Society, and the library became the focus of the Society's activities, its spiritual core. The organization of the space emphasizes this significance,” Ilyina noted. “And the interior of the library is quite worthy of being included in the list of the most significant interiors of the Art Nouveau era.”

Baranovsky - publisher

Historian Vadim Zhukov, analyzing the publishing and journalistic activities of the architect, drew attention to two of his works, which occupied a special place in the creative biography of Gabriel Baranovsky and in the history of architecture in general. A tribute to his Alma mater was the "Jubilee collection of information about the activities of former students of the Institute of Civil Engineers (1842-1892)". The book contains brief biographical information about the graduates, listing the buildings they own.

"The Architectural Encyclopedia of the Second Half of the 19th Century" by Gavriil Baranovsky is a fundamental work that has absorbed the best architectural examples of domestic and world architecture. The encyclopedia includes graphic tables, photographs, detailed images of facades, buildings, their fragments and details in plans, projections, and perspectives. About 22 thousand images are placed on almost 5 thousand pages. Nothing of the kind has been published either before or after that either in Russia or abroad, V. Zhukov emphasized.

An excursion was organized for the participants of the round table with a visit to the library, the Presidium Hall, the office of the President of the Society and the exhibition dedicated to the 170th anniversary of the Russian Geographical Society. Tourists could also see an exhibition of historical photographs of the building of the Russian Geographical Society, taken at the beginning of the 20th century by the famous photographer, member of the Russian Geographical Society S.M. Prokudin-Gorsky, and assess the safety of the building and its interiors from the moment of construction to the present day.

Baranovsky, as an architect-encyclopedist, certainly felt the pulse of modern architectural life, its relationship with the economy, culture, politics, and all of his buildings always demonstrate unconditional intellectual and creative freedom, the main thing is a very accurate understanding of the purpose of the building (A. Ilyina).

Text: Tatyana Nikolaeva

Photo: Alexander Filippov, Andrey Strelnikov, site terijoki.spb.ru

The works of the architect G. V. Baranovsky are known to many. Only in St. Petersburg there are 14 of them, according to www.citywalls.ru, including the most famous - the Eliseevsky store on Nevsky, the Buddhist datsan on Primorsky, Baranovsky's own house on the street. Dostoevsky, which was recently reported schwarzze - http://schwarzze.livejournal.com/368698.html. The "Architectural Encyclopedia" by GV Baranovsky is also known to everyone who is interested in architecture.

But little is known about G.V. Baranovsky himself, and what is “known” is often well-established legends that have nothing to do with reality.

Let's start with the fact that until 2011 not a single portrait of G. V. Baranovsky was publicly available. In February 2011, my colleagues from the Teriyok site, Elena Travina and Victoria Makashova, discovered a portrait of Baranovsky in the album "Jubilee collection of information about the activities of former students of the Institute of Civil Engineers. 1842-1892" in the collections of the SPbGASU Museum (former LISI).

Farther. According to an established legend, G. V. Baranovsky was married to the daughter of G. P. Eliseev, the head of the Eliseev trading house. This information is also present in the article about G. V. Baranovsky in the Russian-language Wikipedia. However, this is not true. Baranovsky was married to Ekaterina Vasilievna Kobeleva, the sister of civil engineer Nikolai Vasilyevich Kobelev. This information is confirmed by two sources - the same SPbGASU museum and the descendants of the Kryukov family, Baranovsky's neighbors in the dacha in Kellomyaki (Baranovsky's neighbor Kryukov was married to the sister of Baranovsky's wife).

There was no reliable information about the death of G. V. Baranovsky - place, reason, date. Usually they indicate the year 1920, Petrograd, and either shot by the Bolsheviks during the "Red Terror" or starved to death (the latter version is also given in the mentioned Wikipedia article).

And just the other day, Elena Travina and Victoria Makashova discovered the parish book of the Kellomyak Spiritual Church for 1920 in the National Archives of Finland. Here it must be said that this church burned down in 1918. But, since a certain number of Russians remained in Kellomyaki after the revolution, a house church with the same name operated there. And in this book, my colleagues found an entry dated July 28, 1920, about the death of Gavriil Vasilyevich Baranovsky, a civil engineer, from heart failure. And that he was buried at the Kellomyak Orthodox cemetery, that is, at the very necropolis, which is now known for the fact that A. A. Akhmatova, academician D. S. Likhachev and many other famous figures of science, culture and art are buried there .

Last year we examined the Komarovsky necropolis for pre-war graves. Several such graves have been preserved there, but few are marked - http://terijoki.spb.ru/old_dachi/komarovo_nekropol.php. There are still many nameless mounds, which means G. V. Baranovsky is under one of them.

Yes, just for your information, a photograph of the famous villa "Harp" (location - http://terijoki.spb.ru/old_dachi/komarovo_map.php?xd=04&ob=30), architect G. V. Baranovsky's dacha in Kellomyaki.

Baranovsky Gavriil Vasilievich - architect and publisher. His encyclopedia contains drawings and photographs of the best and most worthy, in the opinion of the author, 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: no doubt that it was during this period that the desire was clearly revealed in art 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. .
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 exact 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 it 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, then this is done to avoid errors. Nevertheless, in all such doubtful cases, we have tried to keep the sequence of placement corresponding to reality, which compensates to some extent for the indicated shortcoming.

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