IVAN VLADISLAVOVICH ZHOLTOVSKIY

Perhaps no one creative person in the history of Soviet architecture did not attract such attention, did not cause such opposing views, violent disputes and conflicting assessments as a person ZHOLTOVSKOGO. He was called a classic and the imitator, an innovator and an imitator, he wanted to learn and then tried to forget all that he inspired. His theoretical views developed, refuted, they saw the opening and talked about their lack of independence. At the same time, opponents ZHOLTOVSKOGO, and his supporters, the architects of different artistic orientations and biases, unanimously recognized for ZHOLTOVSKOGO professionalism and dedication. All the above is enough to ensure an irregular shape wizard, which more than one dozen architects call a teacher.

Ivan Vladislavovich Zholtovsky born November 27, 1867 in the Belarusian city of Pinsk. In twenty years, Ivan went to the St. Petersburg Academy of Arts. Studying at the academy lasted eleven years, not because of negligence, the student, but because Zholtovsky, like many of his classmates and peers, in parallel with studies in the academy "pomoschnichal" a number of major architects of St. Petersburg.

It is this practical work has identified further important feature of creativity ZHOLTOVSKOGO - thorough knowledge of construction, an understanding of the profession of architect in the strict sense of the word as "chief builder". Throughout the life Zholtovsky a lot of time spent on the construction site, sometimes not only the leading architectural control, but also teach masons, plasterers, carpenters subtleties of the craft.

In 1898 Zholtovsky defended his thesis project "People′s House", which includes dining, theater and library, made them in the studio of Professor LI Tomishko, and received the title of architect of the artist. After graduation Zholtovsky travel to Irkutsk, where he planned to move to work, stopped in Moscow and here received an invitation to teach at the Stroganov School. Since Zholtovsky lived in Moscow permanently.

One of his first works in Moscow - participation in the design of the hotel "Metropol", which is just before the completion, in 1902, burned down. At this place was built now existing hotel building.

In 1903 he won a competitive race, was able to build a building society, race-Running on the street. Under the terms of the competition to design the building was required in the forms of false English Gothic. Satisfying the requirements of the contest, Zholtovsky completed the second option, which relied on more close to him form the Russian classics. The researchers of Russian architecture of the turn of centuries E. Borisova and Kazhdan T. wrote: "It is rather free variation on the themes of the Russian Empire and the Italian Renaissance than the consistent stylization. Many classical motifs have here a new, almost unrecognizable character. "

The researchers note "dual" nature of the buildings ZHOLTOVSKOGO performed at the beginning of the century, a certain confusion of motives and the architecture of the Renaissance of Russian classicism, such as in a mansion on Nosova Vvedensky Square in Moscow (1907-1908).

Another project ZHOLTOVSKOGO those years - a country house on the estate near Moscow, Rupert - had already been executed, according to one of the leading architectural critics this time, G.

Photo — «Ivan Vladislavovich Zholtovskiy»

Lukomski, "in the strict style of Palladian villas near Vicenza.

In the conglomerate of architectural trends of the first decade of XX century taste addiction ZHOLTOVSKOGO to antique Renaissance tradition was virtually isolated. Thus ZHOLTOVSKOGO, strictly speaking, can not be attributed to neo-classical because already in his early works he began to gravitate not to the Russian classicism, but to the Renaissance.

And in his student years, and later in between the summer construction season Zholtovsky traveled a lot, getting acquainted with a wide variety of architectural monuments. Much love ZHOLTOVSKOGO was Italy. He was there twenty-six times, took her inside and out, and each trip sealed in watercolors, sketches, sketch, measurements, which is constantly used in the work. His tenacious professional memory to store many items, calving, ornaments, solutions of certain nodes and m e. It is so well acquainted with the Italian language, which later translated treatise - four books about the architecture of Palladio, his beloved master, whose work has repeatedly pushed for an imitation ZHOLTOVSKOGO .

One of the most outstanding efforts in this regard was the mansion Tarasova in Spiridonovka (1909-1912), considered at one time one of the best buildings in Moscow after the Classical period. House on Spiridonovka is also important because it is one of the first evidence of becoming widely known theory of the architectural body, which developed the master of life.

One of the provisions of this theory was the position of "growth" of the architectural structures. "Turning to the classical monuments of architecture and organic nature - wrote Vlasov - IV Zholtovsky indicates the possibility to build a natural art facility in two main ways: gradually easing mass in the overlying parts of the composition or, conversely, weighing them. Zholtovsky proves the advantage of the first method of building because it allows you to create the image of the lighter the building, having "the dynamics of growth. "

In the mansion Tarasova attempt was made to test this provision in practice. The draft put Zholtovsky erected by Palladio in Vicenza Palazzo Tien, whose facade is heavier up, and "shifted" his other proportions - in the relations of the famous Palace of the Doges.

At the beginning of XX century began and pedagogically educational activity ZHOLTOVSKOGO. It is in this case not only his teaching at the Stroganov Art School, but rather on the spiritual needs of Ivan Vladislavovich have students who do not formally, but in order to make the possession of many that they had known. To prove it, the words, published in "Architectural Art weekly for 1914:" Artist Architect IV Zholtovsky many years already with a great passion to impart his vast knowledge in this field with each interested friend, and now there will be many such, which many in his artistic development owe him. "

Multilateral activities ZHOLTOVSKOGO already in pre-revolutionary years was recognized - in 1909 "for fame in the artistic arena, the architect was awarded the title of academician of architecture.

October Revolution Zholtovsky met a mature master, had won a large enough fame. Over the years, a certified architect, he built a number of country estates and facilities near Moscow, including the estate Lipovka (1907-1908), houses in Udomlia (1907) and Berezhko (1910), as well as a number of buildings in Moscow: a mansion in Dead Lane (1912), houses for the factory AMO (1915) and T E I tried it and force in the industrial construction: elevated textile factory in Kostroma province (1911-1912).

Photo — «Ivan Vladislavovich Zholtovskiy»

In the first months after the establishment of Soviet power Zholtovsky actively involved in the work. June 19, 1919 Lunacharsky from Petrograd Lenin wrote: "Dear Vladimir Ilyich. Encourage you to perhaps the most famous Russian architect, who has acquired all of Russia and the European name - citizen ZHOLTOVSKOGO. In addition to its great artistic talent and outstanding knowledge, it is different and more profound loyalty to the Soviet power. "

Soon Zholtovsky was personally presented to Lenin, has repeatedly met him about these meetings Ivan Vladislavovich left some interesting memoirs.

Activity ZHOLTOVSKOGO in the first years after striking. In 1918 he headed the architecture department of Fine Arts subdivision Narcompros, led the architectural planning workshop (bureau) to redevelop the center and outskirts of Moscow, has held a professorship in the State of free art workshops. In the next two three years he acted as a jury member of many awards, created a number of projects, worked in the Russia Academy of Artistic Sciences (Rakhno), occupying the post of chairman of the architectural section, and m e.

The major works ZHOLTOVSKOGO period of 1918-1923 years was a redevelopment project in Moscow, which together with Shchusev he led the Moscow City Council in a workshop and a draft master plan and a series of costly agricultural and cottage industry exhibition, which opened in Moscow on August 19, 1923.

In the draft master plan of the exhibition was declared open competition. However, none of the twenty-seven projects submitted did not satisfy the jury. Zholtovsky late with the filing of the project and, strictly speaking, did not participate in the contest. Nevertheless, it was his project was recognized as the jury the most satisfying the conditions of competition and suitable for implementation. In the master plan ZHOLTOVSKOGO was also charged with designing a number of exhibition halls and facilities.

The basic architectural concept Layout master plan was to create more space, the solution as the stalls in the center of which was originally intended to build a fountain with a sculpture of a symbolic awakening of Russia. To her, as the center, turned some of exhibition pavilions, standing in the park. However, the fountain was not built.

Zholtovsky took the river as a leading theme in the composition, subordinating it to all the spatial organization of the exhibition, opening it to the entire length of the water.

"The great success of the master, - wrote Vlasov - is also created by the architecture of the pavilions. Primordial material Russian agricultural building at the time - a tree - began living in the compositions IV ZHOLTOVSKOGO new architectural life. The architect did not hide this material under the plaster or other "monumental" shell. Tree was used in a variety of purposes - for the towers, for beams, walls, ceilings, decorative details, etc. But the master gave the tree a new, higher expressiveness, architectural highlighting its tectonic role. "

Along with extensive project and organizational activities Zholtovsky a lot of teaching - at the architectural department of the Free Art Workshop, and then in the Higher Art - opposing the new teaching methods promoted by the "left" architectural forces established.

Photo — «Ivan Vladislavovich Zholtovskiy»

Thanks ZHOLTOVSKOGO, his consistency and perseverance "in the years 1918-1922 through cycles of interviews ZHOLTOVSKOGO the School of Painting, Sculpture and Architecture (then in free art workshops and in the Higher Art School), and led them to the workshops of the Moscow Soviet and Narcompros was a large group of talented architects - H . Ladovsky, K. Melnikov, N. Dokuchaev, S. Chernyshev, I. , and P. Voice, E. Norvert, N. Kolli, V. Kokorin, V. Vladimirov, G. Golz, S. Kozhin, M. Parusnikov, V. Fidman and others, "- wrote the historian of Soviet architecture Khan Magomedov.

"By educating architects - wrote his disciples - Zholtovsky constantly gives them the idea that architecture - it is not paper formotvorchestvo, and art to build. He requires his students a deep penetration into all the details of the construction business, encourages them to study under the guidance of experienced masters masonry foundations, stone-, carpentry, joinery, plastering and stucco work. "

In 1923 Zholtovsky went to Italy where he has built at an exhibition in Milan, the Soviet pavilion, and when three years later returned to Moscow, he found that the pendulum has swung sharply architectural life in the direction of the "Left" tendencies. During his absence of institutionalized and become sufficiently authoritative ASNOVA and OSA. In the first series moved architects, many of which only yesterday were his pupils, but now, it seemed, tried to refute any truth, not so long ago unconditionally accepted as an axiom.

Zholtovsky was like at a crossroads. In 1926-1927 he made three projects that demonstrate the complex creative research wizard. It is about the building of the State Bank of Neglinnoy, the boiler at MOGES Raushskaya embankment and the House of Soviets in Makhachkala. These structures suggest that the master tried his hand at various creative ways. Especially interesting in this regard, the State Bank.

In the bank building architect is organically connected externally, it would seem quite incompatible, and, strictly speaking, within the same stylistic traditions do not fit the solution: a classically verified banker′s stone facade, which overlooks the Neglinnaya and huge stained glass window, wrapped in metal mesh hundred skeleton on the front is clearly a business, utilitarian building, which looks like the bank from the side street. Thus artistically imaginative solution corresponding to volumetric spatial composition, helps to create representations of the two buildings in harmony, united by a common function.

The building has a boiler MOGES Zholtovsky further advanced along the path of artistic exploration of new architectural forms. He had refused the order system and Renaissance decor, but retained the principles of harmonization, inherent in classical architecture. For the first time in their practice, when faced with the new classical tradition of materials - metal and glass, he found them a fundamentally new application. All too often, a glass wall facade resolved groups strongly protruding faceted bay windows and is not seen as protecting the plane, inert "cubicle" in space as well as an elastic shell, independently shaping the structure.

In 1931 Zholtovsky at the invitation of the organizers participated in the All-Union competition for the project of the Palace of Soviets.

Photo — «Ivan Vladislavovich Zholtovskiy»

Despite accusations retrospectivist expressed in the press, the draft ZHOLTOVSKOGO was so convincing that won one of three top prizes, along with B. Iofanom and the American architect H. Hamilton. Moreover, of course, his project was one of those who influenced the formulation of future tasks of designing the Palace.

The name ZHOLTOVSKOGO primarily linked to the installation of "historicism" as a methodological basis of architectural creativity, he attributed almost decisive role in the creative restructuring, which has undergone a Soviet architecture in the early 1930′s, and which by tradition is given a significant place competition for the Palace of Soviets.

And yet, preference was given no ZHOLTOVSKOGO project and project Palace Iofan.

In 1932 ZHOLTOVSKOGO was awarded the title of Honored Worker of Science and Art of the RSFSR. At this time the architect was engaged in the design and construction of residential houses on Moss. This construction has caused a lot of responses in the press. He then called the highlight of the May architecture exhibition in 1934, is praised, or reviled, then called a model, it almost did not require demolition. Here′s what he wrote Schusev: "The house was built on ZHOLTOVSKOGO Moss, called the highlight of the exhibition and the season and compared its beauty with the beauty of Paul′s grenadiers, who wears a cuirass on the streets of modern Moscow. Home ZHOLTOVSKOGO though is Skolkov architecture of XVI century, although should know that in the XVI century, was adopted by a different system designs for the construction of buildings. The design house ZHOLTOVSKOGO closer to the modern. Large glass surfaces and columns that support the walls of the building, make the modern home. Scientific criticism must be noted that ZHOLTOVSKOGO applied modern, rather than the archaic structure of the house:

This is - an architectural work, which is like writing in a special music Etude in a particular subject: Zholtovsky when you told me: "I stand with the classics on the moss, and if you fail, it′s failed classics": I believe that even in Europe difficult to find a master who so finely would understand the classics. This building is a great achievement of modern architecture. "

The charm of the house on the appearance of moss, with its carefully traced and no less carefully executed details of his majesty, as untimely, and at the same time, the plastic richness of the facades have become an example to be emulated. It should be noted, and another feature - a seemingly easy success for the uninitiated, the ease of opening new paths in the architecture. Many believed that it is sufficient to study classical samples in order to uncover the secrets of creating true works of architecture. Interesting in this regard, to cite one of the students ZHOLTOVSKOGO: "Of course, such a house could be built only one Ivan Vladislavovich Zholtovsky. Even we, his closest disciples, unable to overcome such things.

In 1933, created the architectural planning workshops of the Moscow Soviet. Zholtovsky led the workshop number 1, which based its work on the basis of in-depth study of cultural heritage - the best examples of classical architecture, critical to mastering and seeking to maximize the general cultural level and standard of work the studio.

Photo — «Ivan Vladislavovich Zholtovskiy»

" These words for many years defined the creative direction of the work of both the ZHOLTOVSKOGO and its schools.

The middle and end of the 1930 ies have been very successful for the architect. He created a number of projects for the Sochi, has developed projects of the Institute of World Literature behalf AM Gorky in Moscow theater in Taganrog and T e.

Important for the design of the master′s was in 1940, and after a few years the construction of residential houses in the area of Smolensk and Kaluga Grand Street. The basis of both houses, which was built almost simultaneously in the late 1940′s, was used as one and the same section width 18, 5 meters with two-room apartment for posemeynogo settlement, which was highlighted by the architect.

At the turn of 1940-1950 ies within the architectural profession and outside it began to ripen conditions for a serious creative restructuring. The emergence of large-panel constructions not only meant a radical break virtually all established ideas about the construction, but also demanded that the architect of their professional understanding. In the chain of events associated with this process, another important trend was the competition on-panel homes, conducted in 1952-1953. Studio School ZHOLTOVSKOGO submitted to the contest, six projects of large-panel residential buildings of various storeys and configuration.

A characteristic feature of the project was the concentration of all non-standard elements in the lower and upper tiers of the buildings, but also - and importantly - in applied here for the first time open joints of panels. Explaining its decision, Zholtovsky wrote: "A very important question about the junction of wall panels. Some architects needlessly complicate the problem. Fear of open joint forces them to enter any extra details, masking the joints between panels. These overhead items, it is unnecessary constructively, leading to unnecessary costs of materials, limit the artistic possibilities of architecture Wall panels in the floor height will help to create a new scale house tune with a grand sweep of our construction.

Zholtovsky not only theoretically justified the possibility and the need to open the joint, but also practically proved its viability for construction in 1953 (jointly with the engineer V. Safonov) building an automatic refrigerator in Sokolniki.

Faced with the need to solve fundamentally new problems caused by the use of new, advanced materials (glass, steel, concrete), proposed a fundamentally new Zholtovsky their decision.

"The method of logical tectonics", born in the same stylistic traditions, let the master "get rid" of her and made significant innovations in the new, rejecting traditionalism stylistic direction.

Died Zholtovsky July 16, 1959.