Andrei Ivanovich Stackenschneider (born February 22 (March 6), 1802 on an estate near Gatchina, died August 8 (20), 1865 in Moscow) - a famous St. Petersburg architect.

The grandson of a tanner sent to Russia by Emperor Paul I from Brunswick, he was born at his father’s mill, near Gatchina, on February 22, 1802, and at the age of thirteen he entered the Imperial Academy of Arts as a student of his own accord. Having not shown particularly brilliant success during the course, he immediately upon completion, in 1821, received a position as a draftsman in the committee of buildings and hydraulic works, from which, four years later, he transferred to serve as an architect-draftsman in the commission for the construction of St. Isaac's Cathedral.

Involved by Auguste Montferrand to work in the Winter Palace. In 1831, Stackenschneider left service in the above-mentioned commission in order to freely engage in private buildings, mainly the construction of a manor house for Count A. H. Benckendorff on his estate Fall, in the vicinity of Revel. Pleased with his architect, the count recommended him to the emperor, and from that time on happiness began to smile more and more on Stackenschneider. He quickly gained the favor of Nicholas I and began to receive important assignments from him one after another, and soon became a privileged builder of royal and grand-ducal palaces. Having begun his court service with the rank of architect at the court of Grand Duke Mikhail Pavlovich, at the end of his life he was the chief architect of the department of appanages, the architect of His Majesty's Own Palace and the head of construction for the country palaces of the Empress.

In 1834, for the project of a “small imperial palace” drawn up by Stackenschneider according to a given program, the Academy awarded him the title of academician. In 1837–1838, he made a trip for his improvement to foreign lands with benefits from the government, and visited Italy, France and England. In 1844, the Academy elevated him to the rank of professor of the 2nd degree of the St. Petersburg Academy of Arts without fulfilling the program task on his part, as an artist who already had great fame. Since 1848 - architect of the imperial court. Worked in St. Petersburg, Tsarskoe Selo, Peterhof, Novgorod, Moscow, Taganrog, Crimea. The Stackenschneider House in St. Petersburg on Millionnaya Street was the center of cultural and social life of the capital's artistic intelligentsia.

Stackenschneider's numerous works are very diverse in terms of styles, which he, however, did not observe in full rigor, introducing into them, in order to achieve greater luxury, arbitrary changes and additions. The main and best of his creations is the Mariinsky Palace (now the seat of the Legislative Assembly of St. Petersburg). In addition to him, in St. Petersburg he built the palaces of Grand Duke Nikolai Nikolaevich the Elder (Nikolaevsky Palace on Truda Square) and Grand Duke Mikhail Nikolaevich (Novo-Mikhailovsky Palace on Palace Embankment), a children's hospital, a chapel on Nikolaevsky Bridge, some of the buildings of the court departments and several private houses, including the house of Princess Beloselskaya (later converted into the palace of Grand Duke Sergius Alexandrovich). Peterhof and its immediate surroundings are especially rich in its buildings. Here he owns: a rural house near the Reserve Pond, pavilions on the Tsaritsyn and Olginsky Islands and on the Samsonovsky Canal and a church on Babigon, Maria Nikolaevna’s dacha palace in Sergievka, His Majesty’s own dacha, etc., palaces on the Mikhailovskaya and Znamenskaya dachas, the Renella pavilion on this the last one and so on.

In Tsarskoe Selo, Stackenschneider built a monument to Grand Duchess Alexandra Nikolaevna, in the Sergiev Hermitage near Strelna - the church-tomb of Count G. G. Kushelev (son), in Gostilitsy, Peterhof district - the house of Count Protasov, in Taganrog - the palace of Achilles Alferaki, in Oreanda, in Crimea - the palace of Empress Alexandra Feodorovna and so on. Among Stackenschneider’s other works, the buildings produced in the Winter, Marble and Anichkov palaces, the interior decoration of the Old Hermitage, for the expected stay of Tsarevich Nikolai Alexandrovich in St. Petersburg, as well as some alterations in the Oranienbaum and Strelninsky palaces, deserve to be mentioned.

The grandson of a tanner sent to Russia by Emperor Paul I from Brunswick, he was born at his father’s mill, near Gatchina, on February 22, 1802, and at the age of thirteen he entered the Imperial Academy of Arts as a student of his own accord. Having not shown particularly brilliant success during the course, he immediately upon completion, in 1821, received a position as a draftsman in the committee of buildings and hydraulic works, from which, four years later, he transferred to serve as an architect-draftsman in the commission for the construction of St. Isaac's Cathedral. Involved by Auguste Montferrand to work in the Winter Palace. In 1831, Stackenschneider left service in the above-mentioned commission in order to freely engage in private buildings, mainly the construction of a manor house for Count A. H. Benckendorff on his estate Fall, in the vicinity of Revel (Keila-Joa). Pleased with his architect, the count recommended him to the emperor, and from that time on happiness began to smile more and more on Stackenschneider.

The architect quickly gained the favor of Nicholas I and began to receive important assignments from him one after another, and soon became a privileged builder of royal and grand-ducal palaces. Having begun his court service with the rank of architect at the court of Grand Duke Mikhail Pavlovich, at the end of his life he was the chief architect of the department of appanages, the architect of His Majesty's Own Palace and the head of construction for the country palaces of the Empress.

In 1834, for the project of a “small imperial palace” drawn up by Stackenschneider according to a given program, the Academy awarded him the title of academician. In 1837-1838, he made a trip for his improvement to foreign lands with benefits from the government, and visited Italy, France and England. In 1844, the Academy elevated him to the rank of professor of the 2nd degree of the St. Petersburg Academy of Arts without fulfilling the program task on his part, as an artist who already had great fame.

Since 1848 - architect of the imperial court.

Worked in St. Petersburg, Tsarskoe Selo, Peterhof, Novgorod, Moscow, Taganrog, Crimea.

The Stackenschneider House in St. Petersburg at 10 Millionnaya Street (the second façade faced 9 Moiki Embankment) was the center of cultural and social life of the capital's artistic intelligentsia. The architect purchased it from titular advisers M.E. and D.E. Petrov and rebuilt it for his family in 1852-1854. Stackenschneider’s “Saturdays” were held in the mansion, where poets, writers, actors and painters gathered and amateur performances were staged. V. G. Benediktov, I. A. Goncharov, F. M. Dostoevsky, I. S. Turgenev, Ya. P. Polonsky and others were here. In 1865, the Stackenschneiders sold this house due to the owner's illness. The building was rebuilt into an apartment building.

Stackenschneider also had a country estate - the Ivanovka manor, located not far from Gatchina and inherited from his father in the late 1850s.

In the last years of his life, Stackenschneider’s health, exhausted by constant intense labor, weakened significantly; for his recovery, in the spring of 1865, on the advice of doctors, he went to kumys treatment in the Orenburg province. The summer spent there seemed to benefit him, but on the way back to St. Petersburg he felt ill again and died in Moscow on August 8 of the same year. The architect was buried in St. Petersburg in the Trinity-Sergius Hermitage in the Church of Gregory the Theologian, built by him (the grave has been preserved).

Works in St. Petersburg

Stackenschneider's numerous works are very diverse in terms of styles, which he, however, did not observe in full rigor, introducing into them, in order to achieve greater luxury, arbitrary changes and additions.

The main one of his creations is the Mariinsky Palace (now the seat of the Legislative Assembly of St. Petersburg), built in 1839-1844 on St. Isaac's Square.

In addition to him, in St. Petersburg he built:

• Palace of Grand Duke Nikolai Nikolaevich the Elder (Nikolaevsky Palace on Truda Square), 1853-61.
• Palace of Grand Duke Mikhail Nikolaevich (Novo-Mikhailovsky Palace on Palace Embankment, 18), 1857-1861. Now the Institute of Oriental Manuscripts of the Russian Academy of Sciences is located here.
• Beloselsky-Belozersky Palace (41 Nevsky Prospekt), built in 1846-1848 in the neo-Baroque style. In 1884, the palace came into the possession of Alexander III's brother, Grand Duke Sergei Alexandrovich. Nowadays there is a cultural center and a wax museum located here.
• children Hospital
• chapel on Nikolaevsky Bridge, illuminated in honor of St. Nicholas the Wonderworker (1853-1854).
• some of the buildings of the court department
• on Kamenny Island, the architect is engaged in alterations in the Kamennoostrovsky Palace, rebuilding the dacha of Dolgoruky (architect S. L. Shustov), ​​acquired by P. G. Oldenburgsky. In 1835, according to his design, the dacha of the actor Zhenyes was built on Kamenny, in 1836-38. - Zvantsov's dacha. In 1834, Stackenschneider completed a project for rebuilding the dacha of M.I. Mordvinov.

Works in Peterhof

Peterhof and its immediate surroundings are especially rich in its buildings. Here he owns:

• layout of two landscape parks - Kolonistsky and Lugovoi
• Tsaritsyn and Olgin pavilions in Kolonistsky Park
• pavilions "Ozerki" and Belvedere in Lugovoy Park
• His Majesty's own dacha
• Church of the Holy Trinity at the Own Dacha
• country palace of Maria Nikolaevna in Sergievka
• palace, two greenhouses and a gardener's house in Mikhailovka
• palace and pavilion Renella in Znamenka
• Lion Cascade, 1854-1857.
• in 1842-1843 in Alexandria Park he built a Farmers' Palace, and also added a dining room with a Marble terrace to the Cottage (1826-1829, architect A. A. Menelas).

Other buildings

• in Tsarskoe Selo a monument to Grand Duchess Alexandra Nikolaevna
• in the Sergievskaya Hermitage near Strelna - the church-tomb of Count G. G. Kushelev (son)
• in Gostilitsy, Peterhof district - the house of Count Protasov
• in Taganrog - the palace of Achilles Alferaki
• in Oreanda, in Crimea - the palace of Empress Alexandra Feodorovna and so on.

Among Stackenschneider’s other works, the buildings produced in the Winter, Marble and Anichkov palaces, the interior decoration of the Old Hermitage, for the expected stay of Tsarevich Nikolai Alexandrovich in St. Petersburg, as well as some alterations in the Oranienbaum and Strelninsky palaces, deserve to be mentioned.

Gallery

Mariinsky Palace in St. Petersburg

Nikolaevsky Palace in St. Petersburg

Alferaki Palace in Taganrog

Beloselsky-Belozersky Palace in St. Petersburg

Andrey Ivanovich Stackenschneider Russian architect who designed a number of palaces and other buildings in St. Petersburg and Peterhof. Stackenschneider's numerous works are very diverse in terms of styles, which he, however, did not observe in full rigor, introducing them in order to achieve greater luxury. The main one of his creations is the Mariinsky Palace (now the seat of the Legislative Assembly of St. Petersburg), built in 1839-1844 on St. Isaac's Square. In addition to him, in St. Petersburg he built: a palace Grand Duke Nikolai Nikolaevich the Elder (Nikolaevsky Palace on Truda Square), 1853-61. Palace of Grand Duke Mikhail Nikolaevich (Novo-Mikhailovsky Palace on Palace Embankment, 18), 1857-1861. Now the Institute of Oriental Manuscripts of the Russian Academy of Sciences is located here. The Beloselsky-Belozersky Palace (41 Nevsky Prospekt), built in 1846-1848 in the neo-Baroque style. In 1884, the palace came into the possession of his brother Alexander III, Grand Duke Sergei Alexandrovich. Nowadays there is a cultural center and a wax museum. A children's hospital and a chapel on the Nikolaevsky Bridge, illuminated in honor of St. Nicholas the Wonderworker (1853-1854). Some of the buildings of the court department on Kamenny Island, the architect is engaged in alterations in the Kamennoostrovsky Palace, is rebuilding the dacha of Dolgoruky (architect S. L. Shustov), ​​acquired by P. G. Oldenburgsky. In 1835, according to his design, the dacha of the actor Zhenyes was built on Kamenny [, in 1836-38. - Zvantsov's dacha. In 1834, Stackenschneider completed a project for rebuilding the dacha of M.I. Mordvinov. Works in Peterhof Peterhof and its immediate surroundings are especially rich in its buildings. Here he owns: the layout of two landscape parks - Kolonistsky and Lugovoye Tsaritsyn and Olgin pavilions in Kolonistsky Park pavilions "Ozerki" and Belvedere in Lugovoye Park His Majesty's Own dacha Church of the Holy Trinity at his own dacha Maria Nikolaevna's country palace in Sergievka palace, two greenhouses and a house gardener in Mikhailovka Palace and Renella Pavilion in Znamenka Lion Cascade, 1854-1857. in 1842-1843 in Alexandria Park he built a Farmers' Palace, and also added a dining room with a Marble terrace to the Cottage (1826-1829, architect A. A. Menelas). Other buildings in Tsarskoe Selo: a monument to Grand Duchess Alexandra Nikolaevna in the Sergiev Hermitage near Strelna - the church-tomb of Count G. G. Kushelev (son) in Gostilitsy, Peterhof district - the house of Count Protasov in Taganrog - the palace of Achilles Alferaki in Oreanda, in the Crimea - a palace Empress Alexandra Feodorovna and so on. Among Stackenschneider’s other works, the buildings produced in the Winter, Marble and Anichkov palaces, the interior decoration of the Old Hermitage, for the expected stay of Tsarevich Nikolai Alexandrovich in St. Petersburg, as well as some alterations in the Oranienbaum and Strelninsky palaces, deserve to be mentioned.

15. The work of the architect Schröter. Architect Victor Aleksandrovich Shreter was born on April 27, 1839 in the house of the carriage maker Baga (Voznesensky Ave., 30). At the age of seventeen he entered the architecture class of the Academy of Arts. On the advice of his mentor L. Bonstedt, he continued his education in Berlin at the Construction Academy, also attending a nature class at the Academy of Arts and receiving private watercolor lessons. After completing his studies, Schröter traveled around European countries, studying the architecture of Italy, Austria, Germany, Belgium, France and Switzerland. Schröter's work was associated with the last stage of the development of the eclectic style. In 1876, Victor Schröter won the competition to design a building for the city Credit Society. A plot of land next to the Public Library and Theater (Ostrovsky Square, 7). In 1880, Schröter built the house of the Shtol and Schmidt company, which traded in dyeing and pharmaceutical products (M. Morskaya St., 11). The main facade with neo-Renaissance motifs is faced with granite, Silesian brick and Revel marble. This brick and marble were used in the construction of buildings for the first time in St. Petersburg. In a new type of building, Schröter was one of the first to solve the complex problem of combining public and residential functions by placing warehouses, a store and comfortable apartments for workers and employees in the building. In 1881, he designed a five-story stone house with services at the Church of Christ the Savior (Podolskaya St., 2), with the characteristic use of “Russian style” motifs. The building had not only a residential purpose, it housed a school and an orphanage department.. In 1887, Schroeter built the building of the “Russian Foreign Trade Bank” (Bolshaya Morskaya St., 32). Among the first characteristic buildings of the “brick style” in St. Petersburg was a complex of buildings consisting of an apartment building and A. Nissen’s silk factory (Fontanka embankment, 183), built according to Schroeter’s design in 1872. In 1873, the house of the merchant W. Strauss was built (2nd line, 9). In 1877, according to Schröter’s design, a house was built for the doctor of medicine G. Vuchikhovsky (Rimsky-Korsakov Ave., 33) using Moorish motifs in the architecture. Varying the techniques of the “brick style”, using relief masonry, the architect showed the great decorative possibilities of this building material during the construction of an apartment building on Kavalergardskaya Street, 20 (1876-1877), as well as an apartment building that belonged to the architect’s father (Zoologichesky Lane, 3; 1880 ).One of the best buildings of the eclectic period in St. Petersburg should be considered the architect’s own mansion (embankment. Moiki, 114; 1890). In 1897, Shreter designed a five-story apartment building with attics for artists next to the mansion (Moiki embankment, 112). The name of V. Schröter is associated with the construction of many theater buildings in St. Petersburg and other cities of Russia. In 1882, Schröter became the chief architect of the Directorate of Imperial Theaters in the capital. His most significant work was at the Mariinsky Theater. In 1900, according to Schröter’s design, a large-scale building for storing and writing scenery was erected at 20 Pisareva Street, attracting attention with its “medieval” appearance.

Ticket 16. Charles Garnier. Architectural style: eclecticism, Beaux-Arts The most important buildings: Opera Garnier - Jean Louis Charles Garnier (born November 6, 1825, Paris - died August 3, 1898, Paris). As an architect, Garnier remained little known in Parisian artistic circles until 1861. It was then that he managed to win both competitions for the design of the new building of the Paris Opera. - Thanks to the enormous capital placed at the disposal of the architect for the construction of a grandiose project, Garnier had the opportunity to use rare and expensive materials to decorate the building being erected. - The grandiose building of the Grand Opera in Paris (1861-1875; construction area 11 thousand square meters), designed in the spirit of eclecticism, with a set of exaggerated Renaissance-Baroque architectural forms and pompous interior decoration, is the main work of Garnier’s architectural activity. The same bravura eclecticism is characteristic of other Garnier buildings. - It can be attributed to the neo-baroque style rather because of the abundance of sculpture - this also refers to Carpeaux’s “Dance” (For example, the paired columns of the facade are a “quote” of the eastern facade of the Louvre. - The lobby of the main staircase is one of the most famous places of the Opera Garnier. Lined with marble of different colors, it contains a double flight of stairs leading to the theater foyers and floors of the theater hall.The four parts of the painted ceiling depict various musical allegories. -The foyer, where the audience walks during intermission, is spacious and richly decorated. The large foyer was designed by Garnier modeled on the front galleries of old castles. The play of mirrors and windows visually gives the gallery even more spaciousness. At the end of the gallery there is a Mirror Salon - a clean and bright rotunda with a round dance of bacchantes and fauns on the ceiling, painted by clair - The red and gold auditorium in the Italian style is made in the form horseshoes. It is illuminated by a huge crystal chandelier and the ceiling was painted by Marc Chagall in 1964. The hall seats 1,900 spectator seats, decorated with red velvet. Facts: The opera has no less than 17 levels, a real labyrinth of stairs, corridors, elevators, stairs and ramps. At the ends of the Grand Foyer, sculptural busts of women represent the methods of lighting in development through the centuries: fat, oil, gas, electricity. 1) Opera Garnier2) Theater Marigny3) Casino in Monte Carlo

17. Stylistic restorations of Viollet-le-Duc.Name : Eugene-Emmanuel (1814-1879), France Born in Paris. He began his architectural education around 1830 under the leadership of Houvé and Leclerc, studied ancient and medieval architecture in France and Italy. In 1840, he received an order for the restoration of the Wetzel Abbey Church and became director of the restoration of Sainte-Chapelle in Paris. Since 1845, he worked with Lassus on the restoration of Notre Dame de Paris. Restored the cathedrals of Amiens and Lyon. In 1863-1870. published "Conversations on Architecture". He published the “Imaginative Dictionary of French Architecture”. His concept combines two opposing aesthetic principles: the rationalism of beauty, a legacy of the aesthetics of classicism, and the rationalism of utility, so characteristic of the architectural views of the second half of the 19th century. Denies symmetry and puts forward the principle of mass balance. Architectural proportions are not achieved instinctively, but according to geometric principles in accordance with the visual senses. He paid special attention to the problem of the relationship between design, material and form. His only major building is the Church of Saint Denis de el Estre in Saint Denis. He was the first in the West to write an essay on the history of Russian architecture.

Ticket 18. Urban reconstruction of Paris, Vienna and Budapest in the 19th century Reconstruction Paris, carried out at the beginning of the 19th century, is closely related to the plan of the Commission of Artists developed at the Convention, in the era of the conquest of state power by the bourgeoisie. However, Napoleon I's desire to glorify the military power of the empire gave priority to the construction of palaces, monuments and military buildings, as a result of which the plan of the Artists' Commission with its democratic building program was long forgotten. Triumphal Arch in the courtyard of the Tuileries Palace, Vendôme Column, Church of St. Magdalene, the Chamber of Deputies and, finally, the grandiose Arc de Triomphe at the Star Gate - these are the main structures that were built or laid under Napoleon I. Percier and Fontaine were tasked with drawing up a new general plan for Paris. In the 40s of the XIX century. Railways appeared in Paris, turning the capital of France into the largest transport hub of continental Europe. Radical reconstruction of Paris. Louis Bonaparte hoped to achieve several political and economic goals: 1) oust the proletariat from the central quarters of Paris and destroy, during the process of reconstruction, the narrowest streets convenient for barricade battles; 2) to facilitate the action of cavalry and artillery in case of an uprising with the help of straight avenues; 3) to occupy free labor and thereby reduce unemployment in the capital and 4) to achieve some hygienic and transport improvements, so necessary in the conditions of a rapidly growing city. As a result of this event, the so-called Grand Crossroads appears in Paris, i.e., a system of two mutually perpendicular diameters connecting train stations and opposing suburban highways. Along with the diameters, an auxiliary system of ring unloading streets was used. 48 km of city boulevards were built and two large parks were put in order - Boulogne and Vincennes. Planning reconstruction Vienna began 9 years after the great political upheavals that the three bourgeois revolutions of 1848 brought with them. Austria began to quickly become covered with a network of railways, the initial center of which was primarily Vienna. At the same time, on the territory of the Czech Republic and especially along the Danube - in Budapest and Vienna - the concentration of industrial production has sharply increased. By the middle of the 19th century. Vienna's population increased to half a million people. Until the 1850s, Vienna still had fortress walls. Franz Josef and his government circle brought in national German forces to develop a master plan for the city. The plan itself was put together by Eduard van der Nul and August von Sicardsburg, while the famous builder of the Dresden Gallery, Gottfried Semper, took the lead in the construction of public complexes. The great advantage of the master plan was that a broken route was chosen for the main ring highway, consisting of well-chosen and contrasting straight sections. The highway itself became 60 m in diameter and turned into a highly landscaped shady boulevard, along the sides of which rail transport moved. The best architects of the then Europe not only did not achieve compositional unity here (i.e., ensemble), but did not even find the usual artistic images inextricably linked with the functional purpose of the buildings.

Ticket19. Stylistic trends in the architecture of the eclectic period. During the eclectic period, masters turned to different periods of architecture and used elements of the so-called “historical” architectural styles (Neo-Renaissance, Neo-Baroque, Neo-Rococo, Neo-Gothic, Neo-Moorish style, Neo-Byzantine style, Pseudo-Russian style, Indo-Saracenic style). Eclecticism is “multi-style” in the sense that buildings of the same period are based on different style schools, depending on the purpose of the buildings (temples, public buildings, factories, private houses) and on the funds of the customer (rich decor coexists, filling all surfaces of the building, and economical “ red brick architecture). Unlike previous classicism, the romantic tendency in architecture did not have stylistic certainty. Such stylistic certainty is directly related to the normativity of aesthetic doctrine, and the aesthetics of romanticism, on the contrary, had a pronounced anti-normativity. Therefore, in architecture, romanticism appeared in a variety of historical clothes, without constraining itself by any stylistic norms and rules. The aesthetic ideal of romanticism did not have a specific historical localization. Romantics were interested in the Middle Ages (which was still given preference), and antiquity, and Ancient Egypt, and the Ancient East. In the aesthetics of romanticism, the art of various countries received the rights of citizenship on an equal basis with antiquity. Feeling, not reason, was declared to be the basis of artistic knowledge and artistic activity. Such an aesthetic position, on the one hand, opened up the opportunity for architecture to use the widest range of historical prototypes, on the other hand, it sanctioned arbitrary changes in the architectural forms of the past and their arbitrary combination. The ideological influence of certain “forces” played a big role in architecture and determined the emergence of a number of stylistic trends within the framework of eclecticism. One of these forces was the church, which supported the neo-Gothic direction in the architecture of Western Europe and the so-called “Russian-Byzantine style”

Ticket 20 Neo-Romanesque style - European style of art of the 19th century. Artists and architects resort back to the models of the last two millennia - in this case the Romanesque. The style was widespread mainly in the USA and Canada in the 70s of the 19th century, as well as at the beginning of the 20th century. The basis of the style was Romanesque architecture of the 11th-12th centuries. Unlike the Romanesque style, the New Romanesque style has a simpler form of arches and windows and doorways. One of the most prominent architects working in this style was the architect Henry Hobson Richardson. The Neo-Romanesque style is more characteristic of churches and cathedrals, city fortifications, and feudal castles. Simplicity of forms, horizontal and vertical lines give neo-Romanesque buildings a strict and severe appearance. The arch of the buildings is built in the form of crosses, the free planes of the walls symbolize security and inaccessibility. A characteristic feature of this style is the dependence of the size of the images on the size and significance of the architectural elements on which they are applied. For example, the figure of Christ is larger than the images of angels. The images on the load-bearing parts have an elongated shape. In the embodiment of the neo-Romanesque style there is no place for decorativeness and ornamentation. The roofs of the building were made in the form of stone waterways. The absence of unnecessary details emphasizes the brevity and practicality of the buildings. Echoes of the Romanesque style with numerous attacks on the empire played a role in the orientation of buildings for the convenience of defense. Trinity Church in Boston (arch Richardson) North Hall Building at Harvard University (Richardson) Bradbury Building, Los Angeles (arch Wyman) Main building of the Illinois Institute of Technology University of Toronto, Canada

Ticket 21. Neo-Gothic. Medieval Revival, an architectural style that drew inspiration from medieval architecture and opposed the Neoclassical Revival in the United States and Great Britain; only isolated examples of this style can be found on the continent. The earliest example of the revival of elements of Gothic architecture is I am the home of the English writer Horace Walpole - Strawberry Hill. As with many other buildings of the early Gothic period, it was mainly used for its picturesque and romantic qualities, with little attention paid to structural flaws or the inadequacy of the building for its functions. Another ancient example of the tendency towards the use of ornament and decoration is the one built by James Wyathom, Font Hill Abbey - a rural house with a tower 82 m high. Few things can more clearly illustrate both the impracticality of use and the romantic associations with the Middle Ages. The earliest manifestations of nostalgia for Gothic architecture were in private buildings, but by the 1820s public buildings in England were also beginning to be designed in the Gothic style. Perhaps the most famous example of this architecture is the new Houses of Parliament (1840) designed by Sir Charles Barry and A. W. N. Pugin. Later, the desire for greater elegance in buildings led to the style's final flourishing period. In the United States, architecture in this style can also be divided into two groups. The first, colorful but relatively amateur in approach, is represented by Trinity Church, Richard Upjohn (New York, 1840). There were several reasons for the transition from the neoclassical style to the neo-Gothic style, but three of the most important can be identified. The first is a literary interest in the Middle Ages, inspired by the general revolution of Romanism, which gave rise to Gothic stories and novels. The second reason is the articles of architectural theorists interested to one degree or another in church reform, in bringing the liturgical grandeur of Gothic architecture into their time. The third reason, which strengthened the religious and spiritual influence of all of the above, was the works of John Ruskin “The Seven Lighthouses of Architecture” (1849) and “The Stones of Venice” (1853 However, neo-Gothic will remain the strongest and longest lasting of all the revived styles of the 19th century. Despite this Although the movement began to lose momentum in the third quarter of the 19th century, church buildings and institutions of higher learning in England and the United States were still built in the Gothic style until the early 20th century.It was only with the advent of new construction materials and the increasing trend towards functionalist buildings that the revival movement the Gothic style disappeared. "Russian Gothic" at the end of the 18th century, it acted primarily as a romantic decoration with the stylistic features of the Western European medieval style, erected in picturesque places of country estates and parks for the recreation of royal persons, which was associated with the theatricalization of life and everyday life that spread among the nobility. The second stage - neo-Gothic of the 19th century - was due to the emergence of in Russia is historicism and is based on a historical and scientific basis. This period of neo-style is characterized by the fact that architects are trying to more accurately convey the forms of medieval Gothic, and the trends of the Gothic style begin to spread more widely: certain sensations of Gothic space appear in architecture, which is expressed in the design of the interior and filling it with various Gothic elements, for example, slotted screens, the backs of chairs, carved walls (for example , "The Cottage" (1826-1827) by architect Adam Menelas And Chapel of St. Alexander Nevsky (1829-1834), built by Friedrich Schinkel, in Peterhof Third the stage of Gothic trends - romantic pre-modern and modern, combining the achievements of scientific thought and technology of the late 19th - early 20th centuries. with the forms of Western European medieval Gothic. The constructive system of Gothic architecture of the Middle Ages can be compared with metal structures at the turn of the 19th - 20th centuries. The construction of this period is characterized by special attention of architects to the spatial aspect; only now an attempt is being made to convey Gothic space, based on its understanding in the Middle Ages, applying in practice the idea of ​​a synthesis of arts. Revived Gothic does not carry the same ethical and symbolic meaning as in the Middle Ages, however, architects manage to convey a certain spirit of that time through proximity to the constructive, decorative and figurative structure of Gothic architecture (for example, the mansion of Z.G. Morozova on Spiridonovka in Moscow (1893) by the architect F. Shekhtel and the house of city institutions on Sadovaya Street in St. Petersburg (1904-1906) by the architect A.L. Lishnevsky). Neo-Gothic in Russian culture is characteristic mainly of architecture and decorative and applied arts, the style of interiors of palaces and estates of the royal family and nobility with their penchant for theatricalizing life and everyday life. Ilya Efimovich Repin is a Russian painter and wanderer. Levitan Isaac Ilyich

Ticket 22. Neoclassicism in the architecture of the Art Nouveau period. Neoclassicism, neoclassicism is a term denoting artistic phenomena of the last third of the 19th-20th centuries, which are characterized by an appeal to the traditions of ancient art, Renaissance art or classicism. The emergence is due to the desire to contrast certain “eternal” aesthetic values ​​with an alarming and contradictory reality. There are 3 periods in architecture: the first (around 1910 - mid-1920s), the second (mainly the 1930s) and the third (starting in the late 1950s). In the first period, the logic of the organization of the classical form and its laconicism were put forward as an antithesis to the stylistic arbitrariness and excessive decorativeness of the architecture of eclecticism and the Art Nouveau style (the works of O. Perret and T. Garnier in France, P. Bernes in Germany, A. Loz and O. Wagner in Austria, I. A. Fomin, I. V. Zholtovsky, V. A. Shchuko in Russia, etc.). Neoclassicism is a term adopted in modern art history to designate artistic phenomena of the last third of the 19th and 20th centuries, varying in social orientation and ideological content, which are characterized by an appeal to the traditions of ancient art and the Renaissance. The emergence of neoclassicism (as a programmatic appeal to the art of the past) is due to the desire to contrast certain “eternal” aesthetic values ​​with an alarming and contradictory reality. The ideological and formal structure of movements based on the search for direct correspondence with reality in neoclassicism is opposed by the ideality and majesty of forms and images, “purified” of concrete historical content. Neoclassical buildings are especially characteristic in this regard. F.O. Shekhtel. A kind of declaration of a new direction in his work of the late 1900s and early 1910s was his . own mansion on Bolshaya Sadovaya Street, 4, which was supposed to demonstrate the possibility of synthesizing the indisputable achievements of modernity in the field of aestheticization of housing with traditional forms of Moscow classicism. The elusiveness of the transition from modernity to classics is especially obvious in such works F.I. Lidval, as the buildings of the Azov-Don Bank on Bolshaya Morskaya (1908-1909) and the Second Mutual Credit Society on Sadovaya Street in St. Petersburg (1907-1908). In the appearance of the Azov-Don Bank, boldly placed by Lidval almost right next to the grandiose arch of the General Staff, for the first time such Empire elements as a monumental attic cut through by a semi-circular window and a powerful Ionic portico are openly introduced. At the same time, the design and placement of sculptural bas-reliefs, the shape of the windows and the general composition of the facades are already unprecedented in relation to the Empire style. The same techniques distinguished the building of the Second Mutual Credit Society. The growing cult of Palladio, the greatest of the Renaissance architects, marked a serious turning point in the architecture of the 1910s. The “colossal” order, which united the facades of multi-storey buildings vertically and created the illusion of tectonics, gave urban development a new, larger scale. This technique was first introduced in a highly transformed form by the architect V.A. Shchuko in the house of K.V. Markov on Kamennoostrovsky Prospekt in St. Petersburg, which became the prototype for many apartment buildings in the 1910s. an architectural image that makes you forget about this retreat. The unique designs of the buildings of large banks gave architects scope for purely formal experiments. Saturated with Renaissance “quotes”, skillfully melted into a modern composition, it was banking house M.I. Wawelberg, which occupied a very important place on Nevsky Prospekt among historical buildings. Neoclassical apartment buildings stood out against the background of classical buildings due to their large scale and maximum variety.

Question 23. Neo-Greek style. The first wave of the neo-Greek style received a completely professional and original embodiment. This wave corresponds not to the first, romantic phase of eclecticism, but to the second, archaeological, scientific and positivist. At the same time, the very purpose of most buildings - residential mansions - made direct copying impossible (and there was nothing to copy the whole house from), and therefore a certain freedom in the layout of the plan and volumetric composition inevitably led to freedom in the arrangement of the facade decor. No less interesting was the architecture of the second wave of the neo-Greek style, which swept over Moscow in the 1890s and subsided already in the 1900s with the onset of modernity and, especially, neoclassicism. The origins of this architecture are less clear, but it is already clear that in its formal language it uses many of the techniques of the emerging modernity. At the same time, the forms themselves have in many ways become drier and, at the same time, more detached and mannered. If in the first phase we see honest artistic stylization, then here we are dealing with a played-out, cold and critically meaningful stylization, which can be called “double stylization.” The architect himself no longer believes that this is a Greek or neo-Greek style, he plays by the rules in which this style exists, it is called neo-Greek and is made according to well-known laws that give enough creative freedom. The most expressive example of this style is the mansion of gold miner N.D. Stakheev, built according to the design of M.F. Bugrovsky at Novaya Basmannaya, 14 (1898-1899). The dryish neo-Greek decoration of the facades here acquired a new quality thanks to the use of natural stone and cold cement plaster with sharply defined details. A characteristic sign of this time is the decoration of attics, balconies and other parts of buildings with decor in the form of superimposed straight and oblique crosses (“suns”). Second wave The neo-Greek style brought to Moscow not only the decoration of mansions, but also a large and monumental in decoration museum building - the Museum of Fine Arts. It was built by R.I. Klein in 1898-1912 based on the design of P.S. Boytsov. But if in Boytsov’s version the building was entirely in the Doric spirit, Klein replaced the order with an Ionic one, which gave it even greater coldness and stiffness, emphasized by the rare combination of marble and granite in the façade cladding. Museum buildings crown the development of the neo-Greek style in Russia - they express both its capabilities in creating representative buildings and its dried, mummified archaeological quality, fineness of decoration and dryness of forms. Gunst Mansion on Prospekt Mira. I. Klein (using the project of P.S. Boytsov). Museum of Fine Arts. 1898-1912 MOSCOW A.S. Kaminsky. Mansion of Prince Shakhovsky. 1868 The initial data is quite definite. European classicism (neoclassicism - according to European terminology) XVIII - early XIX centuries. strove for the imaginary original Greek forms, gradually clearing himself of all layers - Baroque, Renaissance, Roman. There were few architects of this trend, approximately one in each country. In France it was Henri Labrouste (1801-1875), whose architecture was called neo-Greek, that is, modern Greek. In Bavaria it was Leo von Klenze (1784-1864), who built the Doric Valhalla, and to Russia he presented the New Hermitage commissioned by Emperor Nicholas I (1839-1852). Martin Gropius (1824-1880) worked in Prussia and Berlin, creating several villas and large public buildings.

Ticket 24. Neo-Renaissance - one of the most common forms of architectural eclecticism of the 19th century, reproducing architectural solutions of the Renaissance, especially the Italian Cinquecento.

Distinctive features: craving for symmetry, rational division of facades, preference for rectangular plans with internal courtyards, wide arched windows, elegant trims, powerful patterned cornices, deep rustication on the facades. The variety of forms of Renaissance architecture gave rise to a variety of neo-Renaissance stylistic trends, which have practically no uniform formal characteristics. Neoclassicism first appeared in Russia in the work of O. Montferrand in the late 1830s, then A.I. turned to it. Stackenschneider, A.P. Bryullov, N.E. Efimov, G. Bosse. Neoclassicism built palaces, train stations, and mountain buildings. Institutions, banks, as well as numerous apartment buildings. building features of the neo-Renaissance type: The growth and restructuring of cities reflected the growing capabilities of the capitalist society of the time, but at the same time deepening social differences, especially manifested in the types of housing. The economical type of apartment buildings of the Classical period was replaced by a comfortable sectional house with large apartments and good sanitary equipment. At the same time, workers' settlements and temporary settlements are appearing on the industrial outskirts. Construction activity is concentrated in large cities and rural areas, between the size of settlements and the way of life in them. Although the Renaissance abandoned the ideal models of antiquity and the Middle Ages, it continued to be focused on the historical principles of formation. The main source of inspiration for the Neo-Renaissance in most European countries was the architecture of Italy. Instead of simplicity and clarity of compositions and forms, a dismemberment of the overall whole and details appears, and a combination of order and arch systems begins to be used. At the same time, there is a significant enrichment of architecture with works of fine art. The main theorists of 19th century architecture who contributed to its development were K.F. Schinkel, Viollet-leDuc, G. Semper. The first buildings in the neo-Renaissance style appeared in the 30s of the 19th century. These include the School of Fine Arts in Paris (designed by J.F. Duban) and the theater in Dresden, rebuilt according to the design of G. Semper after the war in the 70s. One of the first buildings of this style (1844-1846) was the mansion of Prince L.V. Kochubey (architects G.A. Bosse and R.I. Kuzmin). No elements of orders were used in the appearance of the building - this is the so-called orderless neo-Renaissance. G.A. Bosse created the mansions of I.V. Pashkov (Liteiny, 39) and E.P. Pashkova (10 Kutuzova Embankment) in this style. On the façade of I.V. Pashkov’s mansion, brickwork was used for the first time in a civilian building. One of the largest public buildings in the neo-Renaissance style was the Mariinsky Theater (1859-1860 architect Kavos). Here the order system starts from the second and even the third floor. The decoration of the facades was restrained, even if not dry (the magnificent decoration of the entrance group appeared much later). The neo-Renaissance style includes a number of apartment buildings and mansions of the mid-19th century on the street. Tchaikovsky, Furshtadskoyul, Kirochnaya, etc. Renaissance motifs are also heard in the buildings of St. Petersburg stations: Nikolaevsky Station (1843-1851, architect K.A. Ton), Baltic Station (1853-1858, architect Krakau), Warsaw Station (1857-1860, architect Salmanovich). Thus, the facade of the Nikolaevsky station resembles Venetian buildings of the 16th century: double arches of the first tier with columns in the middle, evenly spaced half-columns of the second tier, a square clock tower, “Bramante windows” on the first tier of the side wings.

Ticket 25. Neo-Baroque in the architecture of the eclectic period . Euro-Baroque is a retrospective movement characteristic of the 1910s. The works of Neo-Baroque architecture reveal a complex and contradictory combination of traditional and new features, manifested both in the layout and volumetric-spatial structure, and in the decorative design of reconstructed and new buildings. At the end of the 19th and beginning of the 20th, the Baroque tradition was mastered on the basis of the use of artistic methods characteristic of the main trends in the history of architecture of this period - modernity and neoclassicism. English architect Thomas Hopper (1776-1856) in 1827-1846. created interiors Penrhyn Castle in North Wells, among them - the “Norman drawing room”, the style of which was called Baroque, although in essence it demonstrated a revival of the characteristic features of the medieval Romanesque architecture. In 1852-1868. French architect E.-M. Lefuel designed new interiors Louvre in Neo-Baroque style for Emperor Napoleon III. Grand Opera building in Paris, built by the architect Charles Garnier (1825-1898) in 1860-1875, is distinguished by an eclectic combination of architectural elements Italian Renaissance, Baroque and Empire style, which is especially noticeable in interiors. Among them are the interiors of the Hotel Paiva, a mansion created for the Marquise de Paiva in the 1850s. designed by C. Garnier. The architect took the style as a basis Venetian palazzo XVI-XVII centuries, reinforcing baroque elements. The interiors of the Paiva Hotel are impressive with their abundance sculptures, reliefs, multi-colored marble, bronze, mirrors. This style is referred to as the Second Empire style, and the Neo-Baroque, and the “neo-Renaissance”. In 1860-1880 Neo-Baroque tendencies in the architecture of the Historic period manifested themselves more clearly, which is why the name “second Baroque” arose, which is more often applied to monuments of this particular period. Church of St. Trinity in Paris, erected by T. Ballu in 1860-1863, combines elements of Neo-Gothic and “neo-Renaissance”, but the techniques unfastenings, giving sculptural facade, and characteristic tower allow us to attribute it to the “second baroque” style. Another example is Linderhof Castle (German: Linderhof - “Tender Court”) in Bavaria, built south of Munich in 1869-1879 architect Georg von Dollmann for King Ludwig II of Bavaria (1864-1886). Palace and "regular" the park was conceived in imitation Versailles(Fig. 134). The architecture of the palace eclectically combines elements Renaissance Italian and French architecture "Big style". The third stage of development of Neo-Baroque 1880-1890, characterized by especially abundant crushed decor, sometimes called the "third baroque". Neo-Baroque trends manifested themselves in architecture in a unique way St. Petersburg XIX century They were associated with increased interest in the historical past at the beginning of the 19th century. . In the 1820s. architect V.P. Stasov (see Russian, or St. Petersburg, Empire style) recreated the partially lost decoration of the Grand Palace in Tsarskoye Selo, built by F. B. Rastrelli the Younger (1751-1756). After the fire Winter Palace in St. Petersburg in 1837 Stasov supervised the reconstruction of the interiors, and the front staircase

Stackenschneider Andrei Ivanovich - Stackenschneider (Andrei Ivanovich) - a famous St. Petersburg architect in his time, the grandson of a tanner sent to Russia by Emperor Paul I from Brunswick, was born at his father's mill, near Gatchina, on February 22, 1802 and at the age of thirteen he entered the self-employed student at the Imperial Academy of Arts. Having not shown particularly brilliant success during the course, he immediately upon completion, in 1821, received a position as a draftsman in the committee of buildings and hydraulic works, from which, four years later, he transferred to serve as an architect-draftsman in the commission for the construction of St. Isaac's Cathedral. The builder of this temple, Montferan, turned his attention to the abilities and hard work of the young artist and entrusted him with many serious works and, among other things, gave him the opportunity to distinguish himself by making general and detailed drawings for the construction of hearses and mourning decoration of the Peter and Paul Cathedral during the burials of Emperor Alexander I and Empress Elizabeth Alekseevna and Maria Feodorovna. In 1831, Stackenschneider left his service in the above-mentioned commission in order to freely engage in private buildings, mainly the construction of a manor house for Count A.Kh. Benckendorf on his estate Fall, in the vicinity of Revel. Pleased with his architect, the count recommended him to the emperor, and from that time on happiness began to smile more and more on Stackenschneider. He quickly gained the favor of Nicholas I, began receiving important assignments from him one after another, and soon became a privileged builder of royal and grand-ducal palaces. Having begun his court service with the rank of architect at the court of Grand Duke Mikhail Pavlovich, at the end of his life he was the chief architect of the department of appanages, the architect of His Majesty's Own Palace and the head of construction for the country palaces of the Empress. In 1834, for the project of a “small imperial palace” drawn up by Stackenschneider according to a given program, the Academy awarded him the title of academician. In 1837 - 1838 He made a trip for his improvement to foreign lands with benefits from the government and visited Italy, France and England. In 1844, the Academy elevated him to the rank of professor without fulfilling the program task on his part, as an artist who already had great fame, and in 1854 he was appointed to the Academy as a full-time professor-teacher. In the last years of his life, Stackenschneider’s health, exhausted by constant intense work, weakened significantly; for his recovery, he, in the spring of 1865 , on the advice of doctors, went to kumys treatment in the Orenburg province. The summer spent there seemed to benefit him, but on the way back to St. Petersburg he felt ill again and died in Moscow on August 8 of the same year. Stackenschneider's numerous works are very diverse in terms of styles, which he, however, did not observe in full rigor, introducing into them, in order to achieve greater luxury, arbitrary changes and additions. The main and best of his creations is the Mariinsky Palace (the current building of the State Council). In addition to him, in St. Petersburg he built the palaces of Grand Duke Nikolai Nikolaevich the Elder (now the Ksenievsky Institute) and Grand Duke Mikhail Nikolaevich, a children's hospital, a chapel on the Nikolaevsky Bridge, some of the buildings of the court department and several private houses, including the house of Princess Beloselskaya (later converted into the palace of Grand Duke Sergius Alexandrovich). Peterhof and its immediate surroundings are especially rich in its buildings. Here he owns: a rural house near the Reserve Pond, pavilions on the Tsaritsyn and Olginsky Islands and on the Samsonovsky Canal and a church on Babigon, Maria Nikolaevna’s dacha palace in Sergievka, His Majesty’s own dacha, etc., palaces on the Mikhailovskaya and Znamenskaya dachas, the Renella pavilion on this the last one and so on. In Tsarskoe Selo, Stackenschneider built a monument to Grand Duchess Alexandra Nikolaevna, in the Sergiev Hermitage near Strelna - the church-tomb of Count Koshelev, in Gostilitsy, Peterhof district - the house of Count Protasov, in Orianda, in the Crimea - the palace of Empress Alexandra Feodorovna, and so on. Among Stackenschneider’s other works, the buildings produced in the Winter, Marble and Anichkov palaces, the interior decoration of the Old Hermitage, for the expected stay of Tsarevich Nikolai Alexandrovich in St. Petersburg, as well as some alterations in the Oranienbaum and Strelninsky palaces, deserve to be mentioned.

Andrei Ivanovich Stackenschneider was born on February 22, 1802 near Gatchina in the Ivanovka manor. This manor (estate) belonged to Andrei's father Johann Stackenschneider and was named after the owner. As a child, Andrey was interested in drawing and building toy structures. The father paid attention to these studies and sent his thirteen-year-old son to the Academy of Arts.

At the Academy of Arts, Andrei Stackenschneider studied modestly, without awards. After graduating in 1820, he was in need for a long time and was forced to work on small private orders. In January 1821, the architect joined the Committee for Buildings and Hydraulic Works as a draftsman. Four years later, he was accepted as an architect-draftsman into the Commission for the construction of St. Isaac's Cathedral, where Stackenschneider worked under the leadership of Auguste Montferrand.

Working with Montferrand turned out to be a great success for the young architect. The French architect noticed Stackenschneider's talent. He was able to organize a trip abroad for his ward, but it fell through due to the latter’s illness.

In 1831, after his dismissal from the Commission for the construction of St. Isaac's Cathedral, on the recommendation of Montferrand, Stackenschneider rebuilt the estate of Count Benckendorff near Revel (Tallinn). In fact, this was the architect’s first independent work. The customer was extremely pleased with her, Stackenschneider was even introduced to the emperor. As a result of this event, the architect was involved in palace construction.

From that time on, Andrei Stackenschneider became a famous architect. He begins to receive lucrative orders, and his financial situation improves. In November 1833, he entered the service of the court of Grand Duke Mikhail Pavlovich. Stackenschneider carried out construction work on Kamenny Island, which at that time belonged to the Grand Duke, and remodeled the interiors of his palaces.

In 1834, Andrei Ivanovich Stackenschneider received the title of academician and the rank of titular councilor. At this time, he was developing a project for the reconstruction of the Znamenka estate (near Peterhof); this project was only partially implemented. In Peterhof, the architect created the Tsaritsyn, Holguin and Pink pavilions, His Majesty's Own Dacha, the Farmer's Palace in Alexandria Park, and the Lion Cascade in the Lower Park.

The architect was able to travel abroad in 1837. For almost a year he traveled through Italy, France, England and Germany. Returning from abroad, Andrei Stackenschneider continued to remodel the interiors in Znamenka and designed several halls in the Mikhailovsky Palace. At the end of the 1830s, he began to create a project for the Mariinsky Palace.

In 1844, Andrei Stackenschneider received the title of professor of architecture, in 1851 - the rank of state councilor, in 1858 - the rank of actual state councilor. From 1856 he was "architect of the Supreme Court".

For a long time, the Stackenschneider family lived in rented apartments. In 1852, the architect bought a house on Millionnaya Street. The building was completely rebuilt, after which it became one of the cultural centers of St. Petersburg. On “Saturdays,” 50-60 people visited the Stackenschneiders, among them I. S. Turgenev, F. M. Dostoevsky, I. A. Goncharov, D. V. Grigorovich, G. P. Danilevsky, G. E. Bosse , A. P. Bryullov, I. K. Aivazovsky, N. A. Maikov.

In 1854, the architect began teaching at the Academy of Arts. Andrei Ivanovich Stackenschneider was known for the large number of his students. After four years of work at the Academy there were already more than sixty of them, much more than other teachers. The architect often helped students not only morally, but also financially.

Other famous works of the architect include the Beloselsky-Belozersky, Nikolaevsky, and Novo-Mikhailovsky palaces. In the 1850s, Stackenschneider created the Belvedere Palace and the Church of “Queen Alexandra” in Peterhof (not preserved). During this period, Stackenschneider rebuilt some halls of the Winter Palace and the Small Hermitage (Pavilion Hall).

Based on Stakenschneider's designs, buildings were built not only in St. Petersburg, but also in Moscow, Crimea, and Taganrog.

Andrei Ivanovich Stackenschneider died on August 8, 1865 in Moscow. He was buried in the Trinity-Sergius Hermitage in the Church of St. Gregory the Theologian, which he built.