Izvestia occupy a high build-up in the style of "Avangard" with a number of large round windows on the top floor, which flanks Pushkin Square from the north.
The house of the editorial office and printing house of the newspaper "News of the CIQ of the USSR and the WTCIK" is the most significant work of Grigory Barhin, the founder of the whole dynasty of architects. Work on the project began in 1925 with the participation of the engineer A.F. Lolet, and he was finished at the end of 1927. This Printing Enterprise continued its pre-revolutionary tradition, started by Fyodor Shechor: A typography "Morning of Russia", built for Ryabushinsky, and in a threeproof lane, was located very close to Ryabushinsky.
The complex was built by the Decade of the October Revolution on Passion Square, next to the monastery, which will be demolished in the 1930s. The plot of not quite the right form took two buildings - production and editorial. There was a staircase between them, thanks to which the courtyard was formed inside the quarter. From the side of the area was a single facade. In the initial version of the project over the staircase was a tower height in 12 floors, but since 1926 it was forbidden to build buildings above seven floors inside the garden ring.
The facade of the building is a clear grille of vertical pillars and horizontal jumpers forming the squares of window openings. This geometric scheme looks outstandingly thanks to a variety of artistic techniques. The square frame of the frame was included vertical stained glass staircase and the system of balconies shifted to the corner of the building, which slightly disturbed the monotonous symmetry and attached to the dynamics.
The architect - academician is still with pre-revolutionary times, who did not stick to the architects-avant-garders, nevertheless, very accurately perceived a new style and created a real masterpiece, causing a conjugation of colleagues-constructivistists. The latter, for example, argued that alleged round windows do not respond to lighting calculations.
Interestingly, G. B. Barkhin watched the construction, without leaving home. He lived at the other end of the same area in the famous profitable house of engineer Nyrnusea (then it was the highest building in Moscow). Permanent supervision provided a very high quality finish. The "House of Izvestia" plastered the same Brigade of Italians, which was engaged in the decoration of the Museum of Fine Arts, and a granite crumb was kneaded into the plaster for similar technology.
In 1975, according to the project of the architect Yu.N. Scheverdyaeva, the building angle was built up with a new corps of the newspaper Izvestia, leaving on the street. Gorky (now - ul. Tverskaya).
Restoration of the construction and its memorial interiors in 2014-2016. Architect A.V.Ginzburg - Library G. Barhina.
Whatever the Professor Preobrazhensky speaks, and Izvestia was the first official Soviet newspaper in a literal sense - Petrograd Council issued the first number the day after the February Revolution. Then they planned to fight for the Constituent Assembly, but after its overclocking and transfer of the capital moved to Moscow and became the main printed authority of the executive power, CEC and the Central Bank, unlike the party Bolshevik "Truth". What was a little less prestigious, but also honorable. For some time, the newspaper was published in the Syutkin printing house from a passionate monastery. But for the new power, the newspapers were important and soon enough, in 1924-1925, a competition was held for the project of the building of the new architecture. Gregory Borisovich Barkhin won, who built a new home for Izvestia near the old printing house, somewhere over a year and a half with the son of Mikhail. Gregory Barkhin was not in the full sense by the architect revolutionary, he quickly joined the constructivism (however, many, for example, the same Ivan Fomin). Before the revolution, Barchin graduated from the Academy of Arts and, together with the novel Klein, built the neoclassical building of the Moscow Museum of Fine Arts, the current GMIA.
However, the conquered a competitive project, which at first intended to build the west, on the corner of Tver and Passionate Boulevard, was a rather rapid twelve-story tower, similar to the well-known project of "Leningrad Pravda" spring. The tower was to argue from the bell tower of a passionate monastery, which in 1925 to demolish at all was planned. But at the topical then the general plan of the city "New Moscow" in the area of \u200b\u200bpassionate acted, almost as now, high-altitude restrictions - it was impossible to build above six floors. From the tower, the staircase vertical with a series of balconies and a small loggia with a clock on the corner facing Tverskaya remained from the tower. The inscription is "Izvestia" - as a result, hosted horizontally.
Izvestia did not become an icon of constructivism, and nevertheless the building entered all thematic guidebooks and well known as a monument to the history of avant-garde. At the same time, the subject of protection, like this in our times it often happens, is quite narrow: the facades are protected, and inside - only the Cabinet of Bukharin on the upper floor (he was the editor of the newspaper for three years), plus the same exit to the Pushkin Square staircase, and that's it . Happiness that Alexey Ginzburg had to work with the restoration of "Izvestia", Gregory Gigory and the grandson of Moses Ginzburg, the heir of two architectural dynasties, equally enthusiastic architecture and restoration, including monuments of avant-garde. Alexey Ginzburg has been engaged in the Izvestia quarter for several years, recently completed the restoration of the revenue house of Tullyaeva on Dmitrovka opposite Lenkom, the second was "news", almost completed work with the building of the Syutkin printing house and the two-story manor of Dolvory-Bobrinsky on the corner of the Boulevard and Dmitry. "Izvestia" in this material as a row is the only building of the 1920s, a monument to avant-garde.
The building has been preserved well and was easily recognizable even before starting work. Although the avant-garde inscription soon was replaced by classical, with serifs; The running line, which was the innovation for the 1920s, was also removed almost immediately. In the 1990s, the building was leased to the offices; In the same way, it is planned to be used in the future, as well as the neighboring newspaper building expanded in the late 1970s.
One of the main distortions of the author's plan was punched by entries on the street showcases of restaurants of the first floor. And although now they will place here, most likely, also restaurants, Alexey Ginzburg managed to return to the lower windows of the windows, the initial look: now the entrance is one, through the main entrance. The wide lower windows were intended to illuminate the lower semi-base floor of the canteen workers of the newspaper: going along the main facade now, while restaurants have not yet settled, its space is clearly visible. The basement-blend is available under both corps, street and yard; Only at the main southern facade, it is covered through wide windows overlooking the street under the ceiling, and in the former technical courtyard building, where the relief is higher - through anti-aircraft lights.
In addition, the building also received several modern additions, first of all new elevators in the median transition. However, it should be remembered that the building was already seriously rebuilt after the war: then the transition between the buildings was expanded to the West to the West to be a spacious lobby, and in the courtyard, from the north, attached an additional volume with the basement. Then the doors were replaced - on the light yellow, Brezhnevsky species; The elevator was replaced at the main emerging on the facade, the stairs. The northern post-war extension was dismantled, retaining only its basement. The extension to the transition between the housings, on the contrary, has retained, presenting in order late lobby with spectacular large caissons on the ceiling.
However, Alexey Ginzburg managed to maintain and restore many important details. For example, finding fragments of the Metlah tiles on the floors - simple, white with bluish inserts on the corners, architects ordered in Germany similar and restored the floors of the lobby and corridors.
Special attention deserves the staircase overlooking the main facade - the space is very bright, transparent, with large windows in the floor. It seems like a light ridge of the whole building both outside and from the inside - it is not surprising that architects paid a lot of attention to her and worked jewelry.
But it was especially difficult to restore the initial metal binding of stained glass windows overlooking the main facade. The preserved genuine frames were covered with a very thick layer of paint, in order to cleaned it, it took a sandblasting machine with a ceramic crumb; The floor formed a huge amount of dirt. "Straight by knee," the architect is recognized. It was much easier to replace them with double-glazed windows, especially since there are no relations to the objects of protection of windows, but Alexey Ginzburg managed to insist on competent, albeit laborious, cleaning genuine frames. Some of them were in poor condition, they were replaced, but mostly on the upper floor. More than half of the genuine bindings of the lower floors, thin and complex, with rims, managed to preserve - which is very important for the feeling of authenticity of the building.
Outside, curls are painted black, inside - white paint. On the facades, they form a thin structuring grille, and inside the expansion of space and enhance the light. Especially the staircase with her gray-white membrane, giant for the 1920 stages, light blue walls, whose color is restored according to the found fragments - it seems very bright when looking at both inside and outside.
The second important component of the genuine facade is the preserved and carefully cleaned dark gray terrazitic plaster Grigory Barhin. It took a long time to select a hydrophobic solution for its strengthening: the first formulations were not suitable, spoiled the color, making it darker, then adding a blue or even a green tint, "says Alexey Ginzburg. Ultimately managed to achieve a smooth gray, strengthening the facade.
But dark gray, contrastingly emphasizing the whiteness visible through wide windows of light interiors, the main facade was at the Barhin building the only one. According to the tradition of the late XIX - early XX centuries, firewalls and yard facades left bricks, saving expensive stucco, - explains Ginsburg. - That's later, after the war, all them were painted with oil paint.
In the Izvestia quarter, the architect restores the "historical justice" of old brick facades. So Alexey Ginzburg acted with the house of Tullyeva, and with the neighboring mansion; The same brick walls opened in the Izvestia, the relatives of the avant-garde with neighboring, and, in essence, close to time at the time of the beginning of the 20th century. The brick is cleaned, covered with hydrophobic solution, new aluminum ventilation pipes stretched to height, unexpectedly emphasizing the brutal and technical purpose of the former typographic building. Only the post-war Western facade in the courtyard received a neutral beige painting.
It must be said that in the experiments of Alexei Ginzburg with brick firewalls, historical reconstruction plays, probably, the smallest role is curious as a plot, no more. Most citizens will not notice. It is much more significant than the coloristic meaning of this reception, without any additional efforts of the city in a cheerful "patchwork blanket", where the colored facial surfaces of the facades "outer", well, or are superimposed on a common bright terracotta, lively caution, able to combine the two-storey Moscow estate with cast iron balconies and a glamorous home of the silver century with a harsh typography of the Soviets of the proletarian state. Combine - and make it easy and directly, as maybe easily thin Classic Grigory Barhain mastered the language of constructivism, some incomprehensible manner without changing at the same time and remaining the "facade" architect rather, but talented and conscientious in everything to the smallest detail.
In a word, this restoration is an extremely interesting experience, first of all because it went to the "hereditary" architect, enthusiastic restoration and conscientiously, just as a great-grandfather built, restored everything that was possible in modern circumstances here. After all, in our time, it is as usual - architects perceive monuments rather as encumbrance: either complication of the workflow, if they are required to save, or as a load on conscience, if you need to build a lion. Many architects worship avant-garde, it's true. But someone only redraws, and someone strives to create a copy in the same "style." The architect is inconspicuously found, immersed in the problem so that by performing many customer requirements, reprophalving, as - in no way, the building is a different function, retained the maximum of genuine, and something even restored. But the result is easy to read: in the area of \u200b\u200bPushkin's efforts, Alexei Ginzburg, a new version of Moscow is growing slowly. The city is those that we lost. And when the yard will be landscaped and the aisles from the arch in the arch will open, then we can appreciate not only the restored monument, but also the atmosphere created by no kilometers of attachment, but a few years thoughtful work. What, however, will have to wait.
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History
The building was built on passionate area at the monastery, destroyed in the 1930s.
During the work, Barhin watched the construction of the house from the window of his residential apartment, as she lived at the other end of the square, in the income house of the engineer Nyrnusa.
In 1975, the angle of the building is built up with a new corps.
Architecture
Architect Grigory Barhin. Engineer A. F. Loleit. Plaster took up the Italians Brigade. Other of their works are in the museum of fine arts. The building is sustained in style.
NVO, GNU 1.2 The site was filled with two corps (production and editorial) connected by the staircase. Initially, the project meant the construction of a tower height in 12 floors, but in 1926 the authorities were forbidden to build buildings more than seven floors inside the Garden Ring, so they refused the idea of \u200b\u200bthe tower.
Kemal Kozbaev, CC BY-SA 4.0 The walls of the house are grills of vertical and horizontal pillars, there was also a staircase and balconies, moved to the corner.
In 1975, the building rebuilt architect Yu. N. Sheverdyaev.
Photo Gallery
He was known as the "House of Famusov", since the owner became the prototype of Sophia Famusovoy. Here often were A.S. Griboedov and A.S. Pushkin.
But by the decade of the October Revolution on the passionate area, the six-storey corps on the project Grigory Barhin and Engineer A.F. Lilta. The place for the newspaper "Izvestia" chose symbolic - there was a sutin publishing house on and the editorial office of "Morning Russia" in Putinkovsky Lane.
For the newspaper "Izvestia" built 2 housings with a single facade - production and editorial. They were connected to the staircase unit. According to the project to place all the editorial staff, planned to build a tower with a height of 12 floors. But in 1926, inside the Garden Rings, they were forbidden to build buildings above seven floors, so the project was not implemented.
Brick walls of the building are plastered and mimic the new material for the 1920s - concrete.
How to read facades: crib in architectural elementsAlso, the system of stairs and balconies on the facade resemble a grid connecting the glazed plane of industrial premises at the bottom with round windows-porthmuses of the editor's office on the top floor. The facade also has curious square clocks and the inscription with the name of the newspaper Izvestia. Now it is made by another font.
In 1975, on the project Yu.N. Shevherdyaeva The angle of the house "Izvestia" built up a new building editorial board of the newspaper with the post-Pushkinskaya metro station. Now both publishing corps, the building "Labor" of 1905 buildings on the project A. Erichson and the shopping center constitute a single complex.