Everything repeats in history: the first time in the form of drama, the second in the form of farce. This is true for two periods in Russian architecture. The beginning of the first arose in the 30s of the XIX century and ended with its end. The beginning of the second took place in the 60s of the XX century. In a sense, it is still happening, slightly changing the parameters. The fact is that in the 19th century the eclectic architecture was formed, and in this style most of the tenement houses of Russia were built, which after a century and a half look worthy against other old buildings of the same St. Petersburg or Moscow.
And in the middle of the 20th century, the Khrushchev boom also began. The tasks for architects were the same as 100 years ago: to provide the population with apartments. It is difficult to say that these buildings adorned the streets of the country.
Style Background
In the 18th century, the Empire style prevailed in Russia: antiquity, columns, the inevitable Greek pediment. Manors, palaces and temples throughout the empire were built according to the classical canons. The process was, one might say, debugged, and everyone was happy with everything. Well, or almost everyone. The first to criticize the antique style were the writers, among whom there were such well-known names as Gogol, critic Belinsky, philosopher Chaadaev, and Herzen, who, as they say, were “woken up by the Decembrists” ... Thus, a protest was brewing in society and changes were required .
"Frantic Vissarion" (Belinsky) formulated a concept that was designed to become the basis of a new distinctive style in architecture: "Nationality is the alpha and omega of the aesthetics of our time."
Economic conditions
All these “brainwave” coincided with changes in the structure of society: the nobility gradually became poor and could not afford expensive projects, living out their lives in ancient manors. A class of industrialists and merchants stood out whose fantasy flight was not limited by means. Almost all of these “new Russians,” such as the Brusnitsyns merchants, were from the peasant class and preferred to build in the canons of Russian architecture.
That is, there was a certain request of society, to which architecture was to give an answer.
New direction
So, society persistently strove to revive folk traditions, and by the middle of the 19th century there was a lot of talk about the people's share, the continuation of which was the well-known “going to the people” of students in 1861.
Therefore, the theme of nationality should have been reflected in aesthetics in general and in architecture in particular, especially since in the 30s of the century before last only the lazy did not criticize the empire style.
The famous public figure and restorer Mikhail Dormidontovich Bykovsky, who later became the founder of the architectural society in Moscow, was one of the first to formulate theses of a new direction in architecture: anti-academicism, national identity, a Gothic accent, freedom of creative expression and no order canons. He later supplemented them with explanations. So there was a style in architecture - eclecticism.
However, the architect himself was a supporter of the Gothic trend, which is confirmed by the Marfino complex designed by him near Moscow, which belonged to the diplomat N.P. Panin. His wife Countess Sofya Vladimirovna Panina and invited M.D. Bykovsky to create a manor, which has become one of the brightest examples of eclecticism in architecture. By the way, the famous "Ball at Satan" was filmed here.
False gothic
So what is eclecticism in architecture? This is a direction that combines many styles in one building. Architects preferred other eclectic names: historicism, romanticism, false Gothic, Russian-Byzantine style, and from the second half of the XIX century - Boaz-ar, or Beaux-Arts.
The triumphal procession of a new direction began precisely with neo-Gothic, which gravitated towards romanticism. The characteristic features of eclecticism in the architecture of the first half of the 19th century were: vertical emphasis in the buildings, the sophistication of the spiers, the presence of richly decorated turrets and sculptures, the openwork design of the facades. Buildings designed using these elements resembled fairytale castles, creating a romantic mood. In this they contrasted with the classic Gothic of the same England, which was distinguished by gloom and asceticism.
However, over time, when this direction began to be used in private construction, architectural excesses gradually gave way to the rigor of vertical forms, approaching English models.
northern capital
Eclecticism in the architecture of St. Petersburg is represented by many buildings.
One of them is located on the Embankment of the Krestovka River, at number 12. This is the former mansion of Countess Kleinmichel. Its distinguishing features, giving out the Gothic style, are its characteristic turrets, wrought iron lanterns, as well as window bars that complete the image of the castle. The building was built in 1834 and was rebuilt several times. At the beginning of the last century, noisy balls were held here. The dacha of Princess Saltykova on Academician Krylov Street, 4 is another example of eclecticism in architecture. Everything that should be in the Gothic building is present here: towers made of wood; beautifully designed facade, accented entrance to the building in the form of an arch. This building also dates back to the 30s of the century before last. In the 90s of the XX century, it was restored after a long period of desolation.
Neo-Gothic times in Russia were short: about 20 years. However, this direction left its noticeable mark in the transformation of many cities of the empire, noting the beginning of changes in the country's public mood.
It should be noted that eclecticism in Russian architecture is divided into two periods: from 1830 to 1860 there was a “Nikolaev” stage, and from 1870 until the end of the century - the “Alexander” one. And the matter is not only in the change of sovereign, but also in the appearance on the social plane of a new class of owners, which determines the dominant style in urban planning.
Elements of style and their combination
Two aspects can be considered as features of the eclectic style in Russian architecture.
- The use of components of all available “historical” directions from Neo-Renaissance to pseudo-Russian, as well as exotic styles introduced into the Russian “soil” in the form of Indo-Saracen, etc.
- The change in the function of the order, which was of decisive importance in the Empire style, and which became an eclectic decorative formality.
Important features of eclecticism in architecture were functionality and versatility. That is, the “Russian-Byzantine style” formed by the rector of the Imperial Academy of Arts Konstantin Andreyevich Ton could be used in the construction of churches, but not private buildings, the design of which was used in conjunction with other areas. Public or industrial buildings were created taking into account their functions, as well as available funds.
Thus, the use of decoration elements or its minimization, the presence of decoration or, if there is none, in order to save, the construction of red brick buildings - all this could vary depending on the budget.
Empire style could not boast of such versatility in view of the rigidly fixed canons.
Decor Elements
Neo-Baroque-style buildings were distinguished by many elements of decor - an eclectic trend towards which one of the most talented architects of the 19th century, Andrei Ivanovich Shtakenschneider, gravitated.
Among the creations of the heir to the exquisite taste of Count Rastrelli (as his contemporaries called him), the Beloselsky-Belozersky Palace, located at the intersection of Nevsky Prospekt and the Fontanka River embankment, takes pride of place.
Esper Beloselsky-Belozersky was not only a nobleman, but also well versed in art, and therefore wished for a revival of the Baroque rocky style, popular during the time of Elizabeth. And the design of the palace was conceived precisely for this purpose. The building is known not only because it completed the construction of private palaces on Nevsky, but also because its owners were members of the imperial family. The last owner of the building was the banker I.I. Staheev.
Among the projects implemented in 1844 by the Stackenschneider was the Mariinsky Palace on St. Isaac's Square - a wonderful example of eclecticism in the architecture of St. Petersburg.
Pseudo-Russian style
Popular direction, and pseudo-Russian style was widely used in the design of buildings for various purposes. In the XIX century, the formation of national self-awareness took place, in the wake of which this direction in architecture arose.
It organically combined many elements of ancient Russian construction, as well as components of jewelry stylized as embroidery and carving. Gradually, the style of wooden buildings was moved to stone.
A vivid example of this trend was the Church of the Savior on Spilled Blood built after the attempt on Alexander II. Its author, the architect Parland, combined many elements of Russian architecture in his project and won a competition in which such masters as Benoit and Schröter took part.
Waves of the East
It is impossible not to note the shades of the East included in the eclecticism, in particular, the Moorish influence on architecture. These elements contrasted beautifully with the cold climate of our country, bringing warmth and rich colors to it. Eastern tradition combines many styles of the conquered countries. In addition, it organically fits into classical forms as exotic accents: doors and windows made in a characteristic manner using colored glass; stucco molding with mysterious scenes, galleries and arches, emphasizing the originality of the entire complex, ornaments made of colored marble.
This direction was polar with respect to neo-Gothic and classicism that had already become familiar. The Vorontsov Palace in Alupka, built by the architect Blor from Britain, is the embodiment of Moorish influence.
In the Russian Empire, many beautiful eclectic-style architectural works were built, which we admire today, paying tribute to the skill and talent of their creators. In addition, thanks to this particular direction, the formation of Russian Art Nouveau became possible. But that is another story.