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Project "86A" "Turgenev" is a country estate with a comfortable layout. Project "Turgenev" Description and cost

House-Museum of I.S. Turgenev, occupying a 19th-century wooden mansion on Ostozhenka 37 in Moscow, was closed for restoration. It will last 650 days.
On October 1, the results of the competition to select a contractor will be announced. The initial cost of the contract is 91.5 million rubles. According to the tender documentation, the bidder must have a license to carry out activities to preserve cultural heritage sites, as well as experience in performing such work.
Details are posted on the website of the capital's Department of Competition Policy. So, on the territory of the memorial house with an area of 514 square meters, work will be carried out to strengthen the foundations and restore the facades, interiors, walls, window and door fillings. Floors and internal floors must be replaced engineering systems, including electrical, water and heat supply systems, drainage, heating, ventilation, air conditioning, automation, dispatching, burglar alarm, video surveillance, radio, fire alarm and fire alerts. In addition, the territory of the house will be improved, and the entire museum will be adapted for the needs of groups of citizens with limited mobility.

According to the museum’s website: “The next stage will be the scientific restoration of the famous city estate, the reconstruction of the memorial rooms of I.S. Turgenev and the opening of a new permanent exhibition."
How realistic is it today to restore authentic interiors from the Turgenev era? What work of their predecessors can today's restorers complete? What do the Turgenev House and Muscovites risk losing in case of illiterate restoration? Answered these questions for us architect-restorer Igor Andreevich Kiselev, who led the restoration work in the 1970s.

“Once, walking along Metrostroevskaya Street at that time (mid-1970s) past Turgenev’s house, I suddenly caught in the window signs of restoration work, connected, as always in such cases, with the removal of plaster in the house. In one of the rooms, paper wallpaper was clearly visible through the windows. As it turned out later, this was Varvara Petrovna’s room. It was clear that none of the restorers would work on wallpaper (it was not accepted then, however, as it is now, 40 years later). Therefore, I did the only thing that was possible under those conditions. I ran to the nearest grocery store, bought two bottles of Stolichnaya and asked the workers to put up scaffolding in this room, which was done with lightning speed. Neither before nor after have I encountered such inspired working enthusiasm at domestic restoration sites.
Thus, quite by accident, I had the chance to examine the walls and ceiling in Varvara Petrovna’s room. A few months later, also by accident, I had to manage this object in the Mosrestavratsiya trust, because... The previous author quit. There was an opportunity to explore the monument in its entirety. However, by that time the situation had changed most decisively. The restoration work was carried out by a military unit (!), sailors (!), who received the command to strip all the walls down to the wood, which they did with the official zeal that was common in the army at that time. But the guys who served in the army were, after all, ours, relatives, Russians, so in many places there were gaps left unfilled - square meters plaster untouched by the sailors, which made it possible to find wallpaper in almost all rooms of the house. Now this circumstance seems to me simply unheard of luck, if we compare, for example, with the situation in the Herzen Museum.

By the way, in the Herzen Museum the process of direct liquidation of historical artistic interiors was carried out by Tajiks. These guys left a mere few centimeters of wallpaper. These tiny remains (in addition to the respectable conscientiousness and pedantry of our guest workers) testify to the highly artistic level of interior decoration in the house of Yakovlev, one of the richest people Russian Empire. And also about the insufficient professional training of domestic restoration personnel. Everything was stripped in the most decisive and uncompromising manner and, of course, safely thrown away along with the construction waste.

In the mid-1970s, a restoration of the monument was carried out in Turgenev's house with a complete change in the stylistic appearance of the facades and interiors, focusing on the memorial period. In 2009, the museum reopened after a facelift.
Turgenev's house on Ostozhenka is perhaps the only museum in Moscow (in the country?) today, the interiors of which are known for certain and can be reproduced in each room in its historically accurate completeness. Including Varvara Petrovna's room (of course, not in the living room), as well as Ivan Sergeevich's office, which, without a doubt, was in the mezzanine, and it is even known in which room (it is difficult to imagine greater expositional nonsense than the office in the mezzanine). All elements: decoration of walls and ceilings, stoves, floors, windows, door and window fittings, etc. - were found in full during the previous restoration. Everything that could not be accomplished last time (the customer was the Sports Committee) is quite accessible for scientifically based restoration today. Of greatest interest are, perhaps, the wallpaper and paintings of walls and ceilings during the memorial period. Plaster and cornices in interiors appeared only in 1870; before that, everything was covered with decorative “paper.”

I would like to warn specialists against the mistakes made by restorers in other Moscow literary museums - the Aksakov House, the Herzen House, where, as a result of restoration work, not only were the original interiors not restored, but the original traces and evidence that were preserved at the time the restoration work began were cleaned out and thrown away. Millions of rubles were allocated and used for the destruction of the most valuable memorial objects.

There is a common misconception that I have faced my entire life. As a rule, the museum, and with it the restorer and the exhibition artist, develop enviable creative activity by the time the time comes for finishing works on the monument, i.e. after the civil works are completed and the walls are plastered. At this time it is too late to do anything. Design for finishing works is the first stage of research and design on a monument, which follows preliminary work. The fact is that probing and opening in structures can only be carried out after examining the surface of the walls, because during constructive openings, all finishing layers of previous eras are removed from the surface of walls and ceilings, including the most valuable - the original ones. This is a special stage of field research, which, in particular, includes color clearing, but should not be limited to this. There may be several layers of plaster, each with its own colorful or pictorial layers. There may be many layers of wallpaper under and on the plaster. Wallpaper and paintings can be hidden under staircase structures or later partitions. Exactly at finishing materials Traces of lost staircases, fireplaces, transverse walls and much more are discovered, and all this disappears forever along with the knocked down plaster. At the same stage, i.e. at the very beginning of field research, wallpaper from the desired memorial period is discovered. After which design decisions must be made on the upcoming finishing work: recreation of the wallpaper, fragmentary or complete restoration, or display of original wallpaper in fragments, as was done in the house of the Muravyov-Apostles. There may be combined options, for example: partial or complete recreation with windows into the past and showing the originals. In my Philadelphia museum, original Russian paper wallpapers are exhibited together with reconstructions, because... original samples almost never give a real idea of the original characteristics of the colors.

Starting to do all this at the production stage of finishing work is an activity devoid of meaning. There is even less sense in trying to cover the walls with wallpaper made by analogy at a time when genuine memorial interior decoration remains on the walls, unnoticed by anyone.

Replacing floors in any log house cannot be said to be a professionally successful undertaking. First of all, the floors in any log house are connections, a membrane that protects the spatial structure of the structure from movement, deformation and collapse. The floor beams cut into the frame during construction "into the frying pan", so remove them and insert them into place, as is done in stone houses, is absolutely impossible. This is the first.

Now let's see what will happen when we remove the old floors.

1.Genuine designs and material i.e. living fabric of the memorial: beams, cranial beams, roll-up.

2. On the ceilings - original wallpaper: paper, different colors of the ceilings in each room - in harmonious accordance with the color of the walls; borders adjacent to the ceilings, painted cornices (TrompeL"oeil), their supporting and crowning parts; brush paintings of rosettes self made using the grisaille technique; friezes painted to imitate marble are the same trompe l'oeil, so beloved in any turn of Russian classicism.

Preservation of original material in monuments is the main task of any restoration. If the concept design work this principle is not laid down, let's stop calling it the word "restoration" - maybe reconstruction, maybe major renovation- anything, but not restoration. Today, reliable and inexpensive methods for preserving wood have been developed. At the same time, “breaking it down and making it again twice as good as before” is a favorite restoration method of working with both wooden and stone historical buildings. A good engineer and a good technologist are very important components of any restoration process. Everyone knows that a good dentist always strives to use any means to preserve natural teeth. I remember how Vladimir Ignatievich Yakubeni told the engineers in the house on Sofia embankment: “I don’t need an engineer to take it apart and then do it again. I can do it perfectly well myself. I need an engineer to preserve the monument.” And he saved it - with the help of engineers who well understood the goals and objectives of the restoration process.

Every restoration and every restorer, working with a monument, always removes something. Often due to ignorance, but most often due to technical condition, which is easily recognized as unsatisfactory. In addition, it is a process of irresponsible exploitation... So, over time, less and less of both the monument and the culture remain in a cultural monument.

The opening in the wall between the choir and the hall can become one of the most interesting solutions in the restoration project of Turgenev's house. The fact is that this opening is usually always open, and only the baluster of the fence is a conditional barrier between these two spaces. Choirs, as a rule, are non-residential spaces. In our case, the room was used for orchestra members once or twice a year, the rest of the time it served as a full-fledged living room (tutor? guest room?) with developed space and full decorative finishing. The opening in the hall, the noisiest and most daily used front room in the house, was most likely glazed and opened only on special occasions when the orchestra was located there. There should also be curtains on the choir side, because... the mezzanine room is a personal space, and the hall is a public space. The opening between the choir and the hall was filled with vertical beams in 1870.

We will wait with impatience and hope for the results of a competent restoration and a new convincing exhibition. Of course, public discussion of restoration proposals and the Thematic and Exhibition Plan seems useful and even simply necessary. It is best to track project proposals step by step, from preliminary work to working documentation.

The project of I.S. Turgenev’s house can greatly benefit from its public consideration at public councils at various levels. Today we can clearly say that the corps of ministerial experts did not live up to expectations, if not completely discredited themselves.

In our native country there is still no professional restoration criticism of completed projects, such as literary or artistic criticism. Debriefing, i.e. public discussion of the work carried out: scientific research, historical and archival research, engineering and technological proposals, as well as the problem of adapting the monument - with an objective and friendly analysis of the entire scientific, design and production process. From time to time, the press contains chronicles and reports about the completion of the restoration of a particular monument. As a rule, enthusiastic. The Association of Restorers has a habit of announcing even those projects that have not yet begun, but I have never observed a detailed analytical discussion of the project among professionals, its advantages, innovations, or disadvantages. Maybe Turgenev’s house is the very museum object from which a new tradition will begin?
Dossier:

Igor Andreevich Kiselev - architect-restorer, author of a number of reference books on restoration practice, creator and curator of the museum " Paper wallpaper in the context of Russian culture" (USA, Pennsylvania). Author of projects for the restoration of historical and cultural monuments in Russia and the USA. During measurements and surveys of the demolished historical buildings of Moscow, he collected unique material, which he later used to create methods for dating existing and restoring lost elements of architectural monuments.

House at Ostozhenka, 37 was built in 1819. The wooden Empire-style mansion with a six-column portico, mezzanines, and seven windows along the façade was a typical example of Moscow post-fire buildings.

There are many famous families among the residents of the Ostozhensky house. In 1826, the Aksakov family settled here; then N.V. Levashov - participant Patriotic War 1812, a man of Pushkin’s circle and a close acquaintance of the poet himself; Colonel F.I. Tolstoy, nicknamed "The American"; Privy Councilor Major General A.V. Bogdanovsky, whose portrait adorns the famous military gallery of J. Doe in the Winter Palace of St. Petersburg.

On September 16, 1840, V.P. moved into the house. Turgeneva is the mother of the Russian classic.
Ivan Sergeevich, having completed his education at the University of Berlin, first appeared on Ostozhenka in May 1841. Subsequently, he often visited here on his way from St. Petersburg to the family estate of Spassky and back; spent two springs in the Ostozhen house - in 1844 and 1845. After the death of his mother in November 1850, Turgenev lived here for more than two months, dealing with inheritance matters. His many friends and acquaintances came to this house - prominent representatives of social, literary and theatrical circles in Moscow: T.N. Granovsky, M.S. Shchepkin, V.P. Botkin, the Bakunin brothers, Aksakovs and others. In his rooms on the mezzanine he worked on articles for the journal Otechestvennye zapiski; here the plans for “Bezhin Meadows” and the poems “Andrey” and “Conversation” were born. Many literary scholars believe that Turgenev described the house and the events that took place in it in the story “Mumu”. The prototypes of the characters in the work were real people who lived in the house of the “lady” - Varvara Petrovna. In 1851, Turgenev left the house forever and never returned here.

At the end of the 19th century. A shelter named after Grand Duke Sergei Alexandrovich was opened in a house on Ostozhenka. After the October Revolution interior layout The house was significantly modified to accommodate communal apartments. The house was occupied only in 1976, after renovation it housed a sports organization.

In April 2007, according to the Decree of the Moscow Government, the Ostozhensky mansion was transferred to the State Museum of A.S. Pushkin with the aim of creating a museum of I.S. Turgenev. On October 9, 2009, the new museum opened with the exhibition “Moscow. Ostozhenka. Turgenev."

A noble nest is a coveted home, a standard and everything for a modern Russian person living outside the city. And if a customer who wants to build an estate house is inspired by literary and historical flavor, then for the executor-architect such a project becomes an important test of knowledge of the history of architecture and the ability to use the stylistic means of the language of classical architecture. The turbulent history of the 20th century has left us with few original examples of Russian estate architecture. architecture. And if in Europe historical palazzos and chateaus have been preserved in much more and still remain in the use of private individuals, then in Russia the surviving estates and palaces belong to the state and operate as museums.

Architect Harold Mosolov and his team faced difficult task. It was necessary to create not just an interior in a large house built on an almost palatial scale classic style, but to recreate the atmosphere as if with early XIX This house has been inhabited for centuries. Let’s imagine that over time it changed organically and has survived to this day as a residential building with several cultural layers, adequate to modern requirements, but with a carefully preserved atmosphere of the noble past.

It must be said that there were all the prerequisites for the construction of just such a sprawling estate. The house is not located in a cramped suburban village, but in the center of a large, development-free area, with meadows and forest, an estate, not a plot. The first floor is built according to the classical model: in the center there is a large hall, on both sides of which there are enfilades of rooms symmetrically located.
The representative part of the building is a high, two-story living room and a hall with a grand staircase; they give the impression of a palace. The architect did not try to decorate all the rooms in the same style, and this is historically justified, as in the original estates XIX centuries there were “themed” rooms, decorated on a certain exotic theme, for example Chinese. Again, the task of the architect and designer in this case is difficult: it is necessary to maintain a fine line between stylization and eclecticism, and not turn the interior into Disneyland. Harold Mosolov and the team developed a concept in which individual restrained stylized rooms are “strung” onto a single stylistic core - the Russian Empire style. Therefore, a living room in a classical style is adjacent to a hall in an Egyptian style, and the inside of the majestic staircase in the center of the building is an Italian courtyard with windows overlooking the garden.

It is worth noting the architect’s inspired and challenging work with light - natural and artificial. The location and size of windows in relation to the rooms are calculated to create a play of light and a feeling of openness surrounding nature, fortunately the landscapes outside are not spoiled by huge fences and unnecessary buildings. And in ground floor Without windows, an impressive-sized bar with a billiard room was created, and the lighting problem was solved in the most elegant way. The ceiling, completely flooded with electric light, imitates an open atrium. sun rays. By the way, a real atrium, or, more precisely, a dome, is also present in the house, and in clear weather the sun illuminates the entire monumental staircase opening.

The task of creating not just an interior, but an interior with history, also corresponds to the main bedroom - the master bedroom.
The architect suggested that at the beginning of the 20th century, during the Art Nouveau era, a new generation of house owners decided to update individual rooms in the spirit of the times. Therefore, the bedroom of the owners of the house in memory of the hypothetical great-grandmother and great-grandfather is decorated in the Art Deco style. The furniture chosen was not antique from that period, but modern, stylized, so that the interior would correspond to the spirit of our time and would not reek of a museum.

The selection of household appliances and electronics was particularly difficult. One that would not introduce dissonance into the interior with ultra-modern design, but would not be overly stylized either. Therefore, the author decided to settle on a variant of discreet, functional high-tech, which, with its refined, almost transparent lines, delicately introduced a modern theme into the decor, but not breaking the overall style.

A special emphasis of this interior is the abundance of thematic and plot paintings, which enliven the Empire style coolness and create interesting visual effects. For example, a painting in a bar-billiard room depicts horse racing scenes and sets the general English theme premises.

Harold Mosolov:

“We tried to create in the project the atmosphere of a classic Russian estate, so that this house did not look like a museum. We imagined a hypothetical historical mansion, an empire-style building built in the 19th century, but which has survived to this day and has changed over time.”

The turbulent history of the 20th century has left us with few original examples of Russian estate architecture. And if in Europe historical palazzos and chateaus have been preserved in much greater numbers and are still in the use of private individuals, then in Russia the surviving estates and palaces belong to the state and operate as museums.

Not just a living room, but a state hall, palace-like in scale and style. The furniture zones this entire space, creating a cozy separate space around the fireplace. The chandelier with a diameter of 4.5 meters was made according to the author’s sketches in Austria. Furniture, Provasi

A fragment of the inside of the main staircase, stylized as an Italian courtyard. Painting by Boris Voskoboynikov. According to the author of the project, the space of the staircase was quite complex: it is the core of the building, and they made it so that it represents an independent value, a separate interest

Architect Harold Mosolov and his team had a difficult task ahead of them. It was necessary to create not just an interior in a classical style inside a large house built on an almost palatial scale, but to recreate an atmosphere as if this house had been inhabited since the beginning of the 19th century. Let’s imagine that over time it changed organically and has survived to this day as a residential building with several cultural layers, adequate to modern requirements, but with a carefully preserved atmosphere of the noble past.

View of the living room and second floor gallery from the windows

View from the hallway to the main staircase

Fragment of the main staircase. The spans are decorated with marble mosaics according to sketches by the artist Savva Arkhipov

The second floor hall, decorated in Egyptian style, is a gallery overlooking the living room

Office in traditional english style. The furniture is made of mahogany according to original drawings in England, in the workshop of Andy Thornton

The staircase ends on the second floor. Symmetrically located living quarters diverge from it

Perhaps the only deviation from the main classical manor aesthetics in this project is the master bedroom, decorated in the later Art Deco style. Ceiling painting by artist Savva Arkhipov. Furniture, Baker

The representative part of the building is a high, two-story living room and a hall with a grand staircase; they give the impression of a palace. The architect did not strive to decorate all the rooms in the same style, and this is historically justified, since in the original estates of the 19th century there were “thematic” rooms, decorated on a certain exotic theme, for example, Chinese. Again, the task of the architect and designer in this case is difficult: it is necessary to maintain a fine line between stylization and eclecticism, and not turn the interior into Disneyland. Harold Mosolov and the team developed a concept in which individual restrained stylized rooms are “strung” onto a single stylistic core - the Russian Empire style. Therefore, a living room in a classical style is adjacent to a hall in an Egyptian style, and the inside of the majestic staircase in the center of the building is an Italian courtyard with windows overlooking the garden.

The bathrooms, of which there are more than ten in the house, well illustrate the concept of the project: modern functional objects, in this case sanitary ware, are naturally and vividly combined with the historical surroundings. Painting by Savva Arkhipov

The billiard room and bar in the basement occupy a space that can accommodate an entire restaurant. Antique Russian billiard table, 1861. Painting with scenes of English horse racing - artist Boris Voskoboynikov. The furniture was made according to the architect's sketches in the Andy Thornton workshop

It is worth noting the architect’s inspired and challenging work with light - natural and artificial. The location and size of the windows in relation to the rooms are calculated in such a way as to create a play of light and a feeling of openness to the surrounding nature; fortunately, the landscapes outside are not spoiled by huge fences and unnecessary buildings. And in the windowless basement, an impressive-sized bar with a billiard room was created, and the lighting problem was solved in the most elegant way. The ceiling, completely flooded with electric light, imitates an atrium open to the sun's rays. By the way, a real atrium, or, more precisely, a dome, is also present in the house, and in clear weather the sun illuminates the entire monumental staircase opening.

Swimming pool on the ground floor with large windows overlooking the forest. Large light panels provide an imitation of daylight in the evening. Traditional Italian techniques were used when laying the mosaics. The author of the mosaic is artist Olga Tsvetkova

The task of creating not just an interior, but an interior with history, also corresponds to the main bedroom - the master bedroom.

The architect suggested that at the beginning of the 20th century, during the Art Nouveau era, a new generation of house owners decided to update individual rooms in the spirit of the times. Therefore, the bedroom of the owners of the house in memory of the hypothetical great-grandmother and great-grandfather is decorated in the Art Deco style. The furniture chosen was not antique from that period, but modern, stylized, so that the interior would correspond to the spirit of our time and would not reek of a museum.

A special emphasis of this interior is the abundance of thematic and plot paintings, which enliven the Empire style coolness and create interesting visual effects. For example, the painting in the bar-billiard room depicts horse racing scenes and sets the general English theme of the room.

Harold Mosolov:

Text: Danila Gulyaev Photo: Zinur Razutdinov

Description and cost

This cottage is very reminiscent of a nineteenth-century country estate in its architecture. The undoubted decoration of the main facade of the house are the large windows. On the ground floor the window is arched and opens into the living room. The entrance to the house is preceded by a wide staircase. The railing of the stairs and porch is made in the same solution as the balustrade of the second floor balcony, and a powerful column complements this solution. Finishing materials for external walls are standard, classic colors pastel shades. The basement of the cottage is finished with natural stone, the roof is covered with bitumen tiles. In the left wing of the house there is a spacious garage for two cars and Utility room with exit to the opposite side. The foundation of the house is formed by a monolithic reinforced concrete slab. External walls have a variation in material design: they can be used here aerated concrete blocks or brick. In this regard, the cottage falls into the category of “brick and aerated concrete houses.” The layout of the house is modern and comfortable. On the ground floor, in addition to the garage, there is a guest area, bedroom, kitchen and dining room. There is a spacious dressing room in the hallway. From the hallway there is a free exit to the distribution hall of the house. To the left of the hall there is a toilet, laundry room, shower room and bedroom. Directly from the hall, a wide doorway leads into the kitchen, which is connected to the dining room into a single space. From the dining room there is a door to a wide terrace overlooking the garden. A wonderful place where on summer evenings you can gather the whole family for tea. From the hall to the right there is a passage into a bright and cozy living room with a fireplace. The dining room and living room are double-height, visually they are separated by a staircase leading to the second floor. On the second floor there are three bedrooms, two bathrooms and a spacious hall overlooking the living room. From the second floor hall there is access to the balcony, which is a decoration of the main facade. The attic according to the project is not in use. This project provides a mirror image of the house and its floor plan. This will greatly facilitate the work of choosing a place to build a cottage on your site, taking into account its lighting and distance from neighboring buildings. Foundation type monolithic reinforced concrete slab 60.3 (200 mm thick) m3 Type of external walls brick or aerated concrete (alternatively) 142.5/140.6 m3 Type interior walls brick or aerated concrete (alternatively) 36.3/35.7 m3 Floor type monolithic reinforced concrete over the 1st and 2nd floors 22.5 + 19.8 m3 Roof rafter structure Roof type ceramic tiles 346.0 m2 Exterior finishing decorative plaster 379.2 m2 Exterior finishing of the basement facing stone 19.9 m2 Number of floors 2 Height of the house from the floor of the 1st floor 9.150 m Height of the 1st floor from floor to ceiling 3.0 m Height of the 2nd floor from floor to ceiling 2.95 m Boiler power with boiler hot water 50 kW Estimated electrical load including electric stove 20.85

Sale of the project - without a contract. Architectural and construction drawings (AC) 36000 (64 sheets of A3 format) Internal engineering systems (IS) heating, water supply, sewerage, electrical equipment 5000 (29 sheets of A3 format) Project passport 3500 Additional copy of the project 3500

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Occupying a 19th-century wooden mansion on Ostozhenka 37 in Moscow, it has closed for restoration. It will last 650 days.
On October 1, the results of the competition to select a contractor will be announced. The initial cost of the contract is 91.5 million rubles. According to the tender documentation, the bidder must have a license to carry out activities to preserve cultural heritage sites, as well as experience in performing such work.
Details are posted on the website of the capital's Department of Competition Policy. So, on the territory of the memorial house with an area of 514 square meters, work will be carried out to strengthen the foundations and restore the facades, interiors, walls, window and door fillings. Floors and internal engineering systems are subject to replacement, including electrical, water and heat supply systems, drainage, heating, ventilation, air conditioning, automation, dispatching, security alarms, video surveillance, radio, fire alarms and fire warnings. In addition, the territory of the house will be improved, and the entire museum will be adapted for the needs of groups of citizens with limited mobility.

According to the museum’s website: “The next stage will be the scientific restoration of the famous city estate, the reconstruction of the memorial rooms of I.S. Turgenev and the opening of a new permanent exhibition."
How realistic is it today to restore authentic interiors from the Turgenev era? What work of their predecessors can today's restorers complete? What do the Turgenev House and Muscovites risk losing in case of illiterate restoration? Answered these questions for us architect-restorer Igor Andreevich Kiselev, who led the restoration work in the 1970s.

“Once, walking along Metrostroevskaya Street at that time (mid-1970s) past Turgenev’s house, I suddenly caught in the window signs of restoration work, connected, as always in such cases, with the removal of plaster in the house. In one of the rooms, paper wallpaper was clearly visible through the windows. As it turned out later, this was Varvara Petrovna’s room. It was clear that none of the restorers would work on wallpaper (it was not accepted then, however, as it is now, 40 years later). Therefore, I did the only thing that was possible under those conditions. I ran to the nearest grocery store, bought two bottles of Stolichnaya and asked the workers to put up scaffolding in this room, which was done with lightning speed. Neither before nor after have I encountered such inspired working enthusiasm at domestic restoration sites.
Thus, quite by accident, I had the chance to examine the walls and ceiling in Varvara Petrovna’s room. A few months later, also by accident, I had to manage this object in the Mosrestavratsiya trust, because... The previous author quit. There was an opportunity to explore the monument in its entirety. However, by that time the situation had changed most decisively. The restoration work was carried out by a military unit (!), sailors (!), who received the command to strip all the walls down to the wood, which they did with the official zeal that was common in the army at that time. But the guys who served in the army were, after all, our relatives, Russians, so in many places there were gaps that had not been knocked down - square meters of plaster untouched by the sailors, which made it possible to find wallpaper in almost all the rooms of the house. Now this circumstance seems to me simply unheard of luck, if we compare, for example, with the situation in the Herzen Museum.

By the way, in the Herzen Museum the process of direct liquidation of historical artistic interiors was carried out by Tajiks. These guys left a mere few centimeters of wallpaper. These tiny remains (in addition to the respectable conscientiousness and pedantry of our guest workers) testify to the highly artistic level of interior decoration in the house of Yakovlev, one of the richest people in the Russian Empire. And also about the insufficient professional training of domestic restoration personnel. Everything was stripped in the most decisive and uncompromising manner and, of course, safely thrown away along with the construction waste.

There is a common misconception that I have faced my entire life. As a rule, the museum, and with it the restorer and the exhibition artist, develop enviable creative activity by the time the time comes for finishing work on the monument, i.e. after the civil works are completed and the walls are plastered. At this time it is too late to do anything. Design for finishing works is the first stage of research and design on a monument, which follows preliminary work. The fact is that probing and opening in structures can only be carried out after examining the surface of the walls, because during constructive openings, all finishing layers of previous eras are removed from the surface of walls and ceilings, including the most valuable - the original ones. This is a special stage of field research, which, in particular, includes color clearing, but should not be limited to this. There may be several layers of plaster, each with its own colorful or pictorial layers. There may be many layers of wallpaper under and on the plaster. Wallpaper and paintings can be hidden under staircase structures or later partitions. It is in the finishing materials that traces of lost stairs, fireplaces, transverse walls and much more are found, and all this disappears forever along with the knocked down plaster. At the same stage, i.e. at the very beginning of field research, wallpaper from the desired memorial period is discovered. After which design decisions must be made on the upcoming finishing work: recreation of the wallpaper, fragmentary or complete restoration, or display of original wallpaper in fragments, as was done in the house of the Muravyov-Apostles. There may be combined options, for example: partial or complete recreation with windows into the past and showing the originals. In my Philadelphia museum, original Russian paper wallpapers are exhibited together with reconstructions, because... original samples almost never give a real idea of the original characteristics of the colors.

Replacing floors in any log house cannot be said to be a professionally successful undertaking. First of all, the floors in any log house are connections, a membrane that protects the spatial structure of the structure from movement, deformation and collapse. The floor beams cut into the frame during construction “into the frying pan”, so it is absolutely impossible to remove them and put them in place, as is done in stone houses. This is the first.

Now let's see what will happen when we remove the old floors.

1.Genuine designs and material i.e. living fabric of the memorial: beams, cranial beams, roll-up.

2. On the ceilings - original wallpaper: paper, different colors of the ceilings in each room - in harmonious accordance with the color of the walls; borders adjacent to the ceilings, painted cornices (TrompeL"oeil), their supporting and crowning parts; brush paintings of handmade rosettes using the grisaille technique; friezes painted to imitate marble - all the same trompe l'oeil, so beloved in any turn of Russian classicism.

Preservation of original material in monuments is the main task of any restoration. If this principle is not included in the concept of design work, let's stop calling it the word "restoration" - maybe reconstruction, maybe a major overhaul - anything, but not restoration. Today, reliable and inexpensive methods for preserving wood have been developed. At the same time, “breaking it down and making it again twice as good as before” is a favorite restoration method of working with both wooden and stone historical buildings. A good engineer and a good technologist are very important components of any restoration process. Everyone knows that a good dentist always strives to use any means to preserve natural teeth. I remember how Vladimir Ignatievich Yakubeni told the engineers in the house on Sofiyskaya Embankment: “I don’t need an engineer to disassemble and then do it again. I can do it perfectly well myself. I need an engineer to preserve the monument.” And he saved it - with the help of engineers who well understood the goals and objectives of the restoration process.

The opening in the wall between the choir and the hall may become one of the most interesting solutions in the restoration project of Turgenev's house. The fact is that this opening is usually always open, and only the baluster of the fence is a conditional barrier between these two spaces. Choirs, as a rule, are non-residential spaces. In our case, the room was used for orchestra members once or twice a year, the rest of the time it served as a full-fledged living room (tutor? guest room?) with developed space and full decorative decoration. The opening in the hall, the noisiest and most daily used front room in the house, was most likely glazed and opened only on special occasions when the orchestra was located there. There should also be curtains on the choir side, because... the mezzanine room is a personal space, and the hall is a public space. The opening between the choir and the hall was filled with vertical beams in 1870.

Igor Andreevich Kiselev - architect-restorer, author of a number of reference books on restoration practice, creator and curator of the museum “Paper Wallpaper in the Context of Russian Culture” (USA, Pennsylvania). Author of projects for the restoration of historical and cultural monuments in Russia and the USA. During measurements and surveys of the demolished historical buildings of Moscow, he collected unique material, which he later used to create methods for dating existing and restoring lost elements of architectural monuments.

There are many famous families among the residents of the Ostozhensky house. In 1826, the Aksakov family settled here; then N.V. Levashov was a participant in the Patriotic War of 1812, a person in Pushkin’s circle and a close acquaintance of the poet himself; Colonel F.I. Tolstoy, nicknamed "The American"; Privy Councilor Major General A.V. Bogdanovsky, whose portrait adorns the famous military gallery of J. Doe in the Winter Palace of St. Petersburg.

At the end of the 19th century. A shelter named after Grand Duke Sergei Alexandrovich was opened in a house on Ostozhenka. After the October Revolution, the internal layout of the house was significantly changed to accommodate communal apartments. The house was occupied only in 1976, after renovation it housed a sports organization.