Architectural historians, specialists in the field of monument protection, genealogists, local historians, and journalists gathered to discuss issues related to the search for and introduction into the scientific discourse of new documents that reveal previously unknown facts of the architect’s biography, the history of some of his buildings and the problem of the demand for the heritage of Gavriil Baranovsky.

It is no coincidence that the House of the Russian Geographical Society in St. Petersburg became the venue for scientific discussion, because this is the only building of the architect that has never changed its purpose and has been preserved in the form in which Gavriil Baranovsky conceived it at the beginning of the 20th century.

The external and internal appearance of the structure of the Headquarters of the Russian Geographical Society in St. Petersburg combined imperial representativeness and, at the same time, democracy inherent in science, and romanticism, inseparable from the spirit of geographical travel.

(From the speech of A. Ilyina).

Life and destiny

Gavriil Baranovsky went down in history as one of the most progressive Russian architects of the early 20th century, who left many amazing buildings. “Architectural historians appreciate Baranovsky very much, but for the general public, this is a rather mysterious figure,” says Elena Travina, a researcher of the architect’s biography.

Gavriil Vasilyevich Baranovsky (1860–1920) – architect, architectural historian, publisher. In 1885-1917 he served in the Technical and Construction Committee of the Ministry of the Interior, while in 1897-1905 he taught at the Institute of Civil Engineers, dealt with issues of building legislation.

His most famous works in St. Petersburg are the House of the Eliseev Brothers Trade Association on Nevsky Prospekt, the building of the Russian Geographical Society, a Buddhist temple, and his own dacha Villa Arfa in Kellomyaki (now Komarovo).

In 1894–1905, he published the Stroitel magazine, as an author and editor he created the fundamental Architectural Encyclopedia of the Second Half of the 19th Century (vols. 1–7, 1902–1908).

Elena Travina did a lot of work in the Russian and Finnish archives, during which she managed to dispel many myths and establish historical facts regarding the life and work of Gavriil Baranovsky. Until recently, it was believed that the “court architect of the Eliseev merchants” could belong to their family, and, possibly, was married to one of the daughters (sisters) of the head of the trading house. In fact, the only wife of G.V. Baranovsky was Ekaterina Vasilievna Kobeleva - the daughter of a real state adviser to the non-commissioned master of the horse of the Highest Court. In 1890, the Baranovskys had a son, Vasily (1890–1945), who graduated from the Imperial School of Law in 1911, and in 1914 as an external student at the Conservatory in piano. After the October Revolution, the second profession was very useful to the son of a famous architect, when lawyers were not needed, however, like architects.

In 1917, the Baranovsky family ended up at their dacha in Kellomyaki, Gavriil Vasilyevich himself was left without his favorite job and, having lived for three difficult and anxious years, died of heart failure in July 1920. Buried at the local cemetery. Elena Travina managed to find a record of his death in the parish register of the Spiritual Church in Kellomäki in the National Archives of Finland. Thus, another myth was dispelled - about the cause of death and the place of burial of the architect, which, unfortunately, could not be found at the Komarovsky cemetery. Installing a memorial plaque on the cemetery fence is simply necessary, - Elena Travina believes, - in order to perpetuate the memory of the outstanding architect, teacher, architectural historian, who did so much for Russia. So far, all attempts to implement this plan rested against a blank wall, - the researcher stated bitterly.

Researchers drew basic information about the architect from the “Jubilee Collection of Information on the Activities of Former Pupils of the Institute of Civil Engineers (Construction School)”, compiled by G.V. Baranovsky in 1893. For many years this collection was the only source of information about the architect, which also contained the only portrait of him that has come down to us.

Viktor Kryukov (Helsinki) for the first time introduced the participants of the round table to some documents from the family archive. Viktor Kryukov's great-grandmother was the sister of Gavriil Baranovsky's wife, and, according to experts, the materials preserved in this family are priceless. V. Kryukov presented a photograph of the architect himself, previously unknown to researchers, portraits of Vasily Baranovsky's son and his wife, violinist Nora Duesberg, unknown photographs of the Harp Villa during and after construction. The speaker said that the family keeps the correspondence of relatives, the study of the family chronicle continues and, perhaps, in the near future, specialists will receive new information from the life of Gavriil Baranovsky and his entourage.

Villa Nordisk - "Harp" (Harppulinna, Finnish) - the own summer house of the architect Gavriil Baranovsky, built in 1913 in Kellomyaki on a high bank. A park with fountains and a concrete pond in the form of an artist's palette in front of the southern facade of the house was laid out on the site around the dacha. A two-tiered viewing terrace with a beautiful view of the Gulf of Finland was built into the cliff.

The villa was destroyed at the end of the Second World War and its appearance has come down to us from a few photographs. The site has been preserved in its original size, a pond, a gazebo and an observation terrace have also been preserved.

Old photographs from the 30s XX centuries allow architects to get an idea of ​​​​its appearance. Asymmetric volumes characteristic of Art Nouveau, an abundance of open terraces, glazing of the veranda, lightness and elegance of the design distinguished this work.(See: Ushakova O.B. Villa "Harp" by G.V. Baranovsky. Experience of graphic reconstruction // Fontanka: cultural and historical almanac. 2015. No. 18. P. 86-91).

Villa Harp and Villa Orro

Architectural historian Svetlana Levoshko thanked the organizers for organizing a round table dedicated to the outstanding architect, a hero of his time, who embodied a new type of architect at the turn of the 19th and 20th centuries, who did tremendous work: he was engaged in design, pedagogical, publishing and journalistic activities. “The breadth of coverage, approaches in his work, the legacy he left required more attention from specialists, but to date there is not a single fundamental study dedicated to his personality and creativity,” the researcher emphasized.

On the example of two now lost villas built according to the project of G. Baranovsky on the coast of the Gulf of Finland in Kellomyaki and Toila-Oru (Estonia), Svetlana Levoshko demonstrated the strongest qualities of an architect, among which, in addition to style, innovative and engineering talent stands out.

Architect Olga Ushakova continued the theme of Baranovsky's dacha buildings, presenting a virtual reconstruction project for the Arfa villa. The work was carried out within the framework of the global project "Documentation of the Lost" by students of two St. Petersburg universities: the State University of Architecture and Civil Engineering and the University of Information Technologies, Mechanics and Optics under the guidance of the author of the report. Due to the fact that the drawings of the villa have been lost, the creative team based on archival materials - photographs, memoirs of contemporaries and analogues had to recreate the architectural image of the villa "Harp" based on a 3D model.

Specialists in the field of monument protection have been sounding the alarm for more than one year about the surviving buildings on the territory of the former site of the Villa Arfa. Unique buildings - a gazebo, an observation terrace can be demolished overnight by new owners due to the fact that they are not included in any of the lists of cultural heritage sites.

Researcher Svetlana Marakhonova presented a photo album of the family of the head of the Eliseev Brothers trading house, Grigory Eliseev, dedicated to the estate in Orro (now Toyla-Oru). The unique album of photographs was preserved by the descendant of the only daughter of the merchant, Marietta Eliseeva, and contains detailed images of the views, interiors of the villa and its surroundings.

The house that Baranovsky built

One of the most striking reports was made by art critic Anna Ilyina, who for the first time presented a description of the interior of the Scientific Library of the Russian Geographical Society .

The researcher noted that the library of the Russian Geographical Society is a unique special book collection located in an outstanding architectural structure and interior. “The priceless book collection was created simultaneously with the Russian Geographical Society, and the library became the focus of the Society's activities, its spiritual core. The organization of the space emphasizes this significance,” Ilyina noted. “And the interior of the library is quite worthy of being included in the list of the most significant interiors of the Art Nouveau era.”

Baranovsky - publisher

Historian Vadim Zhukov, analyzing the publishing and journalistic activities of the architect, drew attention to two of his works, which occupied a special place in the creative biography of Gabriel Baranovsky and in the history of architecture in general. A tribute to his Alma mater was the "Jubilee collection of information about the activities of former students of the Institute of Civil Engineers (1842-1892)". The book contains brief biographical information about the graduates, listing the buildings they own.

"The Architectural Encyclopedia of the Second Half of the 19th Century" by Gavriil Baranovsky is a fundamental work that has absorbed the best architectural examples of domestic and world architecture. The encyclopedia includes graphic tables, photographs, detailed images of facades, buildings, their fragments and details in plans, projections, and perspectives. About 22 thousand images are placed on almost 5 thousand pages. Nothing of the kind has been published either before or after that either in Russia or abroad, V. Zhukov emphasized.

An excursion was organized for the participants of the round table with a visit to the library, the Presidium Hall, the office of the President of the Society and the exhibition dedicated to the 170th anniversary of the Russian Geographical Society. Tourists could also see an exhibition of historical photographs of the building of the Russian Geographical Society, taken at the beginning of the 20th century by the famous photographer, member of the Russian Geographical Society S.M. Prokudin-Gorsky, and assess the safety of the building and its interiors from the moment of construction to the present day.

Baranovsky, as an architect-encyclopedist, certainly felt the pulse of modern architectural life, its relationship with the economy, culture, politics, and all of his buildings always demonstrate unconditional intellectual and creative freedom, the main thing is a very accurate understanding of the purpose of the building (A. Ilyina).

Text: Tatyana Nikolaeva

Photo: Alexander Filippov, Andrey Strelnikov, site terijoki.spb.ru

The works of the architect G. V. Baranovsky are known to many. Only in St. Petersburg, according to www.citywalls.ru, there are 14 of them, including the most famous - the Eliseevsky store on Nevsky, the Buddhist datsan on Primorsky, Baranovsky's own house on the street. Dostoevsky, which was recently reported schwarzze - http://schwarzze.livejournal.com/368698.html. The "Architectural Encyclopedia" by GV Baranovsky is also known to everyone who is interested in architecture.

But little is known about G.V. Baranovsky himself, and what is “known” is often well-established legends that have nothing to do with reality.

Let's start with the fact that until 2011 not a single portrait of G. V. Baranovsky was publicly available. In February 2011, my colleagues from the Teriyok site, Elena Travina and Victoria Makashova, discovered a portrait of Baranovsky in the album "Jubilee collection of information about the activities of former students of the Institute of Civil Engineers. 1842-1892" in the collections of the SPbGASU Museum (former LISI).

Farther. According to an established legend, G. V. Baranovsky was married to the daughter of G. P. Eliseev, the head of the Eliseev trading house. This information is also present in the article about G. V. Baranovsky in the Russian-language Wikipedia. However, this is not true. Baranovsky was married to Ekaterina Vasilievna Kobeleva, the sister of civil engineer Nikolai Vasilyevich Kobelev. This information is confirmed by two sources - the same SPbGASU museum and the descendants of the Kryukov family, Baranovsky's neighbors in the dacha in Kellomyaki (Baranovsky's neighbor Kryukov was married to the sister of Baranovsky's wife).

There was no reliable information about the death of G. V. Baranovsky - place, reason, date. Usually they indicate the year 1920, Petrograd, and either shot by the Bolsheviks during the "Red Terror" or starved to death (the latter version is also given in the mentioned Wikipedia article).

And just the other day, Elena Travina and Victoria Makashova discovered the parish book of the Kellomyak Spiritual Church for 1920 in the National Archives of Finland. Here it must be said that this church burned down in 1918. But, since a certain number of Russians remained in Kellomyaki after the revolution, a house church with the same name operated there. And in this book, my colleagues found an entry dated July 28, 1920, about the death of Gavriil Vasilyevich Baranovsky, a civil engineer, from heart failure. And that he was buried at the Kellomyak Orthodox cemetery, that is, at the very necropolis, which is now known for the fact that A. A. Akhmatova, academician D. S. Likhachev and many other famous figures of science, culture and art are buried there .

Last year we examined the Komarovsky necropolis for pre-war graves. Several such graves have been preserved there, but few are marked - http://terijoki.spb.ru/old_dachi/komarovo_nekropol.php. There are still many nameless mounds, which means G. V. Baranovsky is under one of them.

Yes, just for your information, a photograph of the famous villa "Harp" (location - http://terijoki.spb.ru/old_dachi/komarovo_map.php?xd=04&ob=30), architect G. V. Baranovsky's dacha in Kellomyaki.

A little less than 35 years ago, one of the most famous Russian monument restorers, the architect Baranovsky, passed away. At one time he lived in a tiny apartment, located in the Novodevichy Convent, in hospital wards. And this more than modest dwelling for several decades was the headquarters where the salvation of Russian culture was organized. More details about the architect Baranovsky, whose photo is presented in the article, will be told today.

amazing person

The architect Petr Dmitrievich Baranovsky is a very extraordinary figure in Russian history and culture. After all, it was thanks to him that it was possible to restore in its original form located in Moscow,

He stood at the origins of the creation of the Kolomenskoye Museum-Reserve, was the savior of the Spaso-Andronikov Monastery from destruction. Architects call it Habakkuk of the 20th century, as well as a guardian angel who saved church architecture. There is a version that he prevented the destruction of St. Basil's Cathedral, which was the idea of ​​one of the party bosses, Lazar Kaganovich.

Biography of architect Baranovsky

She was truly extraordinary and dramatic. Let's take a look at some facts.

• The architect, restorer, who was among the creators of new methods of restoration and conservation of objects, was born in 1892 into a peasant family. He died in Moscow in 1984.
• 1912 - graduated from the construction and technical school in Moscow.
• 1914 - served on the Western Front as the head of the construction site.
• 1918 - received a gold medal from the Moscow Archaeological Institute (department of art history).
• 1919-22 - was a teacher of the history of Russian architecture in the department of the Moscow Archaeological Institute in Yaroslavl.
• 1922-23 - taught the same subject at Moscow State University.
• 1823-33 - director of the museum in Kolomenskoye.
• 1933-36 - repressed and served his sentence in exile in the Kemerovo region, in the city of Mariinsk. After his release, he was an employee of the museum in Aleksandrov.
• Since 1938 - a member of various state structures for the protection of monuments, one of the founders of the society for the protection of historical and cultural monuments.
• 1946, 1947, 1960 - creator of museums in Chernigov, Yuriev-Polsky, in the Andronikov Monastery in Moscow, respectively.

In the hungry years

Everyone who communicated with him at that time was amazed by his efficiency, fearlessness in front of his superiors, including high-ranking officials. And they were also surprised by his selfless love for the masterpieces of architecture.

Baranovsky worked almost around the clock, managing in the hungry twenties not only to give lectures to students, but also to collect materials for the dictionary of architects, visit dozens of cities in which restoration work was carried out according to his projects.

At the same time, he fought for each of the old houses in Moscow, if those in power planned to liquidate them. Subsequently, the restorer-architect Inessa Kazakevich noted that on such streets as Volkhonka and Prechistenka, all the houses that were valuable historically and architecturally survived only thanks to the influence of Baranovsky.

Museum in Kolomenskoye

In order to save the cultural property that was being destroyed, the architect Baranovsky in 1923 organized the Museum of Russian Architecture, which was located in the Moscow region, in the Kolomenskoye estate. By that time, the buildings located in the estate were in a deplorable state. The park was cut down for firewood, and the land was occupied by a collective farm called the Garden Giant.

At first, the museum had only two employees - a watchman and a supply manager. The restorer had to bring there alone many exhibits scattered throughout the country. These were ancient icons, church utensils, household items of bygone centuries. Among the objects that he managed to deliver disassembled to the capital were:

• towers taken from the Nikolo-Korelsky monastery;
• corner tower of Bratsk prison;
• house of Peter I, located in the Novodvinsk fortress.

At the same time, under the leadership of Baranovsky, work was carried out to restore the estate itself.

Main principle

With the great master, it was simple in design, like everything ingenious, but difficult in implementation. He believed that it was necessary to recreate buildings not just in the spirit of the era, but to try to give them their original appearance.

At the same time, without regret, he destroyed all the later layers and structures that were available. Although this principle was accepted with hostility by many, the architect Pyotr Baranovsky stood his ground, because in those years this method was the only one with which it was possible to save monuments from immediate demolition.

In 1925, Baranovsky discovered a new method by which monuments were restored. It consisted in building up the "tail parts of the brick", which are still preserved. Today, this approach is the cornerstone of any restoration carried out professionally.

Despite the falls

In the same year, the master began the restoration of the Kazan Cathedral located in Moscow on Red Square. As eyewitnesses recall, he participated in the restoration work in the most direct way.

So, for example, the architect Baranovsky tied one end of the rope to a cross that towered over the cathedral, and tied the other around the waist. Having secured himself in this way, he was engaged in the liberation of ancient beauties from the details of unnecessary numerous alterations.

At the same time, the architect broke down several times and thereby greatly harmed his health. But that never stopped him. There is evidence that even at an advanced age, he climbed onto the scaffolding of the Krutitsy Compound in order to discuss important nuances directly at the workplace.

The Assassination That Wasn't

The pre-war period in Baranovsky's life became a black streak for him. In 1933, he was arrested, accused of having allegedly concealed a number of church valuables from exhibits in Kolomenskoye. At the same time, the investigator also added anti-Stalinist activities to the case. As Baranovsky himself later wrote, investigator Altman attributed to him participation in the attempt on the life of Comrade Stalin.

And also he was charged with active participation in political organizations that aimed to overthrow the existing government. According to the architect, even three years of camps faded before the horrors of interrogations, monstrous lies, moral tortures that he experienced while in prison.

The spirit is not broken

The camp life did not break this remarkable man. From the memoirs of her daughter, Olga Baranovskaya, the following is known about those years. Upon his return from the camp, he began very hastily to measure, secretly photograph and make drawings of the Kazan Cathedral on Red Square.

The fact is that by order of the government they began to destroy it. However, the architect Baranovsky was very upset by the outrage he observed with his own eyes against the unique monument of the 17th century, which he himself restored.

In addition, he had to endure humiliation and great inconvenience due to the fact that every day at 17-00 he had to check in at his place of residence in Alexandrov as an unreliable person who had returned from exile.

At the same time, it should be noted that it was possible to recreate the cathedral in its original splendor only because the restorer created accurate and complete materials. This was only done in 1993.

Last years

Almost until the end of his life, Baranovsky was engaged in the restoration of churches, old mansions, opposed the demolition of monuments. He wrote the first charter of the society for the protection of monuments. It is surprising that, according to the testimony of the environment, the master, who devoted his whole life to the preservation of church architecture, was not a believer.

In his personal life, the architect Baranovsky was happy with his wife, Maria Yurievna, his faithful companion. She died in 1977. By the end of his life, Baranovsky saw very poorly, but retained clarity of mind and, to the best of his ability, was engaged in streamlining his archive.

Every artistic contribution invested in the common treasury,

should be conscientiously included in the total,

by which the acquisitions of the human spirit are measured.

Gavriil Vasilievich Baranovsky, like many intellectuals of his generation, was shaped by the worldview of romanticism, developing it in his work to a new frontier - Russian modernity. In the year of his birth - 1860 - Arthur Schopenhauer died, convincing his contemporaries that the world is confused, a person is shrouded in blinding instincts, and only a creative genius in this chaos is a guiding star.

What could be further from a boy born in provincial Odessa in the family of a petty official? Such a beginning of life, it would seem, is not illuminated either by the light of heroic romance or the seal of exclusivity ... But it is all the more interesting to understand how Gavriil Baranovsky embodied the type of person by his fate, matching the deeply romantic worldview of a man of art with the practicality and rationality of a master and scientist.

In 1880, Gavriil Baranovsky entered the architectural department of the Academy of Arts as a volunteer. Life in the capital at that time was turbulent, social problems were vigorously discussed, and students actively participated in this. Baranovsky publicly expressed regret over the execution of two young Narodnaya Volya members, Alexander Kvyatkovsky and Andrey Presnyakov, who made an unsuccessful attempt on Alexander II. This was enough for him to be expelled from school - for political reasons.

But a year later he entered the second year of the future Institute of Civil Engineers, in which he showed himself very well. He graduated from the Gavriil Baranovsky Institute in 1885, having received excellent reviews and a silver medal for the best architectural project. Pavel Yulievich Syuzor became its leader and teacher, who later became famous for one of the brightest and most controversial examples of Art Nouveau - the Singer House on Nevsky Prospekt, which will be built 15 years after that moment.

The first independent work of the young architect was small: the decoration of the house church, the construction of a family tomb. But the first notable works were tenement houses on the Fontanka embankment. Although the mature works of Gavriil Baranovsky are classified as Art Nouveau, his first steps as an architect were not so defined stylistically. The apartment building at 64 Fontanka embankment pays tribute to the classical canons in the Italian version. At the same time, the architect uses facing bricks and ceramics as decor, creates an outstanding cornice that is brought forward. Note that this house was one of the first in St. Petersburg to have central heating. It is also difficult to determine the style of the neighbor's house on Lomonosov 14, built in the 1890s. The building - also an apartment building - at 14 Chernyshev Lane has become quite striking. The two houses look like a single complex, although these are two different buildings, designed in a similar way. The same principle of facade decoration is used here, although even more colorful and fractional. In fact, Baranovsky built up a whole small quarter, and upon completion of tenement houses he became their manager. This allowed him to soon become the owner of his own similar institution: Baranovsky's profitable house was preserved on Dostoevsky Street.

As is clear, a galaxy of tenement houses has already been the beginning of cooperation with the legendary Eliseev brothers. But these buildings are almost 10 years old, which Gavriil Baranovsky worked on various projects of the Eliseev family. In addition to tenement houses, he designed mansions, shops and even an almshouse for them. There is a legend that such close cooperation was due to kinship - supposedly the architect married a woman from this family. However, the surviving documents do not confirm this: in 1889, Gavriil Vasilyevich married E.B. Kobeleva, and lived with her to the end. The truth here is that his wife's brother actually worked with the architect - he was his assistant. And orders from the Eliseevs are explained by successful cooperation and satisfying results. In all this work, Baranovsky showed himself to be an architect, consistently rethinking the principles of classicism in the spirit of modernity. He used new methods of three-dimensional layout, and in the building of his own tenement house, erected in the same years, he innovatively did without decorations at all, encircling the house with ribbon balconies.

The trading houses of the Eliseev brothers, built in St. Petersburg and Moscow by Gavriil Baranovsky, became a real creative success of this union, glorifying the architect and making an excellent advertisement to the industrialists. At the intersection of Malaya Sadovaya Street and Nevsky Prospekt, there is an early modern building that attracts attention with a huge stained-glass window on the side of the avenue and sophisticated exterior decor. The entrance to the store is decorated with sculptures by the Estonian master A. Adamson with a characteristic symbolic meaning: "Industry", "Science", "Trade" and "Art". Inside the building there were three trading halls, the best storage cellars in Europe, and on the second floor there were office premises (such as a bank, an office) and even a concert hall that was rented out to theater troupes. Wealth, splendor, even some pretentiousness of buildings caused an ambiguous reaction of contemporaries, and some even called the style of new St. Petersburg buildings (like Eliseevsky or Singer's house) - "merchant". But Petersburgers eventually accepted this building and the names of its creators were not lost in the people's memory even during the Soviet renaming.

The second incarnation of this image is the Moscow Eliseevsky shop ("Eliseev's shop and cellars of Russian and foreign wines"), also built by Baranovsky in the Art Nouveau style a couple of years before. In fact, the concept of a chic store that catches the attention of buyers with a bright luxury store was first “tested” in Moscow. Eliseevsky shops entered the galaxy of works of early Russian Art Nouveau along with the works of Shekhtel, Klein, Fomin. So what is early Russian modernism in architecture, which rethought the fruits of romanticism of the past century on the threshold of the 20th century? This is an attempt to embody - holistically and substantively. Rejection of the dictate of formal ideals (as in classicism) in favor of new convenient solutions that outwardly imitate natural forms; the smoothness of the corners, innovative materials (stone, iron), and the close relationship between the building and its elements are characteristic of this style. The interior of the Art Nouveau building is no less important than its general architecture, much attention is paid to all forms of external, staircase decoration,. The idea of ​​synthesis of all arts for the expression of a single idea rules the ball here. So, entering the restored store on Tverskaya, the visitor is almost stunned by the inventive and bright decor with lots of accents - dazzling chandeliers, tiles, wall decorations. For romanticism (and modernity in architecture), attention to national roots and their rethinking is very important - it is not for nothing that art critics often classify modernity by country. “Our beauty is in the original and rational,” G. Baranovsky himself formulated this. There is something folk, spreading in the interior of the shops - as if you find yourself in a fabulously abundant Russian tower (this feeling is created by the chosen design of the columns, decor on floral themes and color schemes).

Buddhist temple

In the work of G. Baranovsky, the “national” theme, albeit in the colonial spirit characteristic of romanticism, can be traced. So, he was the author of the building of the Russian Geographical Society (which, in particular, was patronized by the Eliseevs), erected in 1907-1909 and preserved at the address: Grivtsova Lane, 10. This building is distinguished by the use of large stained-glass windows and strict forms. It is noteworthy that the metal shelving of the library in it is fixed directly on the foundation of the building. Another famous and already truly exotic project by Baranovsky is a Buddhist temple (datsan), built in St. Petersburg according to the canons of Tibetan architecture. To create it, a scientific council was created, which included oriental ethnographers. Among them was Nicholas Roerich - he also made 8 large stained-glass windows with images of good Buddhist symbols. This building, built and developed under the leadership of Baranovsky by a whole team of authors, connects features with and was one of the most expensive Buddhist structures in the Russian Empire at that time.

G. Baranovsky is known not only as a representative of Russian modernism, but also as a systematizer and public figure. We have already mentioned his teaching at the Institute of Civil Engineers: he also compiled a collection of works of graduates called “Jubilee collection of information about the activities of former students of the Institute of Civil Engineers (Construction School)”, in 1894-1905 he published the journal “Builder” and contributed to the development of architectural communities.

House on Lomonosova, 14

But the greatest fame was brought to him by the multi-volume "Architectural encyclopedia of the second half of the 19th century", begun in the late 1890s. Until now, this encyclopedia, and especially the seventh volume "Details", is a storehouse of ideas for facade decoration.

From 1902 to 1908, seven volumes of this work were published (the sought-after architect could afford to work not “on the table”). The first is devoted to the “architecture of confessions”, then - catalogs of public buildings (educational, administrative, professional), spaces of “spectacles”, exhibitions and theaters. The fourth volume is devoted to “dwellings and services”, while the fifth one describes the architectural solutions of streets, squares, and parks. The last two volumes are devoted to fragments of buildings and details. According to this clear composition (sequence) of the encyclopedia, it is clear that Baranovsky approached its creation as an architect: having based the main themes - religious and educational buildings as the most important manifestations of the human Spirit, he gradually completes this work “before finishing”, descriptions of the most private details, in which architectural art is manifested. At the same time, the direct speech of the author is very interesting, who, in the preface to the work, as a real modernist, indicates that only in the 19th century did architecture become inherent in “the desire to free itself from the age-old traditions of imitation and convention and become a direct expression of the ideas and requirements of its time.” This is what makes the project of the encyclopedia, despite the humility of the chosen minimally subjective genre, nevertheless very bold: to describe the evolution of art and the human spirit in the language of architecture.

- (March 25, 1860 around 1920, Petrograd), Russian architect, architectural historian, publisher. Lived and worked in St. Petersburg. In 1885 he graduated from the Institute of Civil Engineers (IGI), in 1885 1917 he served in the Technical Construction Committee of the Ministry ... ... encyclopedic Dictionary

Baranovsky Gavriil Vasilievich- (1860-1920), architect, architectural historian. Graduated from IGI (1885). He dealt with issues of construction legislation and urban planning. Member of the Board of the Society of Civil Engineers. The early buildings of Baranovsky are residential buildings on ... ... Encyclopedic reference book "St. Petersburg"

- (1860 1920), architect, architectural historian. Graduated from IGI (1885). He dealt with issues of construction legislation and urban planning. Member of the Board of the Society of Civil Engineers. The early buildings of B. residential buildings on the embankment of the river ... ... St. Petersburg (encyclopedia)

- (1860 1920), Russian architect. Worked in St. Petersburg. Buildings with facades in the spirit of eclecticism are marked by rational planning decisions (a residential building on the Fontanka embankment, 1890); later built in the Art Nouveau style (partnership complex ... ... encyclopedic Dictionary

- (1860-1920), architect. Worked in St. Petersburg. Buildings with facades in the spirit of eclecticism are marked by rational planning decisions (a residential building on the Fontanka embankment, 1890); later built in the Art Nouveau style (the partnership complex "Brothers ... ... Big Encyclopedic Dictionary

- (1860 1920). He graduated from PIGI in 1885 with the title of citizen. eng. He had a private practice in St. Petersburg. The son-in-law of the merchant G. G. Eliseev, for whom he built in St. Petersburg (1902 03) and remodeled in Moscow (1903, Tverskaya St., 14) trading houses. He built a profitable house along Kozitsky ... ... Big biographical encyclopedia

- ... Wikipedia

- ... Wikipedia

Baranovsky is a Russian surname. Surnames Male: Baranovsky Alexander Ivanovich (1890 1965) Soviet graphic artist and architect. Baranovsky, Boris Evgenievich chief choreographer of the Moscow Academic Operetta Theater, Honored ... ... Wikipedia

Baranovsky G.V.- BARANOVSKY Gavriil Vasilyevich (1860–1920), architect. Worked in St. Petersburg. Buildings with facades in the spirit of eclecticism are marked by rational planning decisions (a residential building on the Fontanka embankment, 1890); later built in the Art Nouveau style ... ... Biographical Dictionary

Books

• Architectural encyclopedia of the second half of the XIX century. In 7 volumes. Set of 8 books, Baranovsky Gavriil Vasilyevich. Reprint from the publication. SPb. 1902-1908. The publication includes the best examples of artistic and architectural creativity of masters from all over the world for that period of time. The encyclopedia includes graphic…
• Architectural encyclopedia of the second half of the XIX century. Volume 2. Book 1, Baranovsky G.V.. The encyclopedia was recreated according to the edition of 1902-1908, for the first time it is printed in 7 volumes (8 books), in the original format and in full. The author of the encyclopedia Baranovsky Gavriil Vasilyevich, ...