Sergey Borisovich Speransky ( May 10 ( May 23 ) 1914 , Kazan - March 13, 1983 , Leningrad ) is a famous Leningrad architect. In the 1950s - 1960s, he designed residential buildings of the Moscow district . Since the 1960s, he led the construction of iconic public buildings and structures, in particular, the building of a television center, the Leningrad Hotel , and participated in the creation of the Victory Square ensemble [2] .
Sergey B. Speransky | |||
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Sergey Speransky | |||
Basic information | |||
A country | |||
Date of Birth | |||
Place of Birth | |||
Date of death | |||
Place of death | |||
Works and achievements | |||
Worked in cities | Leningrad , Minsk , Vyborg | ||
Town planning projects | participated in the development of the ensemble of Victory Square , in the formation of the modern look of Moscow and Novoizmaylovsky prospect | ||
Awards | |||
Awards | |||
Ranks | |||
Member of the Union of Architects of the USSR since 1942 . Member of the Academy of Arts since 1979 [2] .
He died in Leningrad in 1983 . He was buried in the cemetery in Komarovo [3] .
Early years
Sergei Speransky was born in Kazan on May 10 ( May 23 ), 1914, in the family of lawyer Boris Dmitrievich Speransky. His parents soon dispersed, therefore his uncle, scientist and physician Alexey Speransky [4] had a special influence on the development of the child.
He spent his childhood years in Sverdlovsk , and graduated from high school there. In 1932 he went to Leningrad, where he tried to enter the Institute of Painting, Sculpture and Architecture named after I. Repin . However, Speransky did not pass the entrance exams, so he went to the Institute's Institute Workers' College and got a job as a driver at the Lenmyasombinat construction site. Two years later, he continued his studies at the Architectural Department of the Institute of Painting [4] . In 1941, Speransky defended his diploma on the subject “Library of the Academy of Sciences (in Moscow)” [5] .
At the beginning of the war he volunteered for the front, participates in battles, was twice wounded. Demobilized in 1942 . In 1944, with a group of architects of Leningrad and Moscow, he was sent to Minsk to participate in the restoration of cities destroyed during the war. In Minsk, experts had to develop a plan for rebuilding the city.
In accordance with the state myth, which developed in the USSR in the late 40s - early 50s, urban planning put the creation of central triumphal streets at the forefront. These highways were intended for festive processions, respectively, all buildings, including residential, should have looked majestically [6] .
Speransky worked in the capital of the BSSR until 1947. During this time, he developed projects of several buildings, made in the style that later became known as the Stalin Empire style . Among the most famous are: the district military registration and enlistment office and developed in collaboration with the architect Alexander Zhuk obkom CPB . Both projects were not implemented [7] . In 1947, Speransky returned from Minsk to Leningrad [8] .
First works in Leningrad
At the end of 1946, Lenproekt held a contest for preliminary projects of the Narvskaya station, one of those that should have appeared on the first Leningrad metro line . The commission presented the first prize to architect Boris Zhuravlev . When three years later Lenproekt conducted the second round of the competition, all submitted projects were rejected. Obviously, Sergei Speransky knew the theme of the design - “The Revolutionary History of the Narva Gate ”. He, together with the architects and David Goldor and A. V. Vasiliev, proposed their own idea out of competition. Their work, "dedicated to the great leader of the working people, Comrade Stalin, " was approved by the party leadership, and on May 30, 1950, the creative team received the right to further develop the station, and then the right to design the ground-based vestibule. For his work, Sergey Speransky was awarded the Order of the Red Banner of Labor , and his colleagues were awarded the Badge of Honor [9] .
In 1947, Speransky together with the sculptor Viktor Sinaisky participated in the competition for the design of the monument to Nikolai Dobrolyubov . They received the first prize [5] . The opening of the monument took place only in November 1959 [10] .
In 1948, Speransky went to work at Workshop No. 5 of Lenproekt [11] .
Work in Khrushchev time
From 1953 to 1964, Sergei Speransky headed Workshop No. 6 of Lenproekt [11] . It was during this period in the Soviet architecture that a radical change took place not only in style, but also in working methods. In November 1954, Nikita Khrushchev , General Secretary of the Central Committee of the CPSU , criticized the pompous architecture of the Stalin era [12] , and on November 4, 1955, the Council of Ministers and the Central Committee of the CPSU issued a decree " On the elimination of design and construction excesses ". With this document, the government officially announced a change in construction principles throughout the country. Instead of spending efforts on the development of individual landmark objects, intellectual and material resources should be directed to the development of typical housing construction in the USSR [13] . Thus, in the mid-1950s, the construction of buildings approved in Stalin's time was completed, and at the same time the development of new structures deprived of external expressive decoration was carried out. During this period, according to Speransky’s plan, a complex of 10-storey residential houses was built in the style of the Stalin Empire style on Stalin Avenue opposite the House of Soviets . In their external design was originally used the motif of the classic architecture of Karl Rossi . Petersburg architect of the XIX century dismembered the volume of the main facade on the rusticated first floor, which was treated as a basement, and the front mezzanine with the third floor combined with an order . In the project of Speransky, there was a warrant that united the top three floors of the building, and the rest of the facade remained almost completely devoid of decorative design [6] . Only the portico located in the center of the building, and the portals on either side of it are lined with dark red granite [14] .
In accordance with the new tasks set by the leadership of the party, Lenproekt specialists - Igor Fomin , Boris Zhuravlev, Lev Kosven, Victoria Struzman and Sergey Speransky - developed the 415th series of large-block houses, which in the mid-1950s built up a quarter in the area of the present Yuri Gagarin Avenue . The quarters consisted of five- and seven-story houses, practically devoid of external decorative elements. The main means of external expression were the contrasting colors of the lower floors and protruding balconies. The seven-story buildings were additionally decorated with bay windows [15] .
The next stage in the development of model construction was the 507th series for the Moscow region , developed at the turn of the 1960s by Workshop No. 6 of Lenproekt. The buildings of this series were built in the city from 1959 to 1974, thanks to which they became the most massive Leningrad “ Khrushchev ” - 30% of the housing stock. In the houses there were one-, two-and three-bedroom apartments with an area of 31 m², 44 m² and 55 m², respectively. It is noteworthy that in two-room apartments it was not supposed to create a living room, the kitchen also could not be used as a living room, since its area was only 5 m². The blocks necessary for the construction of the 507th series produced DSK-4 [16] .
According to the project of Speransky and Kosven in 1962-1964, Novoizmaylovsky Prospect was built up. The architects tried to preserve the advantage of typical building, but at the same time they diversified the architectural ensemble by alternating 5-storey houses and pinpoint 12-storey houses. In this case, the tower houses created a kind of accents. Plasticity of the main facades diversified loggia. Thus, the external expression was the result of the design features of the building [17] .
During this period, Speransky received fame in professional circles abroad. In 1961, he participates in an international competition for the planning and development of Berlin . In the same year, he, as part of the Soviet delegation, visited the Congress of the International Union of Architects , which was held in Great Britain . Subsequently, he attended congresses of architects in Cuba , in France , in Czechoslovakia , Bulgaria [18] .
In 1962, Speransky was elected chairman of the Leningrad organization of the Union of Architects of the USSR . From 1964 until his death, he headed the Design Workshop No. 2 of the Leningrad Zonal Research and Design Institute for Typical and Experimental Design of Residential and Public Buildings of the State Committee for Architecture and Urban Planning under the USSR State Construction Committee (LenZNIIEP) [5] . The task of the research institute was to design typical residential and public buildings intended for construction in the northern regions of the USSR, including in the Far North [19] .
Telecentre
A landmark project developed by Speransky during this period was the television center complex located on the Petrograd side . The architect designed the main building on Chapygin Street . It is a single monolithic volume, the monotonous facade of which rhythmically separates the elongated windows. In the early 1960s, the Leningrad television center was the largest in Europe: it contained 21 studios, as well as editorial and support services. In 1963, the construction of a 326-meter TV tower was completed a few blocks from the television center. The creation of the complex stimulated the development of television broadcasting in Leningrad and provided coverage in the region [20] .
Construction of the hotel "Leningrad"
The next significant project of Speransky caused a lot of controversy and discussion in a professional environment. In the early 1960s, the party leadership of the city proposed the creation of a modern hotel in Leningrad. The building should have been built on Pirogovskaya Embankment . The development of the project was entrusted to Sergey Speransky. Following the fashion and, probably, taking into account his own preferences, the architect proposed to build a tall building of glass and concrete. It is noteworthy how Speransky described his project to his colleagues. As an argument, he did not use the theme of the relevance of art or economic expediency. On the contrary, he emphasized the successful, in his opinion, location of the architectural dominant in the city center. Moreover, Speransky in his speech at the Technical Council of the Architecture and Planning Department of the Leningrad Council called the future building a “crystal palace”, obviously hinting at a famous building of the XIX century :
A long time ago, when we did not design this hotel, did not design the buildings of the Naval Museum, I spoke at the council then, and it may seem strange, I somehow had a dream that a high crystal palace stands next to the museum, but always in a dream, it turned out to be very beautiful. And I must say that such things happen, it seems to me that in this place there should be a tall glass building. Many years later, it was possible to make this volume, and it seems to us that this place is such an accent that unites around itself a fairly classical horizontal building and this volume, set in this place, should organize volume, not just volume, but to be a sculptural education and in its composition, in its place, with a height of about 70 m at the top mark [21] . |
However, as the plan developed, attitudes toward it changed due to the position of the Leningrad intelligentsia regarding the preservation of the historical buildings of the city. From the second half of the 1960s, architects and even public organizations began to advocate for the immutability of the architectural ensembles of the historic center. Not surprisingly, in the mid-1960s, during a regular discussion of the hotel plan, the chief architect of Leningrad, Valentin Kamensky, declared that he would not allow the construction of a 25-story skyscraper next to the Peter and Paul Fortress . As a result of discussions, it was decided to reduce the height of the building by 40% from the originally proposed plan [22] .
At the early stage of discussing the plan, Speransky spoke out precisely as a supporter of the restructuring of the central part of Leningrad. In his speech at the UPU Lensovet, he noted that “near the Kirov Bridge [the embankment] loses its face to Smolny Avenue ”, thereby the architect diminished the value of the residential historical buildings of Kutuzov Embankment and Voskresenskaya Embankment . Regarding the restructuring of the block on Pirogovskaya Embankment, which was required for the construction of the hotel, he said: “We are cleaning this house [on the site of the future hotel], as the hotel’s conditions and height do not allow it to have a residential building, and we uncover the inner courtyard of this quarter. And the whole middle turns into a big green square ” [22] .
The difficult long-term development of the project caused Speransky a serious illness, which led him to undergo surgery. After the operation, the architect violated the instructions of the doctors and went to the construction site, where he immediately climbed onto the scaffolding. During his illness, Speransky lost 30 kg, but did not stop working [23] .
Construction of the hotel building was carried out in 1967-1970. In the final version of the hotel is a 12-storey building with nine residential floors. At the same time in it could live 1312 people. The large restaurant is a separate two-story building located in front of the main facade of the building. At the height of construction, in 1968, by the decision of the Leningrad Executive Committee, the future hotel was named Leningrad [24] .
After the completion of construction work, the public and specialists from the architectural environment could not reach a common opinion regarding the feasibility of such a building in the historic center of the city. The position of the apologists was expressed by Speransky’s associate architect Igor Fomin: “... Looking at the hotel, you feel how it merged with the environment with its retaining walls, stairs and ramps, granite terraces, as if continuing the Neva parapets and descents” [25] . And although the construction was approved by Leningrad officials, shy comments were already heard in Soviet times that “erecting the 12-storey Leningrad hotel on the Vyborg side ... ... the stately silhouette of the Neva embankments violated somewhat” [26] . Dmitry Likhachev put it more categorically in the famous article "The Heavenly Line" of the city on the Neva. The philosopher believed that the main feature of the architectural panorama of Petersburg-Leningrad was a combination of horizontal lines (the junction of water and land, the top of the embankments, the junction of the line of houses and the sky). In his opinion, three spiers emphasize the significance of the horizontal lines - the Peter and Paul Fortress, the Admiralty and the Mikhailovsky Castle . Likhachev believed, and this opinion is often cited, “The dominant role of the horizontals in the city is greatly disturbed by the Leningrad Hotel, built in the non-national boxed style. Its horizontals are completely at odds with the horizons of the Big Neva ” [27] .
In the 21st century, disputes over the expediency and relevance of the St. Petersburg Hotel turned around with a new force, since Next to the Soviet modernist building, new high-rise buildings appeared, in the first place - the business center "Mont Blanc". There is an opinion that Speransky's method — the dismantling of historic buildings for the sake of erecting a modern building — took over the next generation of architects who created a “creepy cluster” around the hotel. However, the architects, students of Speransky, believe that the “clear constructivist composition” of the hotel is a monument of its time [28] .
Victory Square Complex
Soon after the end of the siege of Leningrad, the professional community began to discuss the plan for building a monument dedicated to the defense of the city . In 1957, the Leningrad branch of the Union of Architects held an open competition for projects of the monument. Of the 44 works submitted, the jury awarded the first prize to a project developed by a group of masters, among whom was Sergei Speransky. The location for the installation of the future monument was chosen by the Executive Committee of the Leningrad City Council only in 1964 - on the Medium Slingshot , on which Moscow Avenue rested. The symbolism of the chosen place was that in January 1944 an offensive of the forces of the Leningrad Front began in the region of Srednaya Rogatka, the outcome of which was the liberation of the city. Given the future construction, the territory was named Victory Square [29] .
The final draft of the monument and the composition of the masters was made only in 1971. Architects Speransky and Kamensky, sculptor Mikhail Anikushin were chosen as leaders of the creative team. Construction work on Victory Square began in 1974. The central space of the oval square was to occupy a monument, in the center of which a 48-meter stele is located, and a symbolic broken ring was created around it. [29] . Speransky considered the entire area as a single architectural ensemble. In parallel with the construction of the monument, two symmetrically located on each side of the area of 20-storey buildings were built. As conceived by the author, they created a kind of propily of entry into the city [30] .
Family
Wife - T. V. Speranskaya, daughter of sculptor Victor Sinai. At Speransky were born daughters Barbara and Elena [31] .
Memory
On the house at Suvorovsky Ave, 56, where Sergey Speransky lived from 1953 to 1983, a memorial plaque was installed [32]
Implemented Projects
- Residential building with artists' workshops, Suvorovsky Prospect , 56 (in collaboration with Igor Fomin, Georgy Alexandrov, 1949-1953).
- Educational and laboratory building of the Leningrad Electrotechnical Institute (joint with Igor Fomin, Georgy Alexandrov, 1949-1959).
- Residential buildings in the Nevsky district (joint with Fomin, 1950-1957).
- Monument to Nikolai Dobrolyubov (joint with sculptor Victor Sinai, 1951-1959).
- Narvskaya metro station, Stachek Square , 2 (in collaboration with David Gol'dor and A.V. Vasiliev, 1951-1955).
- The building of the Leningrad Research Institute of Radio Engineering , Rastrelli Square , 2 (with the participation of A. I. Knyazev, 1952-1955).
- Residential buildings on Moskovsky Prospect (with the participation of I. V. Railean, 1953-1956).
- Telecentre and TV tower (joint with Vladimir Vasilkovsky , A. D. Katz , 1954-1962).
- The monument to Fedot Shubin in the Mikhailovsky Garden (jointly with Sinai, 1957–59).
- Residential buildings with artists' workshops on Moskovsky Prospect (in collaboration with EF Vladimirova, 1961-1965).
- Integrated construction of Novoizmaylovsky Prospect (joint with Vladimirova et al., 1961-1965).
- Integrated construction of Victory Square (jointly with Katz, 1961-65, 1975).
- The building of the Central Research Institute of the Diesel Institute, Moscow Highway 25, (jointly with Yu. F. Kozhin, A.I. Efraimovich, 1962-1967).
- The customs building on the Soviet-Finnish border (jointly with Volonevich, Mikhailov, 1963-1967).
- Hotel "Leningrad", Pirogovskaya Embankment, 5 (in collaboration with Victoria Strusman, Sergey Mikhailov, Nikolai Kamensky , 1962-1971, 1973-1987).
- Monument to the heroic defenders of Leningrad in the years of the Great Patriotic War of 1941-1945. on Victory Square (in collaboration with Kamensky, Mikhail Anikushin, 1971).
- Metro station " Polytechnic " (joint with Kamensky, L. G. Badalyan, 1974-1977).
- The building of the All-Russian Scientific-Research Institute Electronstandart (in collaboration with V. S. Volonevich, 1976-1985).
- The Pulkovskaya Hotel on Victory Square (jointly with Volonevich, 1977-1983) [2] .
Entries
- Architectural and artistic design of the Volga-Don Canal (1950).
- Pantheon in Moscow (1954).
- Victory Monument in Leningrad (jointly P.A. Areshev, V.S. Maslov, Yu.K. Pokrovsky, 1958).
- Planning of the central regions of Berlin (jointly with Maslov, A.I. Naumov, V.S. Popov, 1958).
- Naval Station in Leningrad (joint with Maslov, Popov, 1958-1959).
- Victory Monument at Playa-Giron , Cuba (joint with Mikhailov and sculptor A. V. Degtyarev, 1964).
- Monument to the heroic defenders of Odessa (in collaboration with Volonevich, Kamensky, 1966).
- Central Museum of V.I. Lenin in Moscow (in collaboration with Volonevich, Kamensky, 1971).
- Center for Contemporary Art in Paris (in collaboration with Volonevich, Kamensky, M. V. Chernov, 1971).
- Monument "In Memory of the International Communist and Workers' Movement" in Moscow (jointly with Anikushin, 1977-1980).
- Monument to Mikhail Lomonosov in Leningrad (in collaboration with Degtyarev).
- La Défense Community Center in Paris (joint with Volonevich, Vyacheslav Ukhov) [2] .
Awards and prizes
- Lenin Prize (1978) - for the “Monument in honor of the heroic defense of Leningrad in 1941-1943 and the defeat of the German fascist troops near Leningrad in 1944”
- USSR State Prize (1973) - for the architecture of the building of the Leningrad Hotel and the complex of customs facilities at the Soviet-Finnish border
- People's Architect of the USSR (1971)
- two orders and medals
Notes
- ↑ Speransky Sergey Borisovich // Big Soviet Encyclopedia : [in 30 t.] / Ed. A.M. Prokhorov - 3rd ed. - M .: Soviet Encyclopedia , 1969.
- ↑ 1 2 3 4 Speransky Sergey Borisovich (1914-1983) . Russian Academy of Arts (2017). The appeal date is July 2, 2018.
- ↑ Izyaslav Twuretsky. Cemetery of the village of Komarovo. St. Petersburg . Russian necropolis (2010). The appeal date is July 2, 2018.
- ↑ 1 2 Speranskaya, 2014 , p. 17–18.
- ↑ 1 2 3 Frolov, 2014 , p. 14.
- ↑ 1 2 Ikonnikov, 2006 , p. 345-346.
- ↑ Minsk, which is not: what projects of the Soviet architects remained on paper . Onliner.by (February 11, 2012). The appeal date is June 27, 2018.
- ↑ Ikonnikov, 2006 , p. 346.
- ↑ Zhdanov, 2017 .
- ↑ Monument N.A. Dobrolyubov . RuTraveller (2013). The appeal date is July 1, 2018.
- ↑ 1 2 Frolov, 2014 , p. 15.
- ↑ Khmelnitsky, 2007 , p. 322.
- Resolution of the Central Committee of the CPSU and the Council of Ministers of the USSR of November 4, 1955 No. 1871 "On the Elimination of Excesses in Design and Construction" . Sovarch (2017). The appeal date is February 27, 2018.
- ↑ Yakovchenko, 1986 , p. 128
- ↑ Series 415. Ideal . Slum Spy (October 30, 2015). The appeal date is June 30, 2018.
- ↑ Shuvalov V. 60 years ago in Leningrad began to build Khrushchev. How long do they have to live? City 812 (January 16, 2018). The appeal date is June 29, 2018.
- ↑ Baranov, 1975 , p. 585.
- ↑ Frolov, 2014 , p. 14–15.
- ↑ Lenzniiep // St. Petersburg. Petrograd. Leningrad: Encyclopedic reference. / Belova L.N., Buldakov G.N., Degtyarev A.Ya. et al. - M .: The Great Russian Encyclopedia, 1992. - P. 317-318. - 678 s.
- ↑ Ilchenko, 2013 , p. 51.
- ↑ Kelly Catriona. "Correct" whether the story? Disputes about the protection of monuments in Leningrad 1960-1970-ies . Russian magazine (2009). The appeal date is June 28, 2018.
- ↑ 1 2 Error in footnotes ? : Invalid
<ref>
; no text for footnotes - ↑ Speranskaya, 2014 , p. 18.
- ↑ Hotel "Leningrad" - Hotel "St. Petersburg" . Citywalls.ru (2018). The appeal date is June 28, 2018.
- ↑ Fomin, 1974 , p. 45.
- ↑ Baranov, 1975 , p. 462.
- ↑ Likhachev D.S. The “Heavenly Line” of the city on the Neva . D. Likhachev Foundation (2017). The appeal date is July 1, 2018.
- ↑ Zolotonosov M. What the great architect Speransky taught his best students . Online812.ru (June 25, 2014). The appeal date is June 30, 2018.
- ↑ 1 2 Lezik E.V. Look at the harsh faces of Leningrad epic years ... . Oboznik (2015-11-5). The appeal date is June 27, 2018.
- ↑ Fomin, 1974 , p. 41
- ↑ Speranskaya, 2014 , p. 19–22.
- ↑ Suvorov Ave, d. 56 . GradPetra (2015). The appeal date is June 29, 2018.
Literature
- The general history of architecture in 12 volumes / Baranov N. V .. - M .: Stroyizdat, 1975. - V. 12 (1). Architecture of the USSR. - 754 s.
- Zhdanov A.M. Metropolitan Petersburg. Metro legends, projects, architects, painters and sculptors, stations, ground lobbies . - M .: Tsentrpoligraf, 2017. - ISBN 978-5-227-07543-7 .
- Ikonnikov A.V. Space and form in architecture and urban planning. - M .: ComBook, 2006. - 352 p. - ISBN 5-484-00424-1 .
- Speranskaya V.S. “Dad was kind of artistic” // Architect Sergey Speransky. Centenary master. Catalog of the exhibition. - 2014. - p . 17–24 .
- Fomin I.I. Sergey Borisovich Speransky // Architecture of the USSR. - 1974. - pp . 40–47 .
- Frolov V. Biography of Sergey Speransky // Architect Sergey Speransky. Centenary master. Catalog of the exhibition. - 2014. - P. 14–15 .
- Khmelnitsky D.S. Stalin's architecture. Psychology and style. - Progress-Tradition, 2007. - 560 p. - ISBN 5-89826-271-7 .
- Ether on the background of the era. Essays on the history of the Leningrad-Petersburg radio and television / S. Ilchenko, V. Osinsky, Yu. V. Klyuev. - SPb. : St. Petersburg State University, 2013. - 320 p.
- Yakovchenko P. N. Moskovsky Prospect. - Leningrad: Lenizdat, 1986. - 142 p.