2020 | Building Peace through Heritage
The topic of borrowing order cells continues in the building of the Sergiev parish almshouse named after P . S . Milovidova ( Chernyshevsky St ., 150 , 1911 , arch . P . M . Zybin ). Moreover , in this case , the classic order element , copied from the facade of the Pompeii Palace in Verona , was superimposed on an eclectic-style building .
In the Soviet period , the buildings of T . G . Botyanovsky , L . E . Doroshenko , V . P . Dybova , V . S . Istomin , contributed to maintaining the classic look of Saratov , but did not at all make it an exemplary socialist city in the manner of Minsk or Stalingrad because of its small number .
The most expressive is the house ‘ saratovneftegas ” ( Kirova Ave ., 23 , 1950s ), this is a 5-storey building , the composition of its facade is represented by a floor order in the form of pilasters at the 4th and 5th floors . Rustic basement , reaching a height of 3 floors and a cornice decorated with modulons , is clearly distinguished . The facade is divided by horizontal interfloor rods and has clearly calibrated proportions and elegant details ; its image relates us to the forms of the Palazzo Tienne in Vicenza Andrea Palladio .
It is also possible to note the house of workers of the Ship Repair Plant ( Lermontov St ., 31 , arch . E . M . Petrushko , 1949 ), and a residential building on Kutyakova Street , 22 ( arch . D . Karpov ). The solution to their facades also demonstrates the influence of the Italian Renaissance .
It should be noted that the Saratov architecture of Soviet neoclassicism is characterized mainly by an orderless composition of facades . The column order did not find active use . Obligatory elements of the facade are clearly marked cornice and rusticated basement .
It would seem that having such vivid examples of working with the classical heritage , modern architects should be imbued with the spirit of harmony and beauty and apply the experience of the old masters in their work . Moreover , today , the design and construction of historical-inspired objects is the main part of the design practice of Saratov architects . But the real situation is that instead of feeling beauty , the modern architecture of Saratov evokes a sense of horror .
Take , for example , the House of Nedonoskov ( Gorky St ., 11 , 1820 ). This two-story house is built in the style of Russian classicism : a high basement , rusticated walls of the first floor , walls of the second floor with windows trimmed with portal-shaped frames with closed sandriks , and a well-shaped cornice . The facade of the building was designed according to the “ model project ” from a series of developments owned by the metropolitan architect of Italian origin , Carlo Rossi . The building is an object of cultural heritage of regional significance in the Saratov region .
In the 1990s , the house was without an owner , empty and began to gradually collapse . A long struggle with the participation of the local administration and the Minister of Culture of the Russian Federation ended with the fact that in 1996 the house of Nedonoskov , despite its protective status , was demolished . In 1997 , it was decided to restore it in its original form . Over time , the house was restored , but only its former appearance was lost forever . Now the Saratovites see a “ remake ” ( Figure 4 ), approximately and very roughly reproducing the appearance of the destroyed building . In addition to changing the building in height , there are many inconsistencies in the details of its decor : a combination of platband and sandric , which was never used in classicism , the shape and solution of the mezzanine pediment is also far from the “ model project ”, the strange girdle above the windows of the mezzanine is simply indecently large . Nevertheless , this remake inherited the status of a monument of architecture and is an object of cultural heritage .
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