Shushev church. Biography Alexei Schuseva

Architect Alexey Viktorovich Shushev was born in 1873 in the city of Chisinau in the noble family of the caretaker of the godly institutions.

In the period from 1891 to 1897, he was trained at the Academy of Arts of St. Petersburg at the course of the great Leonty Nikolayevich Benoit and Ilya Efimovich Repin. While still students of this educational institution, he fulfilled the tombstone on the grave of General Dmitry Pavlovich Schubin-Pozdeev, sowing to convince his spouse in this and bypassing many masty artists.

She graduated from Shauses his Alma Mater brilliantly (the theme of his thesis project was the "Barskoye Manor") and was awarded a large gold medal and encouraged a trip to the border, where and went immediately as part of an archaeological expedition. His path lay in Central Asia.

During the expedition, Alexey Viktorovich studied the ancient monuments of this area, among which the Mosque of Bibi Khanum and Tamerlane tomb. All this future architect successfully applied in his work.

In 1888 and 1899, Shushev visited Tunisia, Italy, Belgium, Austria, England and in France. In Paris, he even managed to relieve in the famous Academy of Juliana. Pictures performed by Shushus in this institution were demonstrated by them at the return on the reporting exhibition and gained a high assessment of the artist Ilya Repin.

Upon returning to the Russian Empire, Academician Schusev settled in the then capital - St. Petersburg. In 1901, he received a position in the Holy Synod, where one of his first works was the design of the iconostasis for the Assumption Cathedral located in the Kiev-Pechersk Lavra. Three years later, in 1904, Alexei Viktorovich was instructed to reconstruct the ancient Church of the XII century in the name of St. Vasily in Ukrainian Ovruch.

Soon, the architect Shushev becomes a famous and popular architect in St. Petersburg, so that in 1902 he receives an order from the Count Olsufyeva on the restructuring of his mansion on the fountain. The work was performed excellent and Count, by the time the post of Chairman of the Committee on the perpetuating memory of the Kulikov Battle of the Chairman of the Committee, guarantees Alexey Viktorovich to create a project of the monument church on the basis of a sketch transferred to him. In 1911, the task was fulfilled, and already in the period from 1913 to 1917, the Church in the name of Sergius Radonezh elevated in the Kulikov field.

The first years of the twentieth century, the architect Shusov worked a lot in the direction of church architecture. It was at that time that they created projects of individual buildings in places such as the monastery in Ovruch, the Martio-Mariinsky Monastery in the first-paltol, Trinity Cathedral in the Ukrainian Pochaevsky Lavra, a hotel for pilgrims in the Italian town of Baria and another.

In the same place, in Italy, the Church of Christ the Savior (San Remeo) and the Church in the name of St. Nicholas (Barium) were erected on his project.

In 1911, Alexey Viktorovich Shushev becomes an academician of architecture, after which his further work was associated with civilian buildings. So, in the same year he is appointed to the post of chief architect on the construction of the Kazan Station in the city of Moscow.

After the October Revolution of 1917, the architect continued to work and even with the new authority he was among the most sought-after experts.

From 1918 to 1925, together with, Shchusev supervised the project "New Moscow" concerning the reconstruction of the city. Finally, this plan of reorganization of the city was adopted only in 1935 and most of the "Shchushevsky" ideas did not enter it.

Alexey Viktorovich participated in the construction of pavilions for the first "All-Russian agricultural and hand-industrial exhibition" in the area of \u200b\u200bthe current park named after Gorky, houses for the co-operative village of Falcon on the Volokolamsk highway, the House of Culture at Kazan Station and many other objects.

The construction of the Mausoleum of Lenin was one of the most significant works of Architect Schusev, who was rebuilt by him several times and in the current form appeared already in the 30s of the last century.

It is worth noting that the architect worked not only in Moscow, but also in the cities of the Soviet Union and abroad. His work can be found in Chisinau, Tashkent, Bucharest, Tbilisi, Istra, Novgorod and others.

Architect Schusev Alexey Viktorovich in Moscow in 1949 and was buried on the capital

« The most courageous design can not and should not conflict with the artistic principles of architecture» A.V. Shushev

Architect Shahusev Alexey Viktorovich. Stylistics architecture: Retrospectivism. Neoclassicism. Functionalism. Constructivism. Main architectural objects and projects: Project of the Marfo Mariinsky community with all its buildings; Temple-monument of Sergius of Radonezh in the Kulikov field; Kazan Station; project redevelopment of Moscow; Lenin's Mausoleum; branch of the Institute of Marxism-Leninism under the CPSU Central Committee in Tbilisi; State library of the USSR named after Lenin; Project of the Central Telegraph on Tverskaya Street; Central House of Railway Culture; Hotel "Moscow"; Big Moskvoretsky Bridge; Big Opera and Ballet Theater named after A. Navoi in Tashkent; NKVD building at Lubyanskaya Square.

« Creativity in architecture more than in other arts related to life"Said Shushev. He constantly sought the connection of architectural forms with life processes, not considering neither those nor others. As a true artist, he tried himself in a variety of forms of architecture, finding satisfaction in knowing and expressing everything new and new and not satisfying to the end. Alexey Viktorovich Shushev was born on September 26, 1873 in Chisinau. He was the son of Viktor Petrovich Shuseva - a survival adviser for the rank and a caretaker of godly institutions of office. In 1891, Alexey graduated from the gymnasium and on August 26 of the same year became a student of the first year of the architectural branch of the Academy of Arts.

Mausoleum Lenin. Architect Shusov. Project - 1924.

NKVD building (FSB) at Lubyanskaya Square. Architect Shusov. 1946.

Since 1894, Shchusev has engaged in the workshop L.N. Beno'awho got a thorough professional training. Shchushov is generally lucky with mentors. Each of his teachers had their own circle of creative interests, their addictions. Credo Professor Kotov consisted in approving the Canons of Russian Classics, in the propaganda of the National Heritage, the cats opposed the pseudorussian style, against the formalist copying of the historical monuments of Russian architecture, requiring modern understanding of Russian antiquity. In 1894-1897, Shchusev made detailed measurements of the oldest monuments Samarkand Gur-Emir and Bibi-Hano.. The impressions received from the colorful ancient art of Central Asia played a big role in the future work of the master.

In 1897, Shchusev graduated from the Academy. His graduation project " Bar estate"Was rated the highest score. The project was awarded a big gold medal, and the author of the "Bark Manor" received the right to foreign business trip. 1898-1899 Shchusev spent abroad: in Vienna, Trieste, Venice and other cities of Italy, Tunisia, again in Italy, France, England, Belgium. From his drawings of this period, a reporting exhibition was drawn up, which received an approving review I.E. Repin.

By reckoning from abroad at the Department of Academy Schuseva did not take. Everything was decided by Professor's invitation Grigory Ivanovich Glotov. Alexey grasped for this invitation, although he had previously refused such work, calling her slavery. In addition, the amount of annual salary turned out to be somewhat more than he was offered at the beginning.

First independent order received by Shushov, - Design iconostasis for the Assumption Cathedral of Kiev-Pechersk Lavra And his successful performance seemed to firmly tie a talented young specialist in working on religious structures. But the architect saw in them only the foundation for creating monumental artworks, bringing the glory of Russian art.

In mid-June 1904, Synod sent Schusev to Ovruch. All winter worked Shushev over the project of a local temple and for the spring presented to the court a project of a five-week church in the spirit of the traditions of Russian classics, which organically turn on the preserved details into it. When Schuseva's project was at the St. Petersburg exhibition of modern architecture, critics immediately put it in a number of the most vivid phenomena of modernity. In artistic circles and in the press they spoke about Shchushevsky direction in architecture, declaring the architect by the founder neorussky style. So Schushev came Glory. He perceived it completely calmly.

By 1907 applies project of the Marfo Mariinsky community With all its buildings. According to the testimony of academician I.E. Grabar, Alexey Viktorovich later recalled his work on the way "Martha", when he was "inspired by an excellent smoothness of the walls of the Novgorod and Pskov monuments, devoid of all the Ubar and influencing the feelings of the viewer only by the harmony of volumes and their relationship." Despite relatively large sizes, Marfa produces an amazingly homemade, cozy impression. The temple plan resembles an old key: a beard turned to the west, three rounded petals of the east are oriented east. These three semicircular apses are creating a feeling of comfort, hiding from the eye the bulk of the structure, which is completed with a high strong drum, topped with a slightly pointed area of \u200b\u200bthe dome.

The first building that Schushev built in his homeland in Chisinau was a two-story dacha Karchevskylocated in the Valley of the Char (now Kerchenskaya Street), and later house Dragoovev On Pushkin Street, the angle of blacksmith (now Bernardazzi). In 1912, Shchusev built church in the estate of the Bogdan landowner (village Kuchurnshty).

Shausev participated in the development of the General Scheme of the Reconstruction of Chisinau in 1945-1947. According to Schuseva, a monument to Lenin was built. It was installed on October 11, 1949 on the central square in front of the Government House building (now the Square of the Great National Assembly). In 1991, the monument was dismantled and is currently located on the territory of the Free Economic Area "Moldexpo". Schusev also proposed a draft bridge over full-flowing at the time of the bull river. The built bridge was much less initially planned sizes. Many projects were developed with the active consultations of Schusev (railway station, the "Children's World" store, etc.).

In Chisinau, one of the central streets of the city is named Chusisheva. In the house where the architect was born and grew up, now there is a museum in which his personal belongings, photos and documents are stored.

After Ovruch and Martha, the glory of the fashionable Russian architect was established for Shushus. Rich customers hunted him: everyone wanted to have at least something on his lands " in Schusevsky style" In 1913, the project Shushev was built pavilion at the art exhibition in Venice, whose architectural composition was a kind of interpretation of the National Architecture of the XVII century. Contemporaries noted that the forms of the ancient Russian architecture were harmoniously combined with the picturesque landscape of Italy.

In 1913 in the Italian city of San Remo according to the drawings of Schusev and under the leadership of the architect Pietro Agency Orthodox was built Church of Christ the Savior. The temple is designed in the style of Russian churches of the XVII-XVIII centuries., Decorated with stone carvings and tiles, there is a bell tower with a tent roof.

To the idea of \u200b\u200bbuilding a new building Kazan Station In Moscow, Alexey Viktorovich first treated almost indifferent. Sketch projects submitted to the competition were shattered, approximate. By choosing Schusev's sketch, the Board kept himself with the hope if you manage to hurt the architect for living, to interest it with the very idea of \u200b\u200b"gates to the East", the case will be secured. And it was not mistaken. Professional flair, love for Russian history and archeology served Schushev Great service - he found the faithful color gamut "Gates to the East". On October 29, 1911, Academician Schuseva officially approved the chief architect for the construction of a new building of the Kazan Station in Moscow. On the construction of the Board of the Road allocated a fabulous amount - three million gold rubles. But by the end of August 1913, the architect introduced a detailed project to the Ministry of Railways. She has not yet been a single project, to the preparation of which he would spend more than two years. The architect for a long time and painfully looking for how to get out of the "from the pit" of Calanechevskaya Square, until he came up to put the main dominant of the ensemble - the tower - in the lowest place, then the entire ensemble was read easily, as if a single gaze. As soon as the Project of the Kazan Station appeared on the pages of the journal "architect", as against Alexei Viktorovich, congratulations fell. More than a two-hundred-star length of the station did not interfere with the holistic perception of the construction. The deliberate violation of symmetry, a lonely tower in combination with the bulk masses of architectural volumes had to open the building again with each new point of the square. Perhaps no architect before was able so loose so loosely and whimsically playfully, to force not only the sun, the clouds and clouds to revive the stone pattern.

Together with I.V. Zoltovsky Shchusev headed the work of the team of architects over project redevelopment of Moscow. Carefully peering into the historically established structure of Moscow, the architect strengthened it, revealing the very potency of development, promising development zones and improvement. The engineering and technical transformation of Muscovites movement routes in the city was not easy. The plan for the first time lied the radial-ring movement of ground transport with a suburban railway movement. What is already quite unprecedented for those times, the network of public transport is tied to a single node based on the radial-ring scheme of the Moscow Metro. So in 1919, Shchusev guessed the most intimate dreams of Moscow.

In 1922, Shushev was appointed main architect of the All-Russian agricultural and shrub industrial exhibitionShe was opened in August 1923 on the territory of the current CPKIO named after M. Gorky. Schusev rebuilt the building of the former mechanical plant under the pavilion of the handicraft industry, led the construction of 225 buildings of the exhibition.

In 1924 he was instructed to create a project Mausoleum Lenin. Designed and built for a couple of hours, the first wooden mausoleum was simple in its forms, but it already contained an idea that later received brilliant development: the cubic volume of the tomb has a stepped end. Later, a All-Union competition for the creation of a permanent mausoleum was announced. As a result of the competition, the Government Commission proposed to Shushusev "Transfer Temporary Mausoleum from the tree to Granite." The task was not easy. If you decide the mausoleum in the style of Russian architecture, then, "expanded" to the Senate Tower, it will be lost under the walls of the Kremlin. And naught forward, he involuntarily forced to dry with the cathedral of Vasily blissful. Shausev found a way out. The mausoleum rose, reached a twelvethimeter height, which was equal to one third of the height of the Senate Tower and one sixth height of the Spasskaya Tower, three fractional ledges merged into one. The lower belt with a mourning ribbon of black granite boldly advanced forward and persistently demanded to pull the crown portico to almost the Kremlin wall teeth. The architect found another reception: if you soften the left angle, then almost inconspicuous asymmetry will revitalize the campaigns, the size of the volume, the color gamut of the belts. Mausoleum was able to organize and "hold" the square. The square opened, the ensemble was solid. The architect was brilliantly designed to enter the area, it would seem, the foreign architecture in the architecture and organically subjugate the mausoleum all that is here.

A number of works of Schusev belonging to the second half of the 1920s, embodied architectural forms of constructivism. These are projects of buildings branch of the Institute of Marxism-Leninism under the Central Committee of the CPSU in Tbilisi (1938), State Bank in the Okhotny Row and on Neglinnaya Street, the State Library of the USSR named after Lenin, as well as a hotel and sanatorium building in Matsest, built in 1927-1928 years. In this respect, buildings are also characteristic Cooperance in Orlikov Lane (1928-1933) and Mechanical Institute named after Lomonosov on Sadovaya-Triumphal (1930-1934).

In the early summer of 1926, a contest was announced Central Telegraph on Tverskaya Street. In the midst of disputes on the relevance and feasibility of the innovation of the constructivism of Schusev decided to show on the example that the reflection of the dynamics and the rhythm of time in the architecture always relies on a powerful reservoir of spiritual culture, which constructivism has the full right to exist if spirituality is fulfilled. Shushevsky project struck even adherents of constructivism. A purely constructivist scheme of Telegraph carried the idea of \u200b\u200bcommunication - communication epoational, international relations between countries and continents. The artistic image of the telegraph was extremely strict. And at the same time, the subtle grace of fascinating bold lines, ease, breathing freshness conquered at first sight. The utilization of the building was emphasized by the rhythm of granite verticals and glass belts. The project showed: Modern rhythm can connect monumentality with space, ease with power. In an explanatory note, Schusev's project wrote: "The building according to its program is a narrow window, according to the design, the principles of rationalism and savings are." For his time, Shchushevsky telegraph was purely innovative, for this reason he was not implemented.

The subject of Pride Schuseva was construction of the central house of the culture of railway workers. The air amphitheater of the visual hall was suspended on remote consoles, designed by A. V. Kuznetsov. The CDG became one of the best concert halls of the country and became the indisputable argument of the architect when he argued that the most bold design could not and should not conflict with the artistic principles of architecture.

It was carried out and became a true decoration of Moscow, the Hospital-planned highway of the Leningradsky Avenue, cut into green belts with pedestrian walkways. At that time, this highway seemed meaninglessly spacious, wasteful even for a city such as Moscow, but the time confirmed the correctness of the architect. An extension of a part of the building to the Tretyakov Gallery, implemented during the same years (Shushev was the director of the gallery at the end of the twenties), characterizes the careful attitude of the architect to the main part of the gallery, the facade of which is built in drawings V.M. Vasnetsova.

The reconstruction of the capital began in the 1930s was associated with the organization of new architectural workshops of the Mossovet. One of them - the second - headed Shchusev. In this workshop, projects for reconstruction and development of the area of \u200b\u200bthe former area of \u200b\u200bthe Triumphal Gate (now the Mayakovsky Square), a large gardening unlitsa, Kudrinskaya Square (now the area of \u200b\u200bthe uprising), Rostov and Smolensk embankments are developed. The team of the workshop also participated in the development of other areas of the capital. In the 1930s, several major residential buildings were built on Shushev's projects, of which the residential house of Artists Gabt, the residential building of the Academy of Sciences of the USSR, residential house of architects.

According to the project Schusev and young architects L. I. Savelyev and A. Stappran in 1932-1938, one of the first hotels of Soviet times were erected in the Okhotny row - hotel "Moscow".

Also Alexey Viktorovich Shushuseu owns the project of reconstruction of the Tver Foundation area, during which the Triumphal Arch was dismantled (1936), Big Moskvoretsky Bridge (1936-1938), Big Opera and Ballet Theater named after A. Navoi in Tashkent (1940-1947), nKVD building at Lubyanskaya Square (1946) and other facilities. In 1941, the complex of the Kazan station was completed. Shushev was a member of the Four Arts Association.

One of the numerous buildings, in the design of which Shchusev took part, was the Soviet embassy in the capital of Romania - Bucharest, located on the Kiselev highway. Its construction began before the war.

In 1946, Shchusev found the Museum of Architecture in Moscow and until 1949 holds his director. The projects of restoring cities destroyed during the Great Patriotic War: Istra (1942-1943), Novgorod (1943-1945) and Chisinau (1947) are occupied by Schuseva's activities.

The latest creation of Alexei Schuseva became the Moscow Metro Station "Komsomolskaya-Ring", reflecting the celebration of victory over fascism.
Schusev died in Moscow on May 24, 1949.

Teaching activities:

Alexey Shushev taught in the Stroganovsky Art and Industrial School (1913-1918), Moscow School of Painting, Sculpture and Architecture (1914 - 1917), Vhutemace (1920-1924), Moscow Architectural Institute (1948-1949), etc.

Schusev Alexey Viktorovich (born in 1873 - mind. In 1949)

An outstanding Russian architect, adherent both traditional and avant-garde styles. In 1900 - 1910s. - Leading architect of the Neorussky style, in the 1920s. - Successful constructivist, in 1930-1940. - a consecutive supporter of classic forms, skillfully combining them with all Soviet, including Latestalinsky "Barbar Ampir". Academician of the Academy of Arts (1910), Honored Architect of the USSR (1930; for the project of Mausoleum V.I. Lenin), Academician of the USSR Academy of Sciences (1943), four times Laureate of the Stalinist Prize (1941, 1946, 1948, 1952. - posthumously). Author of a number of outstanding architectural projects: churches - monument on the Kulikov field, the monument in the Ovruch, the Trinity Cathedral in the Pochaevsky Lavra, the Marfo-Mariinsky Monastery, Kazan Station in Moscow, the Opera and Ballet Theater named after A. Navoi in Tashkent and others. The name of the architect is named They are the Museum of Russian Architecture in Moscow, Streets in Moscow and Novgorod.

Kazan station, Mausoleum V.I. Lenin, Metro Station "Komsomolskaya-Ring", Marfo-Mariinskaya Resident - these so unlike and so wonderful (every one of its kind and style) works for many years, and maybe for centuries, the appearance of the capital has determined. All of them are only a small part of what created an amazing architect, the real poet of architecture Alexey Viktorovich Shushev. One of the key figures of the architecture of the Soviet period, he became an academician long before the revolution. A student of Benois and Repin, Shauses created in architecture an incredibly much. His creative heritage is extensively and multifaceted - anyone, even the most sophisticated person in the architecture, will find something new in his works, for which another one will open for him, the unfamiliar page of the history of domestic architecture will appear. They say that Schuseva could even canonize, build another church. But the architect erection of the Mausoleum, which the world architectural public recognized as an absolute masterpiece. This construction is also a kind of temple, only another era. The authorities have always been favorable to Shushus, and he built what he wanted himself, sensiblely catching the change of style. From the highest permission of the sovereign of Emperor Shushev began the construction of the Kazan station. On behalf of Lenin, he became the main architect of the first All-Russian agricultural exhibition. Under the leadership of Stalin, the Moscow Hotel Designed. No one else like A.V. Schusev, made the initiator of the construction of famous metropolitan heights. Much of what he built seem to be combined with each other. It is difficult to believe that the author of the Marfo Mariinsky monastery and the KGB buildings on Lubyanka are the same person. Schuseva was often accused of unnecessary styles and even called his work in architecture. Only a lot later understood: its uniqueness is not in innovation, but in the highest level of skill.

Alexey Shushev was born in Chisinau in the family of the caretaker of the godly institutions. The architect himself wrote about his origin: "I have a paper. WHERE said that my ancestor, Konstantin Shushev, served in the troops of Zaporizhia Esaul, from which I conclude that I was taken from the Ukrainian Cossacks, that is, my ancestors as it were to the legendary fighter for freedom to Taras Boulebe. " The father of the architect, Viktor Petrovich, was small in the ranks, but in his native Chişinău, the impressive appearance and zeal in any activity, for which he had taken to take it. The most famous for participation in the construction of schools, hospitals and other godly institutions. Mother, Maria Korneevna, in the greatness of Zozulin, was much younger than her husband. It took place from the circle of the local intelligentsia, which later affected the raising of her four sons. Alexey, the third son in the Schusov family, was born on September 26, 1873.

Externally, the boy was very similar to the mother. Big and independent, in the players with peers, he always reproached. Of particular joy caused the parents early in the boy talent to drawing. All children draw, but Alesha Shchushov drew differently - not like others. He painted, subconsciously seeking to master the world. World objects The boy traveled, transferring them to the children's album. These first artistic experiences will become the key to the fact that she subsequently will be mastered in the world later, bringing objects to it, to own which the world will be with great pleasure. Over the years, the riding drawing has grown into a firm desire to become a professional. In 1891, 18-year-old Shushev came to St. Petersburg, where he entered the Academy of Arts. His mentors were such talented masters like L.N. Beno'a and I.E. Repin. Having learned in Leonty's workshop Benua, the young man was convinced that in the capital, the struggle for survival requires much greater smelting than in the province. Therefore, he did not miss the case to declare himself, without stopping even before extravagant strokes. So, in 1895, having learned from the newspaper about the conchine of General D.P. Shubin-Pozdeev, he appeared to widow with a ready-made sketch of the tombstone. Neither with her nor with the late schooling was not familiar, did not have the recommendations, but he managed to defend his conviction that the order should be given to him. As a result, a chapel, created by the sketch of a young architecture, appeared on the cemetery of Alexander Nevsky Lavra.

In 1896, Shchusev fulfilled the thesis on the topic "Barskoye Manor" - a sketch of a mansion in the spirit of French Renaissance and a church, reminiscent of Moscow samples of the late XVII century. It was quite ordinary eclectic, but a job who had learned the work of work. A talented graduate celebrated a large gold medal and an right-handed trip. But Shushev did not go to Europe, and went to a completely different side - to Asian Samarkand. There, as part of the archaeological expedition, he explored the tomb of Tamerlane. A year later, Alexey Shushev still went to the European tour, visiting Austria, France, Belgium, England and Italy. The Italian Florence was a special impression on the young architecture - the protected world of stone. Returning to St. Petersburg, Shchusev arranged an exhibition of travel sketches, in which he expressed his emotion engulfed him. I. Repin declared Schuseva the best draftsman among architects. But it was already the success of the past. And in the present, more important for Schusev was that among the architects he was still beginning. In Chisinau, where Schuseva had a lot of rich patrons, he could be provided with orders and means. However, the position of the provincial architect and the well-being guaranteed by this provision has not been prevented by Alexey. Too wide horizons opened his spiritual eyes.

The architect decided to stay in St. Petersburg. For him it was not an easy time. Korotal Shchushev him, on his own confession, "staggering by the Academy, then on acquaintances", in order to "remind themselves." He conscientiously performed one-time assignments of famous architects, but he did not strive to devote himself to work in their workshops. Benefit or Kotov was prestigious to become a "apprentice", moreover, it promised a decent content, but threatened the loss of individuality. And Shchusev ellished independent work, creative flight, in which his talent will develop. He vigorously engaged in public activities, gradually acquired communications and experience. Shausev actively participated in the organization of the 3rd All-Russian Congress of Russian Archors. With the recommendations of Benoit and Kotov, he joined the St. Petersburg Society of Architects. The dowry received for his wife relieved the threat of a nashchensky existence, and Schuseva had enough excerpt to wait for the moment when his professional skills would be in demand. Soon Professor G.I. Cats began to redirect Schushye some of his orders. Basically it was church orders.

It took quite a bit of time, and Shchushov became widely known as the master of church architecture. There were many churches in the Old Russian style for his projects, not only in Russia, but also in France, in Italy. Two orders of the Russian Empire, who have never put in life in life, - Anna II degree and Stanislav III degree - he got from the hands of the king on the submission of the Holy Synod for the contribution of church construction. The Great Princess Elizaveta Fedorovna itself ordered the project of the Pokrovsky Cathedral of the Arch Republic. Any masters have the most favorite creation. Its specialists, as a rule, recognize the most perfect from all that they are done. Architectural monuments created by Shushov, all without exception are recognized as outstanding facilities of the era. But the master itself from his creations most liked the temple of the Intercession in Zamoskvorechye. It was built in 1908 - 1912. For the Marfo Mariinsky monastery, which the Grand Duchess Elizabeth Fedorovna founded in memory of his husband, the Grand Duke Sergey Alexandrovich, Governor General of Moscow, killed by Eser Kalyaev. This is truly a unique work of art, the received poetry of Novgorod-Pskov architecture, you can admire infinitely. And those who did not happen to see him with their own eyes, perhaps, it is worth trusting the authority of the artist M. Nesterov, a big friend Schuseva, who wrote: "The building of the Intercession is the best of modern constructions in Moscow." Inspired by this beautiful temple, the artist depicted it on the canvas. The friendship of the two greatest masters in one of the interviews was told by grandson Alexey Schuseva, who also became an architect: "Nesterov baptized my father, it was in honor of Nesterov of my father and called Mikhail. He and Corin often came to us - in Gagarin's lane, house 25, where I was born, where my childhood passed. The corner room in this house was once a homemade grandfather's workshop. There, he sketched the first sketches of the mausoleum in the winter night in 1924.

Alexey Viktorovich, who was able to become a noticeable figure for several years in St. Petersburg, interested Count Olesufyev, a major dignitary and snob. In 1902, the architect received an addictive proposal from him - to shift and undermine the family mansion of Olsufyyev on the fountain. A few years later, Shchusev modernized the second Count House, standing near the first. It turned out an adorable mini ensemble, from which the count was delighted. The building, as you know, for a similar owner there is a kind of costume, and Shchushev's facades were then the last peak of architectural fashion. In addition, Shchusov showed Olsufyev, "how much to face Camisole, tailored by the style, introduced into the use of Peter I". Approves the Shchushevsky project of his own house on Fontanka, Olsufyev completely believed in the talent of the architect. And since the Count was the Chairman of the Committee on the perpetuation of the Kulikov battle, he also suggested Shushev to work as a project of the monument temple. True, with his sketch, the young architect has shocked a lot of members of the Committee. The temple painted with two powerful towers created the illusion of the ancient Russian town. The architect noted that the towers in the temple were not to the place. But Shushev knew how to surprise, not perturbed, and preferred to give an explanation, bribing simplicity. He said that the towers symbolize two inochetia, distinguished by the battle. This argument was in their own way: skeptics calmed down, and Shchushov could do freely. The ideas that worried his soul found a worthy embodiment in this work. Plastic to sculptures built by the temples are comparable most and the creations of the Spaniard of A. Gaudi. In 1908, A. Block recorded the poetic cycle "On the field of Kulikov". The work of Schuseva over the temple was in full swing. The striking consonance of the architectural and poetic versions of the monument to victims of the historical battle! .. In the summer of 1904, Shusev went to Ovruch, where the ruins of the Church of St. Vasily were in the deplorable state. Archaeological surveys have shown that the facade of the ancient temple had a tower on both sides of the entrance, that is, the same structure that the chusvy-chubed facade of the Temple on the Kulikol field. This fact eloquently characterizes the intuition of the architecture.

In the architecture of the National Direction of Shchusev won the position of the undisputed leader. The unauthorized style became fast enough to call Schusevsky. Powerful Cathedral of the Pochaevskaya Lavra, the lyrical complex of the Marfo-Mariinsky monastery, the adorable church in the village of Nataliavka Kharkiv province, the pathetic memorial in the Kulikov field is not a complete list of masterpieces created by the architect in those years. Alexey Viktorovich made his creative credo in the journal "architect" in 1905. By this time, he was already a recognized Master and appeals to colleagues: "We are convinced that the architects need to catch and feel sincerity of the antiquity and imitate her in the work of not writing old Forms and reality, i.e. damage them, and the creation of new forms. It should be done in the Russian style freely, commemorating only the overall idea, the silhouette of the structure and the connection of it with the terrain and the taste of the inhabitants. "

Schusev never engaged in the design of "paper", i.e., not involving a subsequent implementation. Even unnecessary projects are an example of a weighted, based on excellent academic education and a large experience in solving the problem in the architectural practice of a weighted. The value of Schuseva as an architect - in its ability to always clearly meet the conditions of a particular task and the peculiarities of the current situation, at the same time referring to universal, universal images of the beautiful. Starting from 1913, Alexey Viktorovich constantly lived in Moscow. From the moment of arrival until 1918 he taught in the Stroganovsky Art and Industrial School, then began to lead the architectural workshop of the Moscow Council of Mossovet. The construction of the Kazan station, called the "goal to the East of the Empire", brought the master unprecedented glory. In this large-scale of all his retrospects, the architect used the motives of the Russian Baroque of the XVII century. Moscow went to an unprecedented construction budget - three million gold rubles - and did not lose. The game of natural lighting, combined with a well-thought-out color gamut and a stone pattern of the facade, makes this architectural ensemble by a real masterpiece.

Kazan Station

To design the building of the Kazan station Alexey Viktorovich began with the highest permission of the emperor, and completing his construction to the master was destined to another historical era. It is unlikely that he guessed it when he started. In 1918 - 1924 A.V. Shauses together with I.V. Zholtovsky led the project "New Moscow", predugal in its (albeit in those years and unfulfilled) the plans of modern principles for the linking of the Radial-ring system of Moscow with transport communications. Plans for the reorganization of the Center and especially the South-West of Moscow, where hundreds of years the architects were constructed only by the manor palaces and temples were grandiose. The projects of Schuseva built the buildings of the Narkomsky, the Russian State Library (former Lenin), the central house of the culture of railway workers (next to the Shushchevsky Station).

At the same years, Shusov held the positions of the church of the Main Architect of the All-Russian Agricultural and History and Industrial Exhibition (1922-1923) and the 2nd Project Workshop of the Mossoveta (1932 - 1937). He was the director of the Tretyakov Gallery (1926-1929), as well as the organizer and director of the Architecture Museum, now wearing his name. In 1924, Schusev began the design of the structure, which was destined to become cult, - Mausoleum V.I. Lenin on Red Square (1929 - 1930). In this famous work, the author organically combined constructivism with antiquity reminisitations. At the work of Shchusov treated extremely responsible. The first project was born in one night. Then came the verified, exact solution - the necessary proportions and scales were determined. On Red Square, a plywood layout was created in full size. When translating from a tree to granite, the mausoleum grew almost to the Kremlin wall teeth (its height of 12 meters). The stands of the structure turned into an element, for a long time became state-of-knowledge. Mausoleum (new, completely foreign for the Kremlin structure) turned out to be able to "hold" an ancient square and all that on it.

In the subsequent works of Schuseva, Avangard consistently inferior to the place of national historical stylization, an impressive expressing monumental pathos "Stalinsky classicism" (Moskvoretsky Bridge, 1936 - 1938; Big Opera and Ballet Theater named after A. Navoi in Tashkent, 1940 - 1947; Building NKVD at Lubyanskaya Square, 1946, etc.). In the same spirit, the Moscow Hotel (1932 - 1938) was built, which became one of the first Soviet hotels. In addition to hotel rooms, there were numerous restaurants, bars, shops, and in the center over a monumental octagolon portion - an open cafe. With a facade with asymmetric design, anecdote is connected: allegedly Stalin brought a project in which, as was customary, two options for the facade finish were combined. The leader signed without looking, and nothing could be changed, so there were disseminated forms of turrets, balconies and window openings on the right and left. "MOSCOW" for many years reigned over the Maneny, but today the area has changed and there is no more space for her. Its inextricular design interferes with the development of underground shopping paradise, so the demolition of the Shchushiev hotel has already begun.

In 1925, Alexey Viktorovich actually became the main architect I.V. Stalin, his opinion in matters of architecture was the law. In 1941, the complex of the Kazan station, the plastic-decorative ideas of which found the continuation of the Komsomolskaya-Koltsevaya metro station designed by the school station (open in 1952) were completed.

During the Great Patriotic War, the architect was the projects of restoring cities destroyed by the fascists: developed a project for the reconstruction of the city of Istra, Pulkovo Observatory in Leningrad, participated in the development of the master plan for the reconstruction and restoration of Novgorod, Chisinau, Stalingrad, Minsk, etc. Author of a large number of scientific works, Shchusev left about himself memory and as a teacher (taught in the highest artistic workshops, in the Moscow architectural and other institutes). Buildings, the author of which was Shushev, were marked by the Stalinist Prizes four times. He was awarded the Order of Lenin and two orders of the Labor Red Banner.

Schushev died on May 24, 1949. The architect's name was named after the Museum of Russian Architecture in Moscow. In 1980, opposite the building of the Moscow Central House of the architect, on the street that was then the name of the outstanding architectory, the monument was built - a bronze bust on a high pedestal from black granite. Next to the pedestal, the bronze cap is installed - a copy of the capitals of the column of the metro station "Komsomolskaya-Ring", built on the project Shushev. Capitel - symbolic architecture attribute; On it, a laconic inscription: "Alexey Viktorovich Shushusevu is an outstanding architecture."

Valentina Markovna Sklyarenko

From the book "100 famous Muscovites", 2006

Moscow Architectural Institute

(State Academy)

Abstract on the topic "Architect Schusev"

Modern Soviet and overseas architecture

Work is done

Student IV Course 6 Groups

Eremeev Ramiona

Moscow 2013

Biography

Early creativity

Soviet period

"The most bold design can not and should not conflict with the artistic principles of architecture" A.V. Shushev

Biography

A.V. Schusev was born on September 26 (October 8) of 1873 in Chisinau in the noble family. Father - Viktor Petrovich Shushev, a caretaker of the godly institutions. Mother - in the greatness of Maria Korneevna Zozulin.

In 1891--1897, Schusev studied at St. Petersburg in the Supreme Art School of the Imperial Academy of Arts at L.N. Beno'a and I.E. Repin. In 1895, having learned from the newspaper about the death of General D.P. Shubin-Pozdeev, without recommendations came to the widow with a ready-made sketch of the tombstone and managed to convince the order to him. A square chapel under the tent was built on the cemetery of Alexander-Nevsky Lavra.

For the diploma project "Barskoye Manor" Shushev was awarded a large gold medal and the right to a foreign business trip. After the end of the Academy of Shauses, as part of the archaeological expedition, went to Central Asia, examined during the trip two ancient architectural monuments Samarkand - Tamerlan's tomb and the Cathedral Mosque Bibi Khanum. The impressions of this trip had a significant impact on the further work of the architect. In 1898--1899, Schusev visited Tunisia and a number of Western European countries, having visited Vienna, Trieste, Venice and other cities of Italy, as well as in England, Belgium and France, where in 1898 attended the Paris Academy of Juliana. From the drawings of this period, a reporting exhibition was drawn up, which received an approving review I.E. Repin.

Early creativity

After graduating from the Academy of Art Schusev settled in St. Petersburg. From his earliest work, it is primarily necessary to name the first strict scientific restoration. He recreated in the 1900s by the Church of St. Vasily in Ovruch XII century (his survey was attended by the largest specialist of the time P.P. Tinchen; Assistant - Arch. Maksimov V.N.). From that time, Schusev began creative struggle with archcoils, which previously "corrected" the old buildings had previously "corrected". The leader of this pan-European direction of "artistic" or "stylistic" restoration was E. Violla-le-Duke. Among the Russian followers were architects F.F. Richter and N.V. Sultans. Shauses them outdated by that time methods opposed a completely different approach, after examining and measuring fragments of the XII century, and saving them as much as possible. I.E. wrote about his work. Grabar, noting that it "represents completely exceptional interest, both at receptions, for the first time in this area, applied and in those scientific data, which were as a result of excavations and strict measurements preceding the beginning of the construction work themselves. The restorer was aimed at including the existing ruins of the walls in that temple, which was supposed to appear after the restoration, while in the new walls he managed to include not only the remnants of the oldest of the ancient walls, but all those constructive parts of them are arches, eaves, and even separate Brick groups that were found in the ground sometimes at a considerable depth. " Schusev received in 1910 the rank of academician for the restoration of this temple.

Since 1901, he consisted of service in the Office of the Oberradroker of Holy Synod. One of the first independent orders was the design of the iconostasis for the Assumption Cathedral of the Kiev-Pechersk Lavra. The church of Schusev in 1900s was the church designed by order of P.I. Kharitonenko, Sakharazavodtor, Metzenate and collector, in the estate near Kharkov Nataliavka is interpreted as a temple-museum for their collected ancient Russian icons. Schusev created here one of the most expressive buildings, whose sculptural decor was performed by S.T. Konenkov and A. T. Matveyev, and mosaic panels above the entrance, apparently, N.K. Roerich, who collaborated with him in the implementation of the project of the Trinity Cathedral of the Pochaevsky Lavra near Kiev.

In St. Petersburg in 1902, he performed a secular order from Count Yu.A. Olsufyeva - alteration and superstructure of the family mansion on the fountain. Olsufyev was the chairman of the Committee on the construction of the monument temple in memory of the Kulikovsky battle and ordered his project to the arch. Shausev created an inspired work in the unaware version of Modern style. The Temple Sergius Radonezh in the Kulikov field was almost completed by 1917. Defending his nontrivial intent - the building with the asymmetric main facade, Shchiyev almost finally did not climb himself with Olsufyev, who didactically demanded to make another facade, with the same way to end the towers, and the architect, detained construction, was still able to make an unwanted compromise for himself. Only during the last restoration of the temple-monument, his idea was implemented (but in very rough coverage). Icons, written specifically for the temple V.A. Komarovsky, disliked.

No less significant project A.V. Schusev created commissioned by the representative of the royal family, the Great Princess Elizabeth Fedorovna, who originated from Darmstadt (then the center of formation of the European Modern). The influential customer supported the architectural concept of Schusev and did not interfere with its implementation. This is well preserved until now the Moscow Marfo Mariinsky Abode with the Church of St. Martha and St. Mary in the hospital building (1909) and the Cathedral of the Pokrov Virgin, which became the composite center of the entire ensemble (1908--1912). The church with a large bully chapter on a high drum reminds of the forms of the ancient Russian analogues of Novgorod and Pskov, but at the same time completely original, like all other parts of the complex, including the elegant gate with the platform. Decorative reliefs here performed S.T. Konenkov in drawings Shushev and N.Ya. Tamokina, an employee of his workshop. Wall painting in the cathedral performed a close friend Schuseva M.V. Nesterov, who helped the young P.D. Corin.

Everyone of his construction of the 1900s - 1910s, Shchusev considered as a creative manifesto. He became the leader of the Neorussian style (National version of Modern). For its recognizable author's handwriting, the free interpretation of the motifs of the ancient Russian architecture, the dynamics of forms, often asymmetrically connoissed, large, brought to grotesque decor details. Less than expressive than the buildings in Russia, Shushusov were designed and built abroad: the Orthodox Church of Christ the Savior in San Remo (the project implemented the Italian architect of Pietro Age), and the temple of St. Nicholas with a strange house in the Italian city of Bari (the consecration of the temple took place 9 (22) May 1955). In 1915, at the Moscow City Brotherial Cemetery in the village of Alswatsky, the temple of the Transfiguration was laid on the project Schuseva (1918), demolished later (1948) during the development of a new district of Moscow - Sand streets.

Schusev became the winner of the registered competition for the complex of buildings of the Kazan Station in Moscow and at the end of 1911, he was officially approved by the chief architect of construction. He competed with F.O. Shechor, who fulfilled the projects very similar in character. Kazan station The architect was built by almost 30 years since 1913. For this, he moved from St. Petersburg to Moscow. According to the customer's plan, supported by the architect, the painting of the composition of the whole structure consisting of numerous volumes, resembling a whole town, decorated with a tower and clock, reflected the character of the old Moscow. The decor of the station, solved in bold reinforced concrete structures, resembles the motifs of the ancient Russian Nizhny Novgorod, Astrakhan and Ryazan architecture, as well as the Zyumubik Tower in the Kazan Kremlin. The use of a white-eyed decor on a red-friendly background of the walls is made in the spirit of Russian Baroque XVII century (Naryshkinsky Baroque). Unfortunately, an indoor glazed railway station deckader, consisting of three cylindrical arches, designed for Schusev to the famous engineer V. G. Shukhov, could not be implemented. It would be the most extravagant part of the project, although solved quite modern for 1913, with the use of high reinforced concrete arches of parabolic form. Finishing interiors and painting of the vaulted room of the restaurant in sketches E.E. Lancer lasted until the end of the 1930s.

architect Schusev Grad planning

Soviet period

After the October Revolution, A.V. Shausev was among the most sought-after architects. In 1918--1923, he was led by the development of the General Plan "New Moscow", at the stage of the first sketches, disagreering from the version further from this work I.V. Zoltovsky. This plan has become the first Soviet attempt to create a really executed concept of the development of the city in the spirit of the Big Garden City. The project was aimed at a clear zoning of the territory, the preservation of the historic center and many of the individual vintage public buildings and temples, the development of "green wedges" from the center to the periphery, the reconstruction of a number of highways, the Moscow river port and the railway unit, etc. The New Moscow project was completely Any orientation than the "Stalinist" General Plan of Moscow 1935 The plan for the reconstruction of the capital, which is often wrong to write, as the development of Schusev's ideas. Schusev transferred the administrative center to the St. Petersburg highway, and on the general plan of 1935 he was fundamentally imposed on the historical center. Shushev was for identifying the best old buildings (his staff examined the city, working in the Commission on the Protection of Mosovet Monuments), while many historical buildings and quarters were demolished during the implementation of the General Plan of 1935. Schusevsky plan was sharply criticized in the 1924-1925 city administration and only the construction of Lenin's Mausoleum allowed the architect to avoid repression. It is important to note that the idea of \u200b\u200bcreating around Moscow (behind the annular rail) of the numerous workers of the type of European city-gardens (project of the architectural workshop of Mossoveta, the B.M. Sakulin scheme, was connected with the New Moskdom Gen Plan. Further, the idea of \u200b\u200bthe polycentric development of Moscow has developed S.S. Shestakov in the project "Big Moscow" - a bigger-scale, but also actually not taken into account. The idea of \u200b\u200bthe development of the city planning with radial-ring highways was pronounced in the General Plan "Novaya Moscow", today today is criticized by experts on transport, but it was a completely executable project aimed at improving the life of citizens, on the convenience of pedestrian movement and the development of technical maintenance of the city (reconstruction River port and railway node).

Schusev was the church architect of the first All-Russian agricultural and shrub-industrial exhibition, held in 1923 in Moscow in the area of \u200b\u200bthe current CPKIO named after M. Gorky. He led the construction of a number of pavilions, the organization of all construction (more than two hundred different structures), he himself designed one of the most notable pavilions (as the reconstruction of the building of the abolished plant).

In 1922-1932, Shushev was Chairman of the Moscow Architectural Society.

The famous work of Schuseva became the Mausoleum of Lenin on Red Square in Moscow. The very first wooden mausoleum was erected under the guidance of an architect in a matter of hours to the VI Funic Republic Lenin January 27, 1924, the very first structure was a cubic volume with a stepped end. In the spring of 1924, Shausev created the second version of the building to which two tribunes were attached. When it turned out that the body of the leader could be saved for a long time, there was a need for a long-term mausoleum. The competition for its construction won A. V. Schusev and in October 1930, a new building was built from reinforced concrete, lined with natural stone granite and Labradorite. In his form, you can see the alloy of the avant-garde architecture and decorative trends, now called the Art Deco style.

In 1925--1926, A.V. Schusev performed the project of the central house of the culture of railway workers, as the development of its own project of the Kazan station. Here is a comfortable visual hall with a console delivered amphitheater (engineer A.V. Kuznetsov). In 1926--1929, A.V. Schusev worked as director of the SGG. Subsequently, he was engaged in an extension to the main building of the gallery of new halls (the author of the project, an employee of the workshop of Schuseva A.V. Snigarev), who did not prevent the perception of the main facade, performed before the revolution in the drawings of V.M. Vasnetsova. Shauses was also a member of the Four Arts Association.

An innovative architecture was his competitive project of the central telegraph building. Schusev provided in this case a strong competition to the brothers in spring and left far behind in relation to innovation implemented by the project I.I. Rerberg.

In the style of the Moscow constructivism (with co-authors of D.D. Bulgakov, I.A. French, G.K. Yakovlev) developed a brilliant project of the building of the Narkomsky (Moscow, Orel Alley, 1/11), almost fully implemented. The building was built in 1928-33. Now it hosts the Ministry of Agriculture.

Such with the stylistic was the same designed sanatorium in Matsesta (1927--1931), the building of the Mechanical Institute at the Big Sadovaya Street in Moscow (now the building is owned by the University of Military University), the House of Artists of Mkat in Bryusov Lane.

In the process of reconstruction of Moscow of the 1930s, A. V. Schusev headed one of the architectural workshops, from the walls of which there were many projects covering not only the capital, but also other cities of the country. The most significant and partially implemented was the construction project of Smolensk and Rostov embankments by residential buildings, as a result of partial implementation, a semicircular residential building appeared (Rostov Embankment, D.5). At this time, the workshop designed another residential building (the House of Artists Gabt in Bryusov Lane, as well as the residential building of the USSR Academy of Sciences on Kaluga Street (Leninsky Prospekt, see below for all projects).

Hotel "Moscow" has become one of the first large Soviet hotels. The initial project was performed by architects L.I. Saveliev and O.A. Stipran. However, their concept (first - a constructivist building, and then reflected the transitional stylist from constructivism to Ar-Deco, did not like government officials (or personally to Stalin). Schuseva was invited as a co-author who could save the project that was at that moment at the stage. The construction of the main carcass. The problem was solved by adding a concise decor in the form of a six-storey-column portico, arcade in the center of the main facade, turrets in the corners of the building. The implicit asymmetry of the main facade of the hotel still gives a reason for moving the MiF that Stalin allegedly signed the project Exactly The middle of the drawing, where two options were combined. In fact, asymmetry is more characteristic of Schusev's creativity than symmetry.

According to the projects of the workshop A.V. Schuseva, where many employees worked, a large Moskvoretsky Bridge was built (engineer, his brother P.V. Schusev), Soviet embassy in Bucharest, the building of the Intourist Hotel in Baku (1934), the building of the Institute of Marxism-Leninism Institute in Tbilisi, The construction of the Opera and Ballet Theater in Tashkent began (completed in 1947). In these structures, the architect's desire to follow the national traditions was bright, but the author's face was largely lost, although, for example, when creating decorative elements in the Tashkent Schusov Theater used his own drawings and templates made in the youth during the archaeological expedition in Samarkand.

Since 1938, A.V. Shushev was a member of the scientific council created for the guidance of the restoration of the Trinity-Sergiye Lavra, together in P.V. Shushev, he developed a project of vertical layout of the Lavra.

In 1934, it was decided to move the USSR Academy of Sciences from Leningrad to Moscow, for which it was necessary to ensure academic institutions with work premises. The Presidency of the Academy was placed in an unknown palace at the Big Kaluga Street and in 1935 a competition for building an academgorodok for the Kaluga Ozda is held. The competition won Shchusev, who was led by a specially created workshop "Akademproekt" specially created to solve this large-scale task, which in the Moscow region of the cereals was to build 40 buildings for academic institutions, museums, libraries and service institutions.

During the design, the idea of \u200b\u200bbuilding a building of the Presidium in the center of this complex was undertaken, that is, at a significant distance from the city center was not supported and for him was reconstructed for the old building on Kaluga st. (Leninsky Prospekt).

From the many institutions before the war were built only: the Institute of Genetics (work on it was completed in 1939), although the projects of the Institute of Organic Chemistry Institute, the Institute of Organic Chemistry, Physical Institute, Institute of Metallurgy and the Institute of Accurate Mechanics and Computing Technology were also created. All these projects were carried out only in the post-war years. Before the war for the Academy of Sciences, a new residential building was built on a large Kaluga street, where in 1939 A.V. Shushev

In 1940, work was launched on the project of the NKVD building at Lubyanskaya Square, as the reconstruction of one of the income homes of the pre-revolutionary insurance society "Russia" and not completed during the author's life.

From 1947 to 1957, the State Museum of Russian Architecture was created in Moscow (now the State Research Museum of Architecture. A.V. Schuseva). His organizer and first director was architect N.D. Vinogradov, who has repeatedly collaborated with Schusov and who used in this case his support. Significant place in the activities of Schusev in the 1940s, projects of the restoration of cities destroyed during the war years were occupied: Istra (1942--1943), Novgorod (1943--1945), Chisinau (1947) and others. One of the last creations A. . Schuseva became the Moscow metro station "Komsomolskaya-Ring", reflecting the victory over fascism. This is a large-scale station, inscribed in cylindrical tubing of the largest diameter. Unfortunately, an underground lobby with mosaic panels on sketches per sketch, designed after the death of the author. Corin, was made with a somewhat extended terrain of the decor, which did not correspond to the project Shushev.

Schusev died in Moscow on May 24, 1949. He was buried in Moscow at the Novodevichy Cemetery (plot number 1).

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Alexey Viktorovich Shushev (September 26 (October 8) 1873, Chisinau-May 24, 1949, Moscow) - Russian and Soviet architect.

Honored architect of the USSR (1930). Academician architecture (1910). Academician of the USSR Academy of Sciences (1943). Laureate of the Four Stalin Prizes (1941, 1946, 1948, 1952 - posthumously).

Biography

A. V. Schusev was born on September 26 (October 8) of 1873 in Chisinau in the noble family. Father - Viktor Petrovich Shushev, a caretaker of the godly institutions. Mother - in the greatness of Maria Korneevna Zozulin.

In 1891-1897, Shushev studied at St. Petersburg at the Supreme Art School of the Imperial Academy of Arts in L. N. Benua and I. E. Repin. In 1895, having learned from the newspaper about the death of General D. P. Shubin-Pozdeev, without recommendations came to the widow with a ready-made sketch of the tombstone and managed to convince the order to him. A square chapel under the tent was built on the cemetery of Alexander-Nevsky Lavra.

For the diploma project "Barskoye Manor" Shushev was awarded a large gold medal and the right to a foreign business trip. After the end of the Academy of Shauses, as part of the archaeological expedition, went to Central Asia, examined during the trip two ancient architectural monuments Samarkand - Tamerlan's tomb and the Cathedral Mosque Bibi Khanum. The impressions of this trip had a significant impact on the further work of the architect. In 1898-1899, Shausev visited Tunisia and a number of Western European countries, visited Vienna, Trieste, Venice and other cities of Italy, as well as in England, Belgium and France, where in 1898 attended the Paris Academy of Juliana. From the drawings of this period, a reporting exhibition was drawn up, which received an approving review by I. E. Repin.

Early creativity

Temple Sergius Radonezh on the Kulik Field, Photo by Arssenev,

After graduating from the Academy of Art Schusev settled in St. Petersburg. From his earliest work, it is primarily necessary to name the first strict scientific restoration. He recreated in the 1900s by the Church of St. Vasily in Ovruch XII century (in his survey, the largest specialist of the time P. P. Pokshkinin; Assistant - Arch. Maksimov V.N.). From that time, Schusev began creative struggle with archcoils, which previously "corrected" the old buildings had previously "corrected". The leader of this pan-European direction of "artistic" or "stylistic" restoration was E. Violla-le-Duke. Among the Russian followers were architects F. F. Richter and N. V. Sultanov. Shauses them outdated by that time methods opposed a completely different approach, after examining and measuring fragments of the XII century, and saving them as much as possible. I. E. Grabar wrote about his work, noting that it "represents completely exceptional interest, both at the receptions, for the first time in this area, the applied and in those scientific data that appeared as a result of excavations and strict measles preceding the beginning of the construction themselves work. The restorer was aimed at including the existing ruins of the walls in the temple, which was supposed to appear after the restoration, while in the new walls he managed to include not only the remnants of the old walls standing on the old walls, but all those constructive parts of them are arches, eaves, and even individual groups Bricks that were found in the ground sometimes at a considerable depth. " Schusev received in 1910 the rank of academician for the restoration of this temple.

Since 1901, he consisted of service in the Office of the Oberradroker of Holy Synod. One of the first independent orders was the design of the iconostasis for the Assumption Cathedral of the Kiev-Pechersk Lavra. The church of Schuseva of the 1900s was the church designed by order P. I. Kharitonenko, a sugar producer, a patron and a collector, in the estate under Kharkov Nataliavka, was interpreted as a temple-museum for their collected ancient Russian icons. Shchusev created here one of the most expressive buildings, the sculptural decor of which was performed by S. T. Konenkov and A. T. Matveyev, and the mosaic panel over the entrance, apparently, N. K. Roerich, who collaborated with him in the implementation of the project of the Troitsky Cathedral of Pochaev Lavra near Kiev.

In St. Petersburg in 1902, he performed a secular order from Count Yu. A. Olesufyeva - alteration and superstructure of the family mansion on Fontanka. Olsufyev was the chairman of the Committee on the construction of the monument temple in memory of the Kulikovsky battle and ordered his project to the arch. Shausev created an inspired work in the unaware version of Modern style. The Temple Sergius Radonezh in the Kulikov field was almost completed by 1917. Defending his nontrivial intent - the building with the asymmetric main facade, Shchiyev almost finally did not climb himself with Olsufyev, who didactically demanded to make another facade, with the same way to end the towers, and the architect, detained construction, was still able to make an unwanted compromise for himself. Only during the last restoration of the temple-monument, his idea was implemented (but in very rough coverage). The icons, written specifically for the temple V. A. Komarovsky, disliked without a trace.

Cathedral of the Intercession of the Marfo Mariinsky Resident (Project A.V. Schuseva), Moscow, photo by Ludvig14, Creative Commons ATTRIBUTION-Share Alike 3.0.

No less significant project A. V. Schusev created a representative of the royal name, the Great Princess Elizabeth Feodorovna, who originated from Darmstadt (then the Center for the Formation of European Modern). The influential customer supported the architectural concept of Schusev and did not interfere with its implementation. This is well preserved until now the Moscow Marfo Mariinsky Abode with the Church of St. Martha and St. Mary in the hospital corps (1909) and the Cathedral of the Pokrov Virgin, who became the composite center of the entire ensemble (1908-1912). The church with a large bully chapter on a high drum reminds of the forms of the ancient Russian analogues of Novgorod and Pskov, but at the same time completely original, like all other parts of the complex, including the elegant gate with the platform. Decorative reliefs here performed S. T. Konenkov in the drawings of Shushev and N. Ya. Tonokina, an employee of his workshop. Wall painting in the cathedral performed a close friend Schuseva M. V. Nesterov, who helped the young P. D. Corin.

Everyone of his construction of the 1900s - 1910s, Shchusev considered as a creative manifesto. He became the leader of the Neorussian style (National version of Modern). For its recognizable author's handwriting, the free interpretation of the motifs of the ancient Russian architecture, the dynamics of forms, often asymmetrically connoissed, large, brought to grotesque decor details. Less than expressive than the buildings in Russia, Shushusov were designed and built abroad: the Orthodox Church of Christ the Savior in San Remo (the project implemented the Italian architect of Pietro Age), and the temple of St. Nicholas with a strange house in the Italian city of Bari (the consecration of the temple took place 9 (22) May 1955). In 1915, at the Moscow City Brotherial Cemetery in the village of Alswatsky, the temple of the Transfiguration was laid on the project Schuseva (1918), demolished later (1948) during the development of a new district of Moscow - Sand streets.

Schusev became the winner of the registered competition for the complex of buildings of the Kazan Station in Moscow and at the end of 1911, he was officially approved by the chief architect of construction. He competed with F. O. Shekhtel, who fulfilled the projects very similar in character. Kazan station The architect was built by almost 30 years since 1913. For this, he moved from St. Petersburg to Moscow. According to the customer's plan, supported by the architect, the painting of the composition of the whole structure consisting of numerous volumes, resembling a whole town, decorated with a tower and clock, reflected the character of the old Moscow. The decor of the station, solved in bold reinforced concrete structures, resembles the motifs of the ancient Russian Nizhny Novgorod, Astrakhan and Ryazan architecture, as well as the Zyumubik Tower in the Kazan Kremlin. The use of a white-eyed decor on a red-friendly background of the walls is made in the spirit of Russian Baroque XVII century (Naryshkinsky Baroque). Unfortunately, an indoor glazed railway station deckader, consisting of three cylindrical arches, designed for Schusev to the famous engineer V. G. Shukhov, could not be implemented. It would be the most extravagant part of the project, although solved quite modern for 1913, with the use of high reinforced concrete arches of parabolic form. The decoration of the interiors and the painting of the vaulted room of the restaurant on sketches E. E. Lancer continued until the end of the 1930s.

In 1912-1916, the architect designed railway stations in Sofrino, Krasnoufimsk, Sergche, Murom.

After the October Revolution, A. V. Schusev turned out to be among the most sought-after architects. In 1918-1923, he led the development of the General Plan "New Moscow", at the stage of the first sketches, without agreeing with the version further from this work, I. V. Zholtovsky. This plan has become the first Soviet attempt to create a really executed concept of the development of the city in the spirit of the Big Garden City. The project was aimed at a clear zoning of the territory, the preservation of the historic center and many of the individual vintage public buildings and temples, the development of "green wedges" from the center to the periphery, the reconstruction of a number of highways, the Moscow river port and the railway unit, etc. The New Moscow project was completely Any orientation than the "Stalinist" General Plan of Moscow 1935 The plan for the reconstruction of the capital, which is often wrong to write, as the development of Schusev's ideas. Schusev transferred the administrative center to the St. Petersburg highway, and on the general plan of 1935 he was fundamentally imposed on the historical center. Shushev was for identifying the best old buildings (his staff examined the city, working in the Commission on the Protection of Mosovet Monuments), while many historical buildings and quarters were demolished during the implementation of the General Plan of 1935. Schusevsky plan was sharply criticized in 1924-1925 by the city administration and only the construction of Lenin's Mausoleum allowed the architect to avoid repression. It is important to note that the idea of \u200b\u200bcreating around Moscow (behind the ring rail) of numerous workers of the type of European city-gardery (project of the architectural workshop of Mossoveta, B. M. Sakulin scheme, was associated with the General Plan "New Moscow". Further, the idea of \u200b\u200bthe polycentric development of Moscow developed S. S. Shestakov as a project more large-scale, but also actually not taken into account. The idea of \u200b\u200bthe development of the city planning with radial-ring highways was pronounced in the General Plan "Novaya Moscow", today today is criticized by experts on transport, but it was a completely executable project aimed at improving the life of citizens, on the convenience of pedestrian movement and the development of technical maintenance of the city (reconstruction River port and railway node).

Shushev was the church of the first Architect of the First All-Russian Agricultural and History and Industrial Exhibition, held in 1923 in Moscow in the area of \u200b\u200bthe current Central Park of Culture and Rest. Gorky. He led the construction of a number of Pavilov, the organization of all construction (more than two hundred different structures), he himself designed one of the most notable pavilions (as the reconstruction of the building of the abolished plant). It was a diplomatic school who was attracted to work on projects of various buildings of many young and already solid colleagues, as well as artists, who pronounced themselves.

In 1922-1932, Shushev was Chairman of the Moscow Architectural Society.

The famous work of Schuseva became the Mausoleum of Lenin on Red Square in Moscow. The very first wooden mausoleum was erected under the guidance of an architect in a matter of hours to the V. I. Lenin's Day. On January 27, 1924, the very first building was a cubic volume with a stepped end. In the spring of 1924, Shausev created the second version of the building to which two tribunes were attached. When it turned out that the body of the leader could be saved for a long time, there was a need for a long-term mausoleum. The competition for its construction won A. V. Schusev and in October 1930, a new building was erected from reinforced concrete, lined with natural stone of goruti Labradoritis. In his form, you can see an organic alloy of the avant-garde architecture and decorative trends, now called the Art Deco style. It is very important that the mausoleum fit well into the Red Square ensemble, without violating the historical environment.

In 1925-1926, A. V. Schusev fulfilled the project of the central house of the culture of railway workers, as the development of its own project of the Kazan station. Here is a comfortable visual hall with a console delivered amphitheater (engineer A. V. Kuznetsov). In 1926-1929, A. V. Shusev worked as director of the Tretyakov Gallery. Subsequently, he was engaged in an extension to the main building of the gallery of new halls (the author of the project, an employee of Schuseva's workshop A. V. Snigarev), who did not prevent the perception of the main facade, carried out before the revolution in the drawings of V. M. Vasnetsov. Shauses was also a member of the Four Arts Association.

Moscow. The building of the Narkomsky in the Sadovo-Spasskaya, A. V. Shushev, photo by NVO, Creative Commons ATTRIBUTION-Share Alike 3.0.

An innovative architecture was his competitive project of the central telegraph building. Schusev provided in this case a strong competition to the brothers in spring and left far behind the innovation realized project I. I. Rerberg.

In the style of Moscow constructivism (with co-authors D. D. Bulgakov, I. A. French, G. K. Yakovlev) developed a brilliant project of the building of the Narkomsky (Moscow, Alley Orliki, 1/11), almost fully implemented. The building was built in 1928-33. Now it hosts the Ministry of Agriculture.

Such is the stylistry they were the same designed sanatorium in Matsesta (1927-1931), the building of the Mechanical Institute at the Big Sadovaya Street in Moscow (now the building is owned by the University of Military University), the House of Artists of Mkat in Bryusov Lane.

House on the Rostov Embankment in Moscow, photo by Lavanda Green, Creative Commons ATTRIBUTION-Share Alike 3.0.

In the process of reconstruction of Moscow of the 1930s, A. V. Schusev headed one of the architectural workshops, from the walls of which there were many projects covering not only the capital, but also other cities of the country. The most significant and partially implemented was the construction project of Smolensk and Rostov embankments by residential buildings, as a result of partial implementation, a semicircular residential building appeared (Rostov Embankment, D.5). At this time, the workshop designed another residential building (the House of Artists Gabt in Bryusov Lane, as well as the residential house of the USSR Academy of Sciences on Kaluga Street (see List of all projects).

Hotel "Moscow" has become one of the first large Soviet hotels. The initial project was performed by architects L. I. Saveliev and O. A. Stappran. However, their concept (first - a constructivist building, and the zeta - reflected the transitional stylist from constructivism to Ar-Deco, did not like government officials (or personally to Stalin). Schuseva was invited as a co-author who could save the project that was at that moment at the end stage of the main Frame. The problem was solved by adding a concise decor in the form of a six-storey-column portication, arcade in the center of the main facade, turrets at the corners of the building. The implicit asymmetry of the main facade of the hotel still gives a reason for the MiF's retrace that Stalin allegedly signed the project exactly in the middle of the drawing where two options were combined. In fact, asymmetry is more characteristic of Schusev's creativity than symmetry.

According to the projects of the workshop A. V. Schusev, where many employees worked, a large Moskvoretsky Bridge was built (engineer, his brother P. V. Shushev), Soviet Embassy in Bucharest, Intourist Hotel Building in Baku (1934), branch building The Institute of Marxism-Leninism in Tbilisi, the construction of the Opera and Ballet Theater in Tashkent began (completed in 1947). In these structures, the architect's desire to follow the national traditions was bright, but the author's face was largely lost, although, for example, when creating decorative elements in the Tashkent Schusov Theater used his own drawings and templates made in the youth during the archaeological expedition in Samarkand.

Since 1938, A. V. Schusev was a member of the scientist council created for the leadership of the Trinity-Sergiye Lavra, together in P. V. Shushev, he developed a project of vertical layout of the Lavra.

In 1934, it was decided to move the USSR Academy of Sciences from Leningrad to Moscow, for which it was necessary to ensure academic institutions with work premises. The Presidency of the Academy was placed in a non-pie palace on a large Kaluga street and in 1935 a competition for building an academgorodok for the square of Kaluga appendix was held. The competition won Shchusev, who was led by a specially created workshop "Akademproekt" specially created to solve this large-scale task, which in the Moscow region of the cereals was to build 40 buildings for academic institutions, museums, libraries and service institutions.

Station "Komsomolskaya-Ring" in Moscow, photo by Lite, Creative Commons ATTRIBUTION-Share Alike 3.0.

During the design, the idea of \u200b\u200bbuilding a building of the Presidium in the center of this complex was undertaken, that is, at a significant distance from the city center was not supported and for him was reconstructed for the old building on Kaluga st. (Leninsky Prospekt).

From the many institutions before the war were built only: the Institute of Genetics (work on it was completed in 1939), although the projects of the Institute of Organic Chemistry Institute, the Institute of Organic Chemistry, Physical Institute, Institute of Metallurgy and the Institute of Accurate Mechanics and Computing Technology were also created. All these projects were carried out only in the post-war years. Before the war for the Academy of Sciences, a new residential building was built on a large Kaluga street, where A. V. Schusev moved himself in 1939.

In 1940, work was launched on the project of the NKVD building at Lubyanskaya Square, as the reconstruction of one of the income homes of the pre-revolutionary insurance society "Russia" and not completed during the author's life.

From 1947 to 1957, the State Museum of Russian Architecture was created in Moscow (now the State Research Museum of Architecture. A.V. Schuseva). His organizer and first director was the architect N. D. Vinogradov, who has repeatedly collaborated with Shushus and who used in this case his support. Significant place in Schusev's activities in the 1940s, projects for the restoration of cities destroyed during the war: Istra (1942-1943), Novgorod (1943-1945), Chisinau (1947), etc. One of the last creations A. V. Schuseva Moskovskaya metro station "Komsomolskaya-Ring", reflecting the celebration of victory over fascism. This is a large-scale station, inscribed in cylindrical tubing of the largest diameter. Unfortunately, the underground lobby with mosaic panels on the sketches of P. D. Corin was completed after the death of the author of P. D. Corin, was made with a somewhat extended terrain of the decor, which did not match the project Shushev.

Schusev died in Moscow on May 24, 1949. He was buried in Moscow at the Novodevichy Cemetery (plot number 1).

Teaching activities

Alexey Shushev taught in the Stroganovsky Art and Industrial School (1913-1918), Moscow School of Painting, Sculpture and Architecture (1914-1917), Vhutamia (1920-1924), Moscow Architectural Institute (1948-1949), etc.

Awards and Prize

• Stalin's first degree premium (1941) - for the architectural project of the building of the Institute of Marx - Engels - Lenin in Tbilisi (1938)
• Stalinsky Degree Prize (1946) - for the internal design of Mausoleum V. I. Lenin
• Stalin's first degree premium (1948) - for the architectural project of the building of the theater named after A. Navoi in Tashkent
• Stalin's second degree premium (1952) - for the architectural project of the Komsomolskaya - ring station, Moscow Metro named after L. M. Kaganovich (posthumously)
• the order of Lenin
• two Orders of the Red Banner

Kishinev

The first building that Schushev built in Chisinau was a two-story cottage of Karchevsky, located in the Valley of the Char (now Kerchenskaya Street), and later Draguev's house on Pushkin Street The angle of blacksmith (now Bernardazzi). In 1912, Schusev built a church in the estate of the Bogdan landlord (village Kuchersti).

Shausev participated in the development of the General Scheme of the Reconstruction of Chisinau in 1945-1947. According to Schuseva, a monument to Lenin was built. It was installed on October 11, 1949 on the central square in front of the Government House building (now the Square of the Grand National Assembly). In 1991, the monument was dismantled and is currently located on the territory of the Free Economic Area "Moldexpo". Schusev also proposed a draft bridge over full-flowing at the time of the bull river. The built bridge was much less initially planned sizes. Many projects were developed with the active consultations of Schuseva: Railway Station (built by German prisoners of war [ the source is not specified 1010 days]), Store "Children's World" and others.

In Chisinau in the house where the architect was born and grew up, a museum is now located, in which his personal belongings, photos and documents are stored.

Perpetuation of memory

In memory of A. V. Schusev, a memorial plaque was installed in Moscow, where he lived from 1939 to 1949. (Leninsky Prospekt, 13). From 1949 to 1992, his name was called the street in Moscow (at present she returned to her historical name grenade lane). The name A. V. Schuseva carries the architecture museum in Moscow.

Monument on the grave Schuseva, Novodevichi Cemetery, photo author Uploader, Creative Commons Attribution 3.0

In the hometown of architect, Chisinau, his name was assigned to one of the central streets and children's city art school. In his honor, the streets are named in a number of cities of the former Soviet Union:

• Velikiy Novgorod
• Lutsk (Ukraine)
• Rybnitsa (Transnistrian Moldavian Republic)

Implemented projects A. V. Schuseva

• Iconostasis for the Assumption Cathedral of the Kiev-Pechersk Lavra, the end of the XIX century
• Reconstruction of the Church of Vasily (XII century) in Ovruch, 1904-1905
• Women's Commercial Institute of the Committee of the Moscow Society of Commercial Education Commercial Education with the Church in honor of the Icon of Our Lady of the Decision of the Died (1904-1905, Moscow, Zaper Street, 41/12), together with S. W. Solovyovyov, N. A. Shevyakov, A. U. Zelenko
• Marfo Mariinsky Resident, since 1907 1912
• Trinity Cathedral in Pochaevskaya Lavra, 1906-1912
• Temple Sergius Radonezh in the Kulikol field, from 1911. PO 1917
• Church in the estate of the Bogdan landowner (village of Kuguryshta, Moldova), 1912
• Temple and Parade entry in the estate of Pavel Ivanovich Kharitonenko in Nataliavka (Kharkiv region, Ukraine)
• Orthodox church of Christ the Savior in San Remo, 1913
• The Church of Nicholas The Wonderworker in Bari 1913, the church was completed only after the end of World War.
• Complex of the buildings of the Kazan Station, 1913 (construction completed in 1928-30)
• Commercial Institute on Zaper Street, Now one of the buildings of Rea Name Plekhanova, 1914
• Gem of Savior Transfiguration at the Bratsky Cemetery, 1915-1918. Demolished.
• Plan of the reconstruction of Moscow "New Moscow", 1918-1923 (with a large group of co-authors, but incorrectly attributed to I. V. Zholetsky)
• Central House of Culture of Railwaymen under the Kazan Station, 1925-1928.
• Lenin's Mausoleum, 1924- Wooden, 2 options; 1927-1930- Stone
• Two side wings of the Gosbankan building Neglinnaya Street, 1927-1929. (together with Zholtovsky) this information is not confirmed.
• Narcase building at Sadovaya-Spasskaya Street, 1928-1933. Cautors: D. D. Bulgakov, I. A. French, K. Yakovlev.
• Hotel Moscow, 1930s. The main authors of L. I.Savelyev and O. A. Stapran.
• Hotel and sanatorium building in Matsest, the 1930s.
• The building of the Mechanical Institute (now Military University) on the Big Sadovaya Street, 1929-1934.
• Residential buildings in Bryusov Lane: Artists MCAT number 17 in 1928, Artists of the Bolshoi Theater number 7 in 1935
• Plan of reconstruction of the street Okhotny series, Sverdlov Square, Revolution Square and Red Square, 1934. The work of a huge team, and not Shushev. Perhaps his idea was moving historic buildings instead of their demolition.
• Redevelopment of the Leningrad Highway (now Leningradsky Avenue), 1933-1934 The work of the team without any obvious role of Schusev.
• Partially implemented project of building Smolensk and Rostovskaya embankments, 1934-1935. Only one residential building on the Rostov Embankment was carried out.
• Big Moskvoretsky Bridge, 1935-1937. Engineer P. V. Schusev
• The branch of the Institute of Marxism-Leninism under the Central Committee of the CPSU in Tbilisi, 1938 was demolished.
• Residential building number 13 for employees of the USSR Academy of Sciences on Big Kaluga Street, 1938-1939.
• The building of the Institute of Genetics, 1938-1939.
• Planning of the sector of the bank of the Moscow River in the area of \u200b\u200bthe Crimean Bridge, Zamoskvoretsky part of the garden ring, the end of the 1930s
• Reconstruction of the October and Dobryninsky Square, the end of the 1930s
• The NKVD building at Lubyanskaya Square, 1940-1947.
• Complex of the same type of buildings of research institutes of the Academy of Sciences for Kaluzhskaya Zaving (Institute of Organic Chemistry, Physical Institute, Institute of Metallurgy, Institute of Accurate Mechanics and Computer Engineering), Project of the late 1930s, Construction Completed in 1951
• Reconstruction of the building of the Presidium of the Academy of Sciences of the USSR with the participation of the engineer V. G. Shukhov (glazed coating hall of the meeting room). The end of the 1930s.
• The building of the Academy of Sciences of the Kazakh SSR Alma-Ata. 1948-1953
• Projects for the restoration of cities destroyed during the Great Patriotic War (Istra, Veliky Novgorod, Tuapse, Chisinau)
• Metro station Komsomolskaya-ring, the end of the 1940s is completed after Schuseva's death by his workshop. Underground lobby decorated with mosaic panels according to sketches P. D. Corina

Articles A. V. Schuseva in print

• "Square of the Right Bank of Moscow-River." Architecture of the USSR. 1939 № 4. P. 40, 41.
• "Caring for man." Architecture of the USSR. 1939 No. 12. P. 9, 10.
• "National form in architecture." Architecture of the USSR. 1940 № 12. P. 53-57.

see also

• Stalinsky ampir

Notes

1. See http://www.moskonstruct.org/NDV.
2. Register of monuments of history and culture. Official site "Moskomnasydia". Archived from the original source August 19, 2011. Checked on December 20, 2009.

Literature

• Academician Alexey Viktorovich Shushev (1873-1949): An exhibition for a century from the birth of birth: Catalog / author will join. Articles E. V. Vasyutinskaya; Compilers of the catalog E. V. Vasyutinskaya, N. V. Suhodolets; Ot. ed. Director of the Museum of Architecture named after A. V. Schuseva Cand. ARH-RY V. I. Baldin - M.: Soviet artist, 1974. - 68 p. - 1,000 copies.
• Masters of Soviet architecture on architecture. T. 1. - M., 1975. - P. 150-205.
• Afanasyev K. N. A. V. Schusev. - M.: Stroyzdat, 1978. - 192 C, IL. - (Master of Architecture).
• Sorokin I. V. Stone Affairs Artist: Pages of Life Academician A. V. Schuseva - M.: Moscow Workers, 1987. - 320, p. - 50,000 copies.
• Druzhinina-Georgievskaya E. V. Cornfeld Ya. A. Architect A. V. Schusev. - M., 1955.
• Works of Academician A. V. Schusev, awarded by the Stalin Prize. - M.: Ed. Academy of Sciences of the USSR, 1954.
• Sokolov N. B. A. V. Schusev. - M.: State. Publishing House of Literature on Construction and Architecture, 1952. - 388 p. - (Masters of Soviet architecture).
• Khmelnitsky D. S. Stalin's architecture: Psychology and Style. - M.: Progress tradition, 2007.
• Shchusev A. V. Mausoleum Lenin. // Construction newspaper, January 21, 1940.
• Alexey Shushev Documents and materials / Compiler M. V. Evstratova, afterword E. B. Ovsyannikova. - M.: S. E. Gordeev, 2011.
• Ovsyannikova E. B. Creativity Schuseva from the historical distance // Alexey Shushev / Documents and materials / Compiler M. V. Evstratova. - M.: S. E. Gordeev, 2011.
• Presentation of the new book "Alexey Shushev" in Moire on December 9th. Moskontstruk (December 8, 2011). Checked on February 8, 2012.
• New books: Moscow. Architecture of avant-garde. The first half of the 1920s is the second half of the 1930s. Reference Guide; Alexey Shushev / P. V. Schusev. Pages of life Academician Schusev / Sost. and ed. M. V. Evstratova. Moskontstruk (September 21, 2011). Checked on February 8, 2012.

a source: article in Russian-language Wikipedia at the date of publication of ru.wikipedia.org