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The role of restorers in preserving cultural heritage cannot be overstated. For 50 years, Boris Moginov— Merited Architect of the Russian Federation, restorer of the highest category, chief architect of projects at FGUP TsNRPM, Doctor of Architecture (MAAAK), and member of the Union of Architects of Russia—has been engaged in scientific restoration of architectural monuments. Thanks to his work, over 50 architectural masterpieces have gained new life. In an interview with the portal “Objects of Cultural Heritage”, Boris Moginov shared how to "read" architecture, lessons from his teacher David Lev Arturovich, and his own views on the modern use of mansions.
Boris Grigoryevich, you are a Doctor of Architecture, restorer of the highest category, and have been in the profession for over half a century. Please tell us why restoration of architectural monuments became your calling?
The decision was not spontaneous. I studied at the Architectural and Construction Technical College, then entered MISI. My father worked in construction, my mother taught mathematics. My older brother followed in my mother's footsteps, while I followed my father's path. One could say family influenced my career choice.
Initially, I worked in the construction industry, but then moved into restoration. The decision was influenced by work in the Paftnutyevo-Borovsk Monastery as part of student brigades. There I met my future teacher, David Lev Arturovich, a unique person and restorer by calling.
Let's talk about your professional experience. Each cultural heritage site is unique in its own way, but which ones became milestones for you? Were there unique discoveries during restoration, or did the site's status, architect's work, or other details impress you—any such cases in your career?
I am fascinated by ancient and complex architectural monuments of the 16th-17th centuries. I worked on unique sites such as the Church of Antipius on the Kolyma Courtyard, the Church of Theodore the Studite at Nikitsky Gates, and the Church of the Nativity of the Virgin in Stary Simonov.
Art Nouveau, however, turned out to be too simple for me! The only complexity in such work is spending a long time searching for confirmations in archival documents. But when you delve into the history of the monument, its mythology, real discoveries happen.
However, I have a reverent attitude toward the work of Lev Nikolaevich Kekushev, one of the Art Nouveau architects. For me, he is one of the best creators of that time. The works of other architects can be "read" without preparation, but L.N. Kekushev cannot be fully understood without knowledge of ancient Greek and Roman mythology.
For example, the Ivan Mindovsky Mansion on Povarskaya Street, authored by Lev Nikolaevich, is unique because it was not built for a specific client. Therefore, the architect was able to realize his own vision. This object is a treasure trove of meanings; every detail of its appearance can be interpreted if you know the mythology. The running wave is a symbol of the sea, Lorelei are sea mermaids, plant ornament is seaweed, snail and duck are symbols of God, peacock is a symbol of the sun… Only an attentive architect-restorer will see all this. Before starting the restoration of the mansion, it is necessary to study the cultures of ancient Greece and Rome.
Restorers sometimes have to defend their position and confront others. Your teacher, architect-restorer Lev Arturovich David, not only restored monuments but fought for them. One example of such a struggle was the restoration of the Spassky Cathedral of Andronikov Monastery. Have you encountered resistance on your professional path? What challenges were the most unexpected for you, and what results were the most impressive?
A restorer's work is not easy: clients change, time does not stand still, new materials appear…
The Church of Nicholas in Stary Vagankovo is one such example. Here I worked with five construction periods. I restored every detail of the architectural appearance according to its period; each had its own architecture and color. This is very challenging work! An uninitiated person might not understand why the church, refectory, and bell tower are different colors. A specialist, however, will immediately see which construction period each detail belongs to.
Please tell us more about the features of restoration based on historical photographs. What needs to be considered and what to focus on if there are no archival photos in documents and journals?
It is necessary to determine the construction period and select analogies that can be applied to the restoration. Analogies are usually used only for serious losses. Otherwise, it is reconstruction, not restoration.
Restoration of lost small details is often done by analogy. My teacher, Lev Arturovich, always said: "Find a detail of the same date, style, and time. Choose the simplest from the selected elements and restore by analogy."
According to the Venice Charter, restoration ends where hypothesis begins. If you doubt—stop. In such moments, I stopped, and sometimes, after 10-15 years, I managed to find the necessary archival materials for restoration.
This happened with the Aurora sculpture in the Ivan Mindovsky Mansion. I was lucky to find archival photos from 1917. During the shelling of the Kremlin, several shells hit this house. Photographers of that time captured these damages right away. I was fortunate to find three photographs. And now the goddess with two Putti stands on the mansion's roof again.
An ideal restoration example is not eye-catching—it's hard to discern the boundaries between historical and new details. As a professional, do you agree with such assessments, and how does compliance with Article 12 of the Venice Charter look in practice (“Elements intended to replace missing parts must fit harmoniously into the whole and at the same time differ so clearly from the authentic fragments that the restoration does not falsify historical and artistic truth”)?
The restorer's goal is not to achieve a perfect picture for the general public. The result of restoration should be unnoticeable, as if it was always like that! A professional, if they master the methodology and understand fragmentary disclosure, follows the rules of signing (note: a method of visually artificially highlighting new restoration inserts). In other words, restorers can see which part of the architectural detail is preserved and what has been restored.
What discoveries have you encountered during restoration work? What emotions do you experience when you touch history that has been hidden from people's eyes for many years?
Restoration work is full of discoveries and findings because different materials were used at different times. A specialist must understand and thoroughly study the history of that time, what was used and when. To see the full picture, understand what tools and technologies are needed, feel the spirit of the time—this is the most valuable discovery and find in our profession.
Restoration and preservation of cultural heritage sites are aimed at adapting monuments for modern use. New technologies and materials of completely different quality and properties are used. How does this symbiosis of the new and historical work in restoration projects?
I can confidently say that the historical and modern blend well. Buildings are part of the urban landscape, which also changes over time, like the entire city environment.
Architectural monuments changed during operation—new owners made new layouts, cosmetic repairs, so many mansions today do not look as they were conceived during design and construction. This is a natural process. However, it must be remembered that during restoration, we need to strive to restore the original appearance of the monument, taking into account its historical changes.
Of course, adaptation for modern use takes place—we should not abandon air conditioners and modern ventilation systems. The point is to install radiators and other decorative elements characteristic of the mansion's construction period. Such details undoubtedly influence the spirit of the time and perception of the object.
Reverse examples are also known. For instance, shpyatr (note: an alloy of zinc and tin used for casting sculptures, facade decor, candlesticks, etc.) has become part of architectural history. However, restoration of elements made from this alloy continues. Please tell us how such restoration work is carried out today? What technologies are used?
Shpyatr did not stand the test of time, while cast iron did, on the contrary. For example, the horse's head on the facade of the stable in the Ivan Mindovsky Mansion is made of cast iron, so it is in excellent condition.
L.N. Kekushev had a workshop at the Stroganov School where he made his sculptures, including from shpyatr. The goddess sculpture on the roof of I.A. Mindovsky's mansion was also once made of shpyatr. The result is known…
Today, we approach the situation logically and correctly: we use time-tested materials (metal, copper, brass, cast iron, and concrete). When new materials appear, they should be used. The most important thing in the restoration process is to select a worthy and durable material.
To conclude our interview, may I ask what your favorite place in Moscow is?
The surroundings of Kolomenskoye, the Boulevard Ring, and the center of Moscow, where there are many ancient architectural monuments.
