Kira Sergeevna Lazareva-Stanischeva: "When we were little, we had no idea who Fyodor Shekhtel was; we only knew he was an architect." 

Zinaida Morozova's mansion, S.P. Ryabushinsky's mansion, Yaroslavsky Station, the Khudozhestvenny cinema, Levenson's quick-print shop, the Moscow Art Theater named after A.P. Chekhov—these and many other architectural monuments were created by the genius of Moscow Art Nouveau, Fyodor Osipovich Shekhtel. He became a signature creator of his time, and even today his works evoke true admiration. Thanks to his talent, he was able to start independent practice and receive commissions without an architect's diploma. His great-granddaughter, Kira Sergeevna Lazareva-Stanischeva, spoke about the continuation of the creative dynasty of the great architect.

Autobiographical note:

My life has unfolded in art in different ways. By education, I am a fashion artist, a graduate of the Theater Art and Technical College. After the college, I worked for about three years as a costume designer at VGIK, preparing young actors for filming. Later, I went to Yakutsk and joined the State Academic Russian Drama Theater named after A.S. Pushkin as a costume artist, where my mother was the chief artist. It so happened that during this period I met my future husband; he was on tour in Yakutsk. Upon returning to Moscow, we decided to tie the knot, and we had a wonderful son, Fyodor.

After my son's birth, I joined the Moscow Art Production Combine of Rosgoscircus in the headwear department and worked there until retirement.

I wouldn't say I was a born artist like my grandmother and mother. But I loved my job very much; I can say I was a happy person, going to work with joy and returning home with the same joy. As Yuri Nikulin said: "Happiness, in my opinion, is when you really want to go to work in the morning, and after work, you really want to go home. That means you have it good both at home and at work."

Today, I devote a lot of time to my creative hobbies: I love knitting, painting in oils—of course, it's not about high art, but I undoubtedly get pleasure from the process.

Kira Sergeevna, you are the great-granddaughter of the maestro of architecture, the genius of Russian Art Nouveau, Fyodor Osipovich Shekhtel. Architecture enthusiasts are familiar with his works, which have rightfully enriched our country's cultural heritage. For you, he is not just a professional and great architect, but also a close relative. Please tell us what you know about your great-grandfather, his character, habits? What was he like at home?

When we were little, we had no idea who Fyodor Shekhtel was. We only knew he was an architect. My grandmother passed away when I was just 7 years old; I was a little child, but I remember well the stories of my grandmother's sister—Kitty. According to her recollections, Fyodor Osipovich doted on his children. When he was on business trips abroad, he wrote them charming letters: "Verushka, why aren't you writing to me? Kitty and Levushka have already written. And you're somewhere wandering and disappearing."

He approached work with the same trepidation. For example, so as not to be distracted by meals, he asked to leave food outside his door. Kitty also told how he would outplay Natalia Timofeevna Zhegina (Fyodor Osipovich's wife) during four-handed piano playing. Emotions overwhelmed him! Apparently, the power of this temperament determined his productivity. How much he created—it's unimaginable! Over 60 houses, and that's just in Moscow, art albums, illustrations for Moscow newspapers, humorous magazines, theater posters—how did he manage it all!

"He was a fountain of joy for life, almost carefree enjoyment of life; life bubbled in him like a bottle of uncorked champagne,"—that's how Fyodor Shekhtel's nephew Nikolai Popov wrote about him. He was very emotional, lively, phenomenally talented. By the way, my mother and grandmother took after him (laughs).

In addition to drawing excellently and masterfully playing with styles, he also had a completely technical mindset. There were no air conditioners or modern ventilation systems or many other engineering solutions back then, but they were already in his houses. A progressive mind, excellent knowledge of architectural styles' history—he managed to self-educate successfully!

Which of your great-grandfather's mansions evokes the warmest feelings in you?

My absolute favorite house is, of course, the one on Ermolaevsky, 28, which he built for himself and his family. It's a completely extraordinary, charming, cozy little house. Fyodor Osipovich wrote: "I built a hut of indigestible architecture, which cab drivers take for either a pickaxe or a synagogue." By the way, at the house entrance, there is a mosaic of irises, which Natalia Timofeevna loved, and the year of my grandmother's birth.

You are a person of art, great-granddaughter of a truly great architect, and your son has also followed in his great-great-grandfather's footsteps. Do you agree that there is a red thread connecting the generations of your family? How does this inherited creative spirit manifest?

Of course, my mother and grandmother were very good artists, so genetics undoubtedly plays an important role. Fyodor has tied his life to architecture, like his great-great-grandfather. One could say I managed to instill in him a love for architecture (laughs).

My grandson Artyom loved drawing as a child but chose a different path. The funniest thing is that on all his childhood drawings, every character had some kind of headwear. Of course, grandmas always have headwear! (laughs). As a teenager, he started forging amazing swords, went to a forge, studied how to make katanas, and now he's trying his hand at jewelry making. The main thing is that he wants to create something with his own hands.

I'm sure you have family traditions passed down from generation to generation. Please tell us about them. Do you hold events dedicated to your great-grandfather's work?

On New Year's, when we decorate the Christmas tree, I always wait for Tyoma or Fyodor to hang the Christmas ornament in the shape of a half-moon that Fyodor Osipovich made.

Besides that, a family friend, Saratov architect Andrey Mushta, whom we've known for many years, studied Fyodor Osipovich's family all the way back to his great-great-grandfathers, that is, essentially to the first Germans who came to Russia. He told us such amazing stories, for example, what wines the Shekhtels made, etc. He managed to unravel all the genealogical intricacies of our family; he desperately wanted to finish his book about the Shekhtel and Zhegin families, but unfortunately, he didn't make it.

How do you feel about modern architecture? In your opinion, can modernity harmoniously blend with cultural heritage?

Undoubtedly, architecture doesn't stand still. Recently, I was very surprised when I came across a photo on social media of an unusual glass building shaped like a lemon. I immediately sent it to Fyodor; I was curious about his opinion. It turned out to be the work of artificial intelligence, which can generate images on request. I must say, such objects impress with their unusualness. Perhaps in the future, architects will start building in exactly this format.

But, despite that, in my view, modern architecture does not blend with cultural heritage objects. The latter is more associated with history and values, not the beginning of something new.

Zinaida Morozova's mansion on Spiridonovka is a federal cultural heritage site and one of the masterpieces of early Moscow Art Nouveau. Currently, it houses the Reception House of the Russian Foreign Ministry. How do you feel about the fact that today some mansions serve different functions, such as restaurants, art spaces, or clinics?

Protecting and reviving historical and cultural monuments is an important task. In the Moscow region, there are many abandoned and half-ruined estates that need restoration. And seeing their deplorable state, you understand that it doesn't really matter what purpose it will serve; the main thing is to manage to preserve this beauty. Be it a clinic, a shop, or a restaurant, any object requires significant investment, and we understand that.

Kira Sergeevna, you are surely familiar with masterpieces by other architects. Which mansions or architects can you highlight?

For example, the works of Dmitry Nikolaevich Chichagov: the National Research Institute of Public Health named after N.A. Semashko (Vorontsovo Pole St., 12); income houses on Pyatnitskaya, 8 and 10; the Morozov estate in Podsosensky Lane (Podsosensky Per., 21), as well as Lev Kekushev's creations.

If Shekhtel lived today, who do you think he would build for, and in what style would he prefer to work?

I think he would be a master of modernity, a representative of a unique style, because even in his time, he became an avant-gardist.