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Architecture is not limited to the beauty of façades and creative solutions, but is a complex engineering science that combines an artist’s plan and laws of physics, characters of eras and norms of everyday life. Natalia Shashkova, Director of the Shchusev State Museum of Architecture, spoke about the brilliant architect and master of three eras A. Shchusev, the role of railroads in building a new image of the Russian Empire and the best ways to talk about architecture to arouse genuine interest.
– At the meeting “Open Dialogue: How to Tell a Story to Arouse Interest” organized by GlavUpDK under the MFA of Russia you highlighted the fact that it is in the human nature to cherish and protect what one understands and loves. Could you tell us about the State Museum of Architecture’s efforts to make residents fall in love with the buildings around them?
Architecture is quite difficult to understand. On the one hand, it is part of our life and, for most people, it is a little realized background of everyday life, on the other hand, it is art, which is endowed with special imagery and, at the same time, has a complex engineering and technical basis and depends on natural and climatic conditions and social and economic factors. Accordingly, the museum solves a dual task: it arouses interest in architecture, captivates a visitor with this subject and tells them that architecture is not only façades, but a complex spatial art that should be perceived holistically.
Importantly, the museum tells its visitors about both historical and contemporary architecture throughout the 90 years of its history. An outstanding piece of architecture does not have to be created centuries ago. Many buildings that are dear to Muscovites, for example, date back to the period of Soviet Art Nouveau. These buildings have not yet been added to the list of cultural heritage sites, but they are of great value as Moscow residents lived and grew up in them. They preserve stories and emotions dear to the people. At the same time, they are artistically important buildings that reflect the spirit of their time. We are also tasked with drawing attention to the preservation of the 20th-century architectural heritage.
– What principles does the museum stick to when creating exhibitions and working with its visitors?
Unfortunately, the museum does not have a permanent exhibition. It used to occupy two spaces: in 1934, the first Museum of Architecture in Russia, as a division of the All-Union Academy of Architecture, was founded. It was housed in the buildings of the Donskoy Monastery. In 1945, Alexey Shchusev initiated the establishment of the second Museum of Architecture in Moscow. The Talyzin House on Vozdvizhenka Street (then, Kominterna Street) provided the space for this museum. The architect sought to open a public museum and considered the popularization of architecture one of the most important goals of the new institution. In 1964, the two museums combined to form the Shchusev State Museum of Architecture. In 1990, the Donskoy Monastery was returned to the Russian Orthodox Church... That caused ambivalent feelings: on the one hand, historical justice has been done, on the other hand, the museum has not been compensated for the lost space. The museum is now located on Vozdvizhenka Street. Our museum holding is extremely small but, I must note, the museum collection is very large with about 840 thousand items. We do not have an opportunity to open a permanent exhibition due to the lack of space, so we try to carefully and thoughtfully formulate our exhibition policy in such a way as to fulfil the educational mission of the museum through temporary projects.
– Year 2023 marked the 150th anniversary of the birth of A. Shchusev. Could you tell us what, in your opinion, is the master’s contribution to the development of architecture?
Alexey Shchusev was working continuously for 55 years; he created over 200 projects, more than 80 of which were successful. Only a few of his buildings were lost, for example, the church at the Bratskoye Cemetery in Moscow. The master’s productivity and the versatility of his talent boggle the mind. As part of the event celebrating the anniversary, the museum staff even prepared the project called That Was Also Made by Shchusev. It was aimed at drawing attention to the fact that many well-known architectural structures created at different times and in different styles are attributed to the authorship of Shchusev.
Alexey Shchusev started his career even before the Russian Revolution – in 1917 he turned 44. He experienced difficulties but he was best known for his ability to subtly sense the mood of the era. As one of the leaders of the Art Nouveau national romantic movement before the Revolution, he was mainly engaged in church construction but he was also one of the first to respond to the 1920s creative quest and to create avant-garde art works. When the authorities turned their attention to the classical architectural tradition, Shchusev easily responded to this request and continued to work successfully, always being on a creative upswing. That is why Shchusev is considered to be a master of three eras. In addition, he built the architectural image of both Moscow and Russia, as many of his projects were designed for Russian regions.
Shchusev was also involved in the restoration of cities after the Great Patriotic War, including Veliky Novgorod, Tuapse, Kiev, his native city Chisinau, and Istra located near Moscow. Despite his mature age (Alexey Shchusev celebrated his 70th birthday in 1943), he could not stay away from this difficult but very important work, since his work experience, skills in architectural restoration and in-depth knowledge of the Russian architectural heritage were invaluable in those difficult years.
– What events did the museum hold to mark the memorable date?
We worked on a large exhibition project covering the entire career of Alexey Shchusev. The last exhibition on such a large scale was held in the building on Vozdvizhenka Street 50 years ago.
Three publications were prepared as part of the anniversary program. The illustrated exhibition catalog is an extensive academic work that introduces several hundred graphic design sheets, photographs and documents from 18 public and 4 private collections into the academic discourse. The catalog contains articles on the least studied aspects of Alexey Shchusev’s work and a full-fledged finding aid: a chronicle of life and work, a list of buildings and projects, a list of publications about A. Shchusev and a name index. The two-volume book Career of A. V. Shchusev is of great value for specialists and fans of Shchusev’s work. The first volume contains selected memories of his brother P. V. Shchusev, engineer A. M. Nechaev who collaborated with the architect in 1908–1925, art critic and museum expert P. I. Neradovsky who headed the Russian Museum in the same years when Alexey Shchusev headed the Tretyakov Gallery, architect I. A. Sineva, a young architect working in Shchusev’s studio in the 1930s. The second volume is devoted to Alexey Shchusev’s publications in the specialized and popular press. He always took an active part in social and professional life, and we managed to collect 140 of his articles under one cover.
We are particularly proud of the book for children and teenagers Alexey Shchusev: the Architect Who Conquered Time prepared by the museum’s education specialists Polina Pokladok and Ksenia Smirnova with warm and lively illustrations by Anna Koksharova. While working on this publication, the specialists sought to tell the younger generation about the architecture and work of Alexey Shchusev in an interesting and exciting way. The book is very colorful, attractive and informative. This publication fully corresponds to the values of our museum and, above all, provides a comfortable perception of the very complex information – we strive to speak with visitors as equals without a didactic tone, which is especially important when communicating with teenagers.
– There is a lot of talk about formats that will help interest young people in the history of the Fatherland and cultural values. What efforts does the museum take to achieve this goal?
One of our best projects for young audience is Arkhilager (Archive Camp) – a day camp that runs in June. In 2023, the topic was Alexey Shchusev’s work. We gave lectures about the architect and his work, organized tours of the city to tell young people about buildings designed by him, and made sketches. As a result, an exhibition project was created; participants in two sessions presented collective works based on the master’s work.
We are mastering the digital environment by collaborating with applications such as izi.TRAVEL.
From September to May, the museum holds art classes. An important feature of our classes is the combination of theory and art. We start our course with lectures and conversations, and then we invite participants to create their own work: a fresco, a tile, an architectural model, or a cartoon. Collaborative work provides for a special level of involvement and insights into the subject.
On June 1, we hold an annual exhibition introducing the achievements of the MOIREsterskayas – this is how we affectionately call our art studios and exhibition project,” she smiles. We present the work of all students done over the year. The exhibition runs for a month, and it is available to the relatives and friends of authors and other visitors.
– Are there any age restrictions?
We accept students aged from 3 to 99 (she laughs), but, of course, for each type of activity there are clear age recommendations.
– Many of your studies are related to the history and architecture of railroads. What was the source of inspiration? Why did you choose this subject?
It was incidental! As part of one of the projects supported by the Department of Cultural Heritage of the City of Moscow, I was offered a tour guide job. At that time, I did not have a particular specialization, so I told visitors about the Moscow railroad stations. When I started preparing the project, I realized that the history of the railroad architecture was a blind spot which deserved to be considered. The Russian railroads had civilizational significance as they helped the country develop a vast area of the country to unite it into a single cultural and economic space. Importantly, the builders of the railroads were great patriots and enthusiasts: connecting St. Petersburg and Moscow was not easy, let alone the Trans–Siberian Railway. Railroads in the Russian Empire played a representative role. Dozens of different buildings were artistically conceived and built in a single style, forming an integral architectural ensemble stretching for hundreds of miles.
In the context of urban planning, the railroad is a very interesting phenomenon. When it approaches an existing city, it usually has a significant impact on its structure and causes transformations that follow certain patterns. In remote Russian regions, railroad stations often became the basis for the development of new settlements. Novosibirsk is a good example of it. The third most populous city in Russia was a railroad settlement.
Unfortunately, the architectural heritage of the railroads is now neglected. The railroad stations in large cities included in the list of cultural heritage sites are relatively prosperous, but at most stations, historical buildings are demolished or simply covered with siding panels to save money. At the same time, historical station buildings, even typical ones, are among the most artistically significant buildings in small settlements. A railroad station has always been a cozy place for a traveler and the center of social life. Surprisingly, railroad stations boasted the best restaurants in pre-revolutionary Russia.
A special problem is the preservation of engineering and production structures. One of the latest disappointing examples is the loss of the unique Kalanchyovsky Overpass in Moscow designed by Alexey Shchusev. The railroads should be developed, but in most cases the destruction of historical buildings has only one reason – savings on restoration and maintenance.
– The historical buildings of the Moscow railroad stations are impressive! Modern railroad stations, on the contrary, are designed in the minimalist style, which confirms the idea that the urban infrastructure has begun to perform exclusively utilitarian functions. Is this true? What is the role of architecture and public spaces in the education of individuals and the development of the society?
I am strongly convinced that the architectural environment is one of the factors that directly influence the personality development, and today’s desire for utilitarism in mass construction is rather a negative trend. The ideas of rationalism in architecture were theoretically formulated already in the 19th century, but still this era was famous for both practical and beautiful buildings. Architecture should certainly have a real basis and effectively perform certain functions, but it is the artistic qualities of architecture that provide a favorable environment for human life and development.
The best avant-garde art works, for example, combined functionality and expressiveness. The basis for modern architectural aesthetics is the form and the material. Achieving an artistic effect with these means requires great talent and skill. It is disappointing to see how an architect renounces their attempt to imbue their work with meaning in the name of economic efficiency.
– Moscow is a fast-growing city. How to find a balance between the new and the past?
Our city is rapidly developing, but the face of Moscow has been formed over centuries, so there are sites that should be inviolable, as they are the ones that tell the city’s history and broaden the cultural horizons of its residents.
In my opinion, Moscow is organic in its diversity, but the balance is extremely important, so the best evidence of its architectural history must be carefully preserved. Again, I would like to talk about Alexey Shchusev who worked on the New Moscow redevelopment plan in the first years of the Soviet power. The project was aimed at preserving the radial layout of Moscow, the inviolability of the Kremlin and the most important architectural monuments, the construction of new public buildings and local architectural ensembles around them outside the historical center, thoughtful landscaping of the city and improvement of embankments. The New Moscow plan was not accepted, but it influenced all subsequent plans for the capital’s reconstruction. The urban planning ideas of Alexey Shchusev are still relevant. It is important to systematically plan development of the big city and integrate history into its daily life.
– What is your favorite area or building in Moscow?
It is difficult to single out individual structures. I am a driver, and I see the city mainly from the car window, so I really appreciate the moments when I have the opportunity to walk around the historical center. Every time I wander the alleys, I discover something new. By the way, I really love driving along the Kremlin Embankment: it is beautiful and majestic at any time of year, or time of day. I really love Vorobyovy Gory – it reflects a completely different era and is associated with the pulse of life. But my favorite location in Moscow is the pond behind the Novodevichy Convent. It is ideal to clear your mind!
