archmag #1 2015 “faith”

ARCHMAG / 1 2015

ARCHMAG FAITH#1 Easter 2015

CoverNikita Dolgoy

Editorial BoardIvan Matveev, Nikita Dolgoy

DesignIvan Matveev

CompositionIvan Matveev, Nikita Dolgoy, Elena Hasyanova

ProofreadingIvan Matveev, Nikita Dolgoy

TranslationIvan Matveev, Primavista (p. 4041, and 5859)

WebsiteIvan Matveev

For information aboutarchmag or to offer yoursupport please visit:www.archmag.ru or contactus at [email protected].

The editors of Archmag.ru have been careful to try to contact all copyright holders of the il-lustrations that appear in this issue, but it was not possible to find all of them. If you claim ownership of any of the illus-trations appearing in this is-sue and have not been properly credited, please contact us and we will be happy to fix it.

The material appearing in Arch-mag (where not otherwise mentioned) is published under a Creative Commons Attribu-tion-NonCommercial-ShareA-like 3 unported license.

Archmag uses Open Sans, de-signed by Steve Matteson, PT Sans and PT Serif typefaces, designed by Paratype.

ISSN 19965591

ARCHMAG 1 2015

,

, ,

,

, Primavista (. 4041, 5859)

- , - -: www.archmag.ru, [email protected].

Archmag.ru - - , - ., - , , , .

Archmag.ru - Creative Commons Attribution-NonCommercial-ShareAlike 3 unported, .

: Open Sans, - , PT Sans PT Serif, - .

1,

21

archmag.ru, 2015

/ FAITH

Architecture and faith #1, Easter

Sacral architecture in the beginning of the 21st century

archmag.ruMoscow, 2015

FAITH /

, 11

, 17

, 25

, 31

, 43

, 55

, 57

, 69

, 105

- , 112

, 115

Wooden Architecture at Risk, 122

, 124

, 129

, 143

, 157

, 167

, 173

, 183

, 197

, 229

CONTENTS

Editorial, 12Ivan Matveev

For God is with us !, 22Olga Tolstikova

Church and space, 28Ivan Matveev

Atlantis of the Russian North, 40

Quadratura Circuli, 43

Sacred/Urban Moscow, 55

Defenseless masterpieces, 62Olga Tolstikova

Kizhi Island restoration facility, 72Ben Hayes

Obshee Delo, 105

A list of church restoration projects, 113

Shelters for the ruins, 120Sergey Kanterin

Wooden Architecture at Risk, 123

The Russian Ark, 126

Modern church design, 138Nikolay Vasnetsov

Chapel, 154Nikolay Vasnetsov

Oikonomia, 162Eugene Sablina

Architecture and orthodoxy, 170Ekaterina Chistova

Valaam, 178Anna Bazilevich

The sky is never bright here, 194Jennette Shchedrina

The Northen wind, 212Ivan Matveev

Authors, 229

10 11

, , , - .

, - . , . , - , . - . , -, , . -. , , , , -, , . , - . , , . , . - ., , , - , , - . . - , . , - , , -. .

12 13

The Russian state, which appeared on the basis of the Orthodoxy, reached its greatest cultural and spiritual flourishing, developing within the Or-thodox Christianity.

After almost a quarter of a century of absence of the common spiritual vector, the rebirth of Orthodoxy in Russia has begun. Churches are be-ing restored, new ones are being built. Young people, who are not sat-isfied with the ideology of consumer society, go to church.These processes permeate the whole of society. Despite the rupture of architectural tradition, still there are caring people who are ready to design and rebuild the temples.The importance of the Orthodoxy for the Russian World cannot be over-estimated. Russians, as a people historically formed on the basis of the Orthodoxy, and the Russian World, as a community of different nations, undergoes destruction with the loss of the foundation, of faith.This is especially evident now, when there is a fratricidal war in Ukraine. How soon people lose their humanity after doing the first step be-coming indifferent to others grief. Internal moral constraint for mur-der can be bypassed by abstracting the object of aggression. The dehu-manization begins with indifference.But despite the sea of hatred in the world, still there are people who take the cross, and lead the people, lighting our way with the power of their faith.The previous issue of our magazine was dedicated to the architecture and war. Any war is a result of manifestation of the spiritual war, an eternal war between good and evil. A war of the divine creative principle in man, with mans destructive beginning. This issue is dedicated to the spiritual warfare.

EDITORIAL

: . . , , -. -.

:, , , i , , .

Next page:Tapestry Troparion Of The Holy Cross. Artist Olga Tols-tikova. Wool, silk, hand weav-ing. In collection of Moscow Mu-seum of Modern Art.

The troparion of the Holy Cross (short hymn in Byzantine Lit-urgy): O Lord, save Thy people, And bless Thine inheritance. Grant-ing to Thy people victory over all their enemies. And by the Power of Thy Cross, preserving Thy commonwealth.

16 17

!

1

18 19

, , , ,

.

. , , . I. , , - . , - . , . . . , , , , . .

, - , , -, . , , , ! -, , , , ! , , - . , . - . ! , ! !

, , - . XVI. , , , -, . . . , , . . . . , . , , , - , . , , . , - . , , , . , .

- . . , . .

, , ! -, . . . , -, . . , -. , . . . - .

, , , -

: , . .

On the right:Temple of Sofia the Wisdom of God, Vologda.

1: , 8:910, , , : i, : , , , , , , , .

20 21

, . - , . , , , , . , , . , , , . , - , , ! ! , , !

. , . -. , , . , , . , . . , . -. . , . , , . , . , , , . , . ? , - . , . , , . - . . . , ! , ! , !

, , . , , - . , . , , . . , , , -. , , . . , . - - .

, . - . , , . , . -, . - , . - , - . . - , . . , . . - . , . -. , , -

. , . , .

, , - . !

! !

. . !

: , . .

On the top:Mosaic on Komsomolskaya metro station, Moscow.

22 23

And this is the condem-nation, that light is come into the world, and men loved darkness rather than light, because their deeds were evil.

John, 3:19.

Temples and cathe-drals of Saint Sophia in ancient Russia. One in Novgorod, another in Polotsk, and one more in Kiev. Temples of 11th century, they are the greatest, the most im-portant unity cathe-drals of ancient Rus. Here they are the temples of Saint So-phia uniting the coun-try from the north to the south. They rep-resent the collegiality and unity of our people. They stand for the wis-dom and power of Rus-sia. Saint Sophias Ca-thedral in Kiev is the starting point. Here our Pantokrator Christ shines in the gold of the central dome, He is in the sky above the ground and He sees everything. He is inex-

orable and relentless. Christ is here, with us, and in the eternity at the same time.

If you dare to come into Saint Sophias Ca-thedral in Kiev, the Holy of Holies, you will see hell before you, you will see your hands covered with blood of innocent victims. So come and stand before God and pray to Him for your forgiveness! Pray to the Lord and then you will see what you have done! You, poor mothers whose sons are shed-ding blood of innocent people! How can you live after everything they have done? Your sons are so cruel. You need to stop them! You need to pray for them!

Another Saint So-phias Cathedral is on a slope above the river Vologda. It is dazzling us with its white walls. The temple of the 16th century, it is like a huge Warrior standing tense and majestic. It is all rigor and power. The

FOR GOD IS WITH US!Olga Tolstikova authors photoes

1: Isaiah 8:910Associate yourselves, O ye people, and ye shall be broken in pieces; and give ear, all ye of far countries: gird yourselves, and ye shall be broken in pieces; gird yourselves, and ye shall be broken in pieces.Take counsel together, and it shall come to nought; speak the word, and it shall not stand: for God is with us.

temple covers all the space around it with its monumentality. There is the whole power of Orthodoxy, the power of Russia in the brilliant simplicity of cathedrals architecture. No decor. Sole spirit. Everything is so ascetic. Narrow windows look like loop-holes. The great white walls of the cathedral are bending the corbel archs with their power and drawing the sky apart with their domes. Quietly, the domes are humming like the skies before a storm. The sound is faint, but you can feel the power in heavenly domes. It seems they are moving like great planets in the sky. With the Universe is spinning inside, the domes are spinning in the Universe.

Your head is raised, but your eyes cannot cover these magnificent white walls. They can-not see the entire great white space and the en-tire Universe of the ca-thedral. This temple on earth is like the one in heaven it is there to empower us, to support our spirit in the time of trouble.

The domes are driving into the blue sky and breaking through it, rushing up to the Lord! All our endless Rus-sian fields covered with

snow are seen within those white walls. Spring thunderstorms are heard in those mag-nificent domes. Russian power is felt within that cathedral. Our soulful simplicity and Ortho-dox prayer are within those stones. The white walls are reddened with the crimson of the skies above the domes like blood shed on the snow in Saint Sophias land. But the Sophia standing on the Vologda keeps no silence, it is praying. It is standing there like a warrior in a bloody hel-met. Its bells toll a toc-sin for the whole Rus-sian land. The domes of northern Sophia have reddened with tocsin red color for Sophia of the south.

Now is the time when every pagan rite, embroidery, amu-let, used to replace true Orthodoxy, is vanish-ing. They look too shal-low, too decorative in the days of trouble. And it is time when drear cuckoos in the trees are calling for us, for those who are living their easy peaceful lives away from grief. The birds are cuckooing about the eternal and the mean-ing and transience of life. The birds make us remember the death, re-member the dead, re-member the suffering.

1

The Vologda, hiding in the grass, and all the writers of the Russian land, Northern Thebaid! Where is your Beloz-ersk Regiment your noble warriors! Stand up! Speak up! Where are you? Are you faint-hearted?..

Exodus. Exodus of Russians searching for salvation. The tragedy of the situation is enor-mous and inconceivable. There they are, those refugee women holding their children tightly. Peer into their faces and try to understand. These are the faces of orphans, the faces al-tered by the war forever. Their faces are open, and you can see they are Russians. They have no defense. No defense. Silent, they are cry-ing inside. Heartbreak-ing like The Scream of Munch. They are silent, with no power to cry out. Each one of them has his own story, his own broken life. Enough to write a whole novel like the one of Bulga-kovs about people in misery. Remember, he felt their suffering as if it was his own, he was with them in their mis-ery. What about us? We are with them in our minds and souls every minute. We can neither sing nor dance. We have our faith, and the truth

of our Holy Fathers, and our prayers. A clear dis-tinction between black and white. No grey compromise. There is a war. Lord, have mercy! Lord, have mercy! Lord, have mercy!

Saint Sophias are Holy warriors, ready for battle with their domes rising in the sky like helmets. The temples are human-like, with their windows serving for eyes, the dome for the head, the base for the feet. The temples are our spiritual warri-ors in the invisible ever-lasting battle. They are standing for those who accomplish their feats in Donetsk, Lugansk, and Slavyansk. Wher-ever we are, whether in Vologda, or in Mos-cow, we think of those in the battlefield Our whole country is with you. We are with you in our churches and in our prayers. Like Papanins crew had been once res-cued on an ice block with the whole country empathizing sincerely.

Komsomolskaya subway station. Mosa-ics on the dome lights designed by Pavel Ko-rin. Russian troops be-fore the battle, the gon-fanon above them, the Holy Saviors image as the banner. This is the image that saved the besieged city. This is

the image that Dmi-try Donskoy prayed for when he received the news of Mamai attack-ing Russia. This gon-fanon had accompa-nied Russian troops in many campaigns from the battle of Kulikovo until the times of World War I. Later it was called znamya mean-ing a banner, the word

znamya replacing the old Russian styag. The Holy Saviors image soon became a talis-man of the city and the whole country. This im-age is most important for Russian Orthodoxy, its value and meaning close to the one of the cross and the crucifix-ion. The eyes of Christ on the icon Christ the Ardent Eye are pierc-ing the enemy with its ardent power, immense and inexplicable. The power to fight and win. Let this power of Christ protect you and defend you the same way it protected the warriors of Dmitry Donskoy. The soldiers of Christ are bright and courageous. Every righteous man is a warrior accomplish-ing a feat.

A great thing it is, brethren, to lay our lives for the Orthodox faith. No mercy to enemies!

God may cause his face to shine upon us, that thy way may be known upon earth, thy saving health among all nations!

Be broken, you peo-ples, and be shattered. For God is with us!

26 27

- -, - . - - . - - ? - - - : , - . ...

.

. .

. - - ?

, , ! - : , - , -, , - , - , , -, , , - , -, , - . , -!

- ( ) .

- , , , -. - , 12 - . . - . - . - , . - , ... - - , , - . - ; - -... - , - . - , . - ...

... -, -. - - , - . - - . , - - .

12-

- . 1162 - , - : ... - , . - . .

, .

, , -, . -, -:

-, , - , - .

, , , , , , .

, - - , - - .

. - , - , - -. -

, - - . - - -, - : - .

- . - - - ; - , - .

, , - , . - , - . , -

, , , ,

, - ,

- -, , , - .

. - ; , -

, .

28 29

A temple is not only an architec-tural and aesthetic dominant, but it is also a powerful city-forming factor. Orthodox churches have al-ways been organizing centers of settlements. Why most of the old Russian cities have ring structure of building?Because citizens wanted to build houses on the perimeter of churches and monasteries: they not only spiritually sustained the parishioners, but they also were shelteres against attacks of ene-mies. Temple has the ability to lift up peoples minds to the heights of the spiritOnly the church spiritually unites the people. father Dmitry Smirnov.

What forms the native Russian space?Oh, brightly lit and beautifully adorned, the Russian land! So wonderful with its many beau-ties The Lay of the Ruin of the Russian Land.

CHURCH & SPACE

The concept of the Russian land includes forests, fields, and the man surrounded by this land-scape. The first time it appears in Nestors writings, the first historical work in Russia in the early 12th century. It is usu-ally called The Primary Chroni-cle (Povest Vremyannykh Let). It was written in Kiev Monas-tery of the Caves (Kyevo-Pecher-sky Monastery). Russia has never had that kind of writings after that. These are the narratives of bygone years regarding the ori-gin of the land of Rus, the first princes of Kiev, and from what source the land of Rus had its beginning. It is not a history of a state, but a history of the Russian land Different ethnic groups were living in the space of the Russian land There were differ-ent cities, different politicians, but Nestor put the Russian land in the heart of his story. Thus he united them all; it is the vector of the development of Russian civi-lization...

The theme of the Russian land as a specifically formed space, is essential for the Rus-

sian civilization. Not only in the artistic sense, but ideologi-cally formalized. Our ancestors found some certain sense in this space...

The desire for peace and quiet, extremely difficult to achieve. Church on Levitans painting creates that very image that he inexplicably managed to express. Yevgeny Troubetzkoy in his book Speculation in colors, writes about the space of icon. This icon space somehow reso-nates with the space of the Rus-sian landscape.

In the second half of the 12th century Russian architects have created Church of the Inter-cession on the river Nerl in 1162. The church was placed in a vac-uum, there has never been any property near there: that time, the construction itself took in-credible amount of workfor it stands on the flood meadow There are some reliefs on the fa-cade of the church the main of which is the image of King Da-vid the Psalmist. The Book of Psalms was used as a textbook in Ancient Russia. Thats why these images had a great meaning for people of that time. Felix Ra-zoumovsky, from the lecture Russia: the space as a prophecy at MArchI.

The Russian space with its scarlet sunsets, with wide fields, is like a temple, it is con-nected with Russian icons. In the run-up to the revolution, Prince Troubetzkoy writes:

We feel that not only chur-ches were built in that on-ion-dome style of old Rus-sia, but everything, what lived the spiritual life the whole

Ivan Matveev

church and secular world, from tsar to plowman... Everything in this universal aspiration to the cross is searching for the flame, everything echoes its form, and everything is sharpened in the gradual ascent. But only by get-ting the real point of contact of the two worlds at the foot of the cross, this fiery search flares up with bright flame and joins the gold of heaven. This has the whole mystery of that icon gold, which we were talking about: for one and the same spirit has been

expressed in the ancient church architecture and painting.

The whole point of the ex-istence of Holy Russia is in this fiery flash. In the burning of church heads it finds a vivid pic-ture of its own spiritual image; it is like an anticipation of the im-age of God, which should be rep-resented in Russia.

This burning sensation of ascention to heaven first came to me in Pskov, where we went on a tour with our school class. Nu-merous heads of churches, blue with gold stars on them, against a bright blue sky. This was the beginning of the feeling that has strengthened in me in Vo-logda in Lamaniha village, where the Church of St. Nicholas on the river Vologda, directing the whole space around it upwards, and then in Ferapontovo, and af-

ter in Goritsky Monastery, which stands above the lake, with the evening sun falling into it.

But most of all this feel-ing has strengthened in Solovki, when the whole nature seemed to be catching fire after the monks, praying in a procession of the cross.

The whole point of the existence of Holy Russia is in this fiery flash. In the burning of church heads it finds a vivid picture of its own spiritual image; it is like an anticipation of the image of God, which should be represented in Russia.

Eugeny Troubetzkoy, Three Essays on the Russian icon.

30 31

http://planeta.ru/campaigns/10280

32 33

: Photo here and on the next pages by: Atlantis of the Russian North

34 35

, - -, , :

?

: - , - - , - , . - , -, -, - , - -, , - .

-?

: , - - ( planeta.ru) -, , -, - . -

-, - , . - -, - ., , , . - , , - - - -, - . , , - - -, , , , . , , , , - - .

, - - ?

: -. -: - , - . -

- . , - - , - . - - -, - - -, - . - .

?

: - , - -- , - -. , . , - , - . - (, , , -), - - -

36 37

, -, . , - - , - - . - , .

- - (-, )?

: - . - , . - - - - , -, - -. 18 , - 17 - -

. , - , - , - . - , , - , 1990- , - . - , , -

, .

-?

: , -, - . , , , - . - , - - , . . -, -

. - -? , , - -?

: . - , . , -. . -, -, -.

, . -, . - . - , - , - . , , , - , ,

38 39

.

- , , - - . - -, ( , , - , . .)?

: , - - . - -. -, . , , - -. - , - . - , , -, - , -, . , - , , - , , -. - .

- ? , , - , ?

: - - , - , -, , -, . - - . -, , - , . , , - . - - , -, -.

, , ?

, : 2014, -. , , -. - -, - , ,

, - . - , -, , -, - .

40 41

ATLANTISOF THE RUSSIANNORTH

Atlantis of the Russian North is a feature-length documentary about the Russian North how it is created, beat, saved, and what kind of free and hard life comes out of it.Read more and watch the trailer at http://planeta.ru/campaigns/10280.

42 43

http://cc-qc.ru/

44 45

- ?

. , . - - - -, . -, -, - , . . - . . -, - - . - - . , 2007 , , - - . , -, - , . , - ; - , -, - , --. - , , . -. , - - -, -- ,

, , . - , , - , . , - . , , - -.

- ?

- , - . - . -. , - , - . - -.

?

-, 2014. . .

- - . - , - - . , -, -, - - , - , -, . , , -, - . - , , . . -, - .

?

, , - . , , -, , , , , - . , - , . - - -, -

: : : Quadratura Circuli

On the right:Russian cultural center in ReykjavkArchitect: Daniil MakarovImages by: Quadratura Circuli

46 47

: : Quadratura Circuli

Missionary Temple Architect: Daniil MakarovImages by: Quadratura Circuli

, , - , -. , - , . , , . , - , - . , , . .

-, -

-. ? - , , - , . . - -, , - . . , , , - . -, - -: - , -

48 49

, , - , . , - , , -, -, -. , . - - -. , , - . . , - , -, 17 , - . - , - . - - . - . -. , - , - -: - , - ; , , -. , - -, - - , ,

, -. 20- - -, - . - , - . , -, , , - , -. -

, . - , - , . , - - , , , -


Church of the ResurrectionArchitect: Daniil MakarovImages by: Quadratura Circuli

, - .

, , , , , .

- , . , , -, -

-, -. , - , , . , -, - - , - . . -

, , - - , , , - , -? , - , -, - - ? -, - - ! , , , -, . , - , . , , , , - .

- . ? .

. . - , - , - , , . - , - .

: , : Quadratura Circuli

Church of St. John the Evangelist in AnisimovoArchitects: Daniil Makarov, Ivan ZemlyakovImages by: Quadratura Circuli

50 51

, , - - , -, - . - , - , - , , - , --. - , - .

, ?

, - , - , . - ? , , - ? , . - - . . -, , - - , - , - . - -. - -, - -. -

. -, - - , , , , , , - . , -, - .

--. , , , - . - -, . -, - , - - , ? -?

, , , , - . -, - - - . -, - .

?

, -, - - , - , , - -, . - ( - , 2014), . , - . . - - . - . , . , - .

, - , - -, - . , -, - , , , - -, . .?

.

, , ?

, - , , -

, - . -. -. , . , - , , . ? . -

. , , - , - , . , , , . , -

. , , -- -, , . - - .

-? -, , , -.

, , - , . -, , , -, , , . , , -, -.

, , - - -?

- - , -. - . , -, ,


Chapel in Efimovo villageArchitect: Ivan ZemlyakovImages by: Quadratura Circuli

52 53

-, , - , - , - . . - , , . , . , -, . --, , , - . - - . -: , , , , -, . , - - , -, , . , .

- - , ?

: : : Quadratura Circuli

On the right:Project of a wooden churchArchitect: Daniil MakarovImage by: Quadratura Circuli

, , . , - -. , - - , . , , - , -, , - , - , - - , . -, -, , -, , ,, - .

?

. , -, - , - .

54 55

SACRED/URBANMOSCOW

One of the most obvious assumptions about Mos-cow temples is that of imbalance. There are a lot of churches in the de-populated historical cen-tre and a lack of them in the over-populated pe-riphery. This situation is rooted in the fact that most churches in the periphery are former vil-lage churches, and have a smaller capacity. This di-agram demonstrates the mapping of churches vs population density. A population map density was taken from Archeology of perifery research is-sued in 2013.

Having identified the types of urban plots with no temples, conceptual resolutions can be proposed with the specificity of each urban environment in mind.

The research contains an investigative and a visionary part. The visionary part offers both re-alistic and utopian conceptions of temple develop-ment in Moscow.

- . - - , - - . 2013 .

, , , - .

- , . , - - , .

Pilot phase

[email protected]://vk.com/sacred_urban

58 59

. , - . , , . , , , , , . , - , . , - .

, , , - , , - , . - 1985 . , - ! , - , . , - . -. , , , - . - -. -, , ,

. , , - , . . ! - .

- - , . , - , . - ! , , - . , , , -. ! , , - , -, , . , ? ?

- 2005 XXI. . , -, , , , , - , , . , - .

,

-: - , . - . - - .

, - , , . . , , , - , , - . - . , .

, , , . . - , . , - .

- . 47 73 25 2002 , , - - . .

25 2002 N 73 - - - -, , , -- . , - . , -, , - .

, -, . , , , - , , . , .

60 61

, . - : -, - . -. ? ! , , ?

, , - . , , , , , - , , .

-, , , , , , - . -. , , - ? ?

-. 19 , , . , - . , . , - , , . , - , . , - 2012 - 19 . , - , . , , , - . .

. , , - . , 48, - , 1901 .

, -

, . - -. , - ostrana.ru.

- . - , , -, . . - , . , , , , -. , , , , - . - , , .

62 63

Old log houses in the city of Vologda. Houses where the sense of time has been preserved in the unmatched deep grey of the wood. Carv-ing, combination of pierced, sawn-through and dimensional fret-work, marvelous flight of fantasy. The en-tire house is like a huge wooden sculpture; in its color, mixed out of rains, snows and sun, the dear old times are present. One yearns so much to cuddle up to this shaggy, cracked wood, to pass ones hand over it. To hug all these, so dear, houses the small particles of Motherland.

In the older days, the practical field work for arts colleges stu-dents in the old Rus-sian towns helped them to feel, understand and love Russia, its history embodied in architec-ture, and architectural environment. I was one of those who par-ticipated in the paint-

ing practice in 1985 in the city of Vologda. Theres Russian spirit here, theres Russias scent! The sparkling of Vologda river and little churches on the bank, like white swans, about to spread their wings and fly into the bright blue through the fes-tive gold of dandeli-ons. There is no pret-tier place than our East-er-time Russia. Under the blue skies, a golden city rises... Gods own grace. Everything is so dear and familiar as dear as the serene Little Moscow yard painted by Polenov. A carved-wood town with un-trampled young grass. Vologda of those days was like Moscow of my childhood, my Ta-ganka, my Krutitzy, my Novospassky Monastery (New monastery of the Saviour)...

A two-storey house built of wood in the very center of Vologda. The house smothered in the embrace of giant li-

DEFENSELESS MASTERPIECESOlga Tolstikova

lac bush in full bloom, transpierced with its sound fragrance, with the light of white nights. It stayed in my memory like this the way carved wood ap-pears silver in the in-florescences shim-mer. Whose hand was it that dared to burn such beauty down! A store is now built in the houses place.

Some fifteen or twenty years ago, these arsons started, the in-cineration of Russia. I remember the first time I saw, instead of a sil-very house, the black, sleek luster of fire-brands. The burnt-down house like a knife in my heart! And then again, more and more frequent, getting more and more custom-ary. No-one was hur-rying anymore to clear up, pull down, hide the arson traces no, its easier to hang on top of it huge banners with paintings by an Acad-emy member war vet-

eran. Such sacrilege! To replace the old, tran-quil town, a new ag-gressive style rushed in from Moscow the glass-plated architec-tural monstrosity has pierced the sky with its blue fang, breaking down the entire har-mony of the city. What is yet to come, if they have launched in this direction? What is in store for the city?

An academic con-ference in Kirillo-Be-lozerski historical re-serve museum in 2005 was called Preserva-tion and implementa-tion of wooden archi-tecture monuments in the 21st century. Even back then, this prob-lem was not an exclu-sive concern of Vologda land. Participants from Moscow, Sankt-Peters-burg, Veliky Novgorod, Arkhangelsk, Vladimir, Yaroslavl and Kostroma were discussing what was then approach-ing so rapidly and tried to stop it. They were

not afraid to talk about things that still are a sore and unsolved issue today.

An abstract from a report by Lyudmila Kashina, at that time the head of Depart-ment of culture and ar-chitectural heritage of the region: Preserva-tion of the monuments not only facilitates pop-ularization of the high standards of the na-tional culture and fos-tering of patriotic feel-ings. Historical and cul-tural heritage is an eco-nomic resource of a special sort. The so-cial and economic en-vironment was planned to be created around the monuments. She stated even back then that conditions of the wooden historical and cultural heritage of the region, same as overall in Russia, engenders se-rious concerns about its future fate. Analysis of the situation through-out the region has de-termined a number of the most alarming fac-tors. It is, above all, un-founded and in many cases illegal demolition / scheduling for demoli-tion or arson of wooden structures and a new construction in the his-torical areas that have become mass-scale in the recent years. Now-adays, there is nearly

nothing left to restore. The houses get torched and even if the resi-dents manage to defend them the first time, the arsonists will not stop and burn them down all the same.

Both in Vologda and in other cities, buildings on the hous-ing and public utili-ties balance cause ap-prehension, as they do not ever get repaired. The buildings are trans-ferred into such a state where the repairs be-come impossible. This equally concerns mon-uments and environ-ment-related wooden structures.

Currently, a grave problem is becoming the tendency to destroy the authentic monu-ments and create their copies out of contempo-rary construction mate-rials in their place. Ar-ticle 47 of the Federal Law No. 73 FZ dated June 25, 2002, states that reconstruction of the cultural heritage items may be performed in exceptional instances and using the old-time technologies, where the said item has spe-cial importance. This norm does not provide for demolition of exist-ing items of the cultural heritage.

Municipal author-ities often ignore re-

quirements of the Fed-eral Law No. 73 FZ dated June 25, 2002, on the necessity to per-form repair and resto-ration works on the cul-tural heritage items and engagement of resto-ration specialists for this purpose, leading to the sites common re-pairs being substituted for the actual repair and restoration works. With this approach, a real danger exists that in the nearest future many historical and cultural treasures of the re-gion might by irretriev-ably lost. Today, the grave and sometimes emergency condition of many items of the cul-tural heritage demon-strates that this field of activity is not one of the priorities in our coun-trys state policy any-more.

All problems that were voiced at that con-ference have become even more intense in the past years. Espe-cially now, when we have lost so much af-ter that conference that seemed to be a life-sa-vor, where all chal-lenges were clearly de-fined and the action tendencies were stated. Neither conference nor fight that followed failed to stop anything. Today, a new danger is impending Vologda, a

new tide of destruction of those last remain-ing morsels. I would like to quote here an opin-ion of a well-known Vo-logda lore writer ex-pressed in his Facebook account: One can un-derstand the feelings of young Vologda cit-izens when they pro-test against demolition of old wooden houses in the city. Heres a photo of todays demolition of one of such buildings. A pity? Yes! But would you like to live in it, to move in here from your cus-tomary gas, hot water and central heating?

This opinion justi-fies and legitimizes the arsons and is lately in-troduced so subtly, so gradually into the pub-lic mind via mass me-dia. So, it seems eas-ier to drive people out, to burn the house down and build some com-mercial property on its place, pocketing the profit, rather than choosing the civilized way, reconstructing the old houses carefully and creating comforta-ble, modern living con-ditions.

But the major thing is to squeeze the money out of the old housing sites, isnt it, and for this purpose, to convince the citi-zens smartly, believ-ing they will not under-

64 65

stand, will not defend their dear, to convince them that it is inexpedi-ent to preserve wooden architectural struc-ture, allegedly incon-venient and uncom-fortable for living in. To burn it down and jus-tify the crime by expe-diency. I wonder who builds on the cleared sites afterwards and for whom? Who is the obvi-ous criminal here?

In the center of Vologda, an architec-tural monument has been illegally destroyed. The scandal concern-ing the demolition of a late 19th c. house lo-cated on the crossroad of Victory Avenue and Vorovsky Street has been going on for over a week. Despite their pro-tests and appeals to po-lice, the historic pres-ervation activists failed to stop illegal demoli-tion of the architectural monument. In the opin-ion of member of the public movement Real Vologda, it is sup-

posed to be replaced by a three-storey mansion. To all appearances, some persons in our city are so influential that they deem themselves above the law. There is no other explanation of the situation where the federal monuments are torn down and the cul-prits remain unpun-ished. Thus, in the fall 2012, a 19th c. building of Tanners stalls was destroyed. The owner declared that it was necessary to pull the building down in order to rebuild it from the ground. Yet, no-one except for the human right activists minded that once demolished, monuments usually lose their cultural value and that Department of Cul-ture had issued a per-mit to perform works to preserve the cultural heritage item. A re-fusal to initiate crimi-nal proceedings on the grounds of this fact was ruled illegal.

The situation re-

peats itself. Yet an-other monument is de-stroyed presuma-bly by the same people that have earlier pulled down the Tanners stalls. In early March, at Victory avenue 48, workers started de-mounting the house of pharmacist Nikolay Ne-mirov built in 1901.

Despite the his-toric preservation ac-tivists having disrupted the demolition works several times within a number of days and even called the police, as of today, the work-ers have actually pulled the house down to the ground. The regional department of cul-ture has confirmed the houses status as of a site possessing charac-teristics of cultural her-itage and has brought an administrative ac-tion following the fact of the buildings demo-lition.

The historic pres-ervation activists also appealed to the office

of prosecutor, writes ostrana.ru.

Vologda has been awarded the name of a Cultural capital of Rus-sian North once again. However, it must meas-ure up to this name in all aspects and do everything to be able to carry this name with dignity and not just on paper. Do not sug-ar-coat the reality. Lets define problems and solve them all together. It is admirable that young people acquired such civic courage now-adays, that they fight for their culture and defend it and express their patriotic attitude. I would like the Gover-nor to lead the move-ment on Vologda resto-ration, so that our city could finally be named the Cultural capital of Russian North by rights. By all accounts, without his dynamic ac-tions corruption cannot be defeated and Rus-sia cannot be strength-ened.

, Moscow Courtyard, Vasily Polenov

. : , On the next page: Above Eternal Peace, Isaak Levitan

68 69

. 1862 . - .

Kizhi Pogost. Constructed in 1862, the two churches and bell tower are the only original construc-tions on Kizhi island.

70 71

: , , .

, ?

, , -, , . - .

- , , , , . , , - , - . -, , - , -, . , , . - , , .

, - 250 . , - . , - 1015 - . , - , , -, .

-, -, - - .

- , 250 . , - , . - -, , , , . : , , - .

: - . . - , -. - - .

72 73

KIZHI ISLAND RESTORATION FACILITY

Why did you select the theme of preservation of Russian wooden ar-chitecture, what moti-vated you to take that theme?

I have always been fas-cinated with the sub-lime landscapes of Northern Russia, in par-ticular, how the land-scape had been depicted in poetry, literature and landscape painting over time. I became inter-ested in the profound relationship between the landscape and the architecture of timber buildings in the area.

I spent a year in-tensively researching Russian timber archi-tectural heritage and visiting architecture in Karelia, Kizhi, Petrza-vodsk, Murmansk. I re-alised that the cultural heritage of many timber buildings was in des-perate need of saving

in particular areas. My proposal imagines how a drastic measure might be proposed to save some of this endan-gered architectural her-itage. In it, the project re-imagines the land-scapes around Kizhi Is-land and attempts to capture the imagina-tions of people in Russia and around the world of how and why this archi-tectural might be saved. It is an earnest call for the protection and cel-ebration of this most fragile heritage.

Ben Hays authors images

Location: Kizhi Island, Karjala, Russia.

This lyrical proposal is for a museum land-scape that will fa-cilitate the restora-tion and reassembly of 250 wooden Orthodox churches onto Kizhi Is-land in Northern Rus-sia. These fragile, des-ecrated structures have a spiritual pres-ence that commands re-spect, however, in the next 1015 years these wooden monuments will almost totally dis-appear. The churches were once central to their communities, just as the Orthodox faith was central to the peo-ple, they speak of the inner lives of the people in this place. This lyri-cal proposal explores in depth the changing re-lationship between the Russian landscape and national identity, trac-ing back the influence of Romanticism at the start of the nineteenth

century and looking at the wide scale impact of Soviet collectivisation and de-ruralisation.

This project chal-lenges the programme of the existing mu-seum on Kizhi Island and considers a more ambitious architec-tural intervention, radi-cally expanding it to in-clude all 250 wooden churches. I propose a new restoration facility and museum to facili-tate the dismantling of the church monuments from their original lo-cation, their transpor-tation to Kizhi via ship-ping, their restoration and open-air curation across the whole island. The facility will contain temporary and perma-nent structures for re-search, storage, pres-ervation and exhibi-tion of each church that has been relocated. The project addresses two

problems: it protects and restores this fragile heritage, that today is on the verge of total ex-tinction, and it dramat-ically redesigns the vis-itor experience on the island.

The intervention adopts an approach to the islands land-scape: the whole is-land is treated as a re-pository of protected buildings that is con-stantly transforming, thus challenging exist-ing notions of preserva-tion and heritage. The new formation of this landscape will be the impetus for the com-prehensive study of the buildings and amassing data connected to them. The project is an ear-nest call for the protec-tion and celebration of this most fragile part of the cultural heritage of Russia.

74 75

: , e . .

On the right:Ben Hays, Kizhi State Open-air Museum Existing Building arrangement. Scheme from thesis for his MArch work.

100 101

102 103

104 105

http://obsheedelo.ru/

.

106 107

: Photo by: Oshee Delo

108 109

, -?

-, - . -, , -, , - -. - - . , , -, - , - . , - , - , . - . . , , , , , - .

, - , ?

, . , - -. , -, -

. -, , . , , -, , - -, . , , - , - - . , , -. -, , ? - , - - . - , - , - -.

?

, - , , . , .

, ?

- , - - -. -, - . , - -. , , , , -

. - - - . - -. , . -. , - - . , - 700. , - -. , - , - . -, , , , - , -, . , -, - -. , - , , , . , - 1700- , - . . . - , -. - . -

. , , , - 1015. - -, - 30 - , , , - . - , , - - -. - , -, , 57 . , -, . , - - , -.

?

, - - . - - - , , , , - .

- ?

, 700 , -

. - , - . , , . - - . , -.

? ?

, . - , - -. , , -, - . - , - , , , , ? - . . . -, 20- , 19-, . . - , . -. -, , , : ? -, . , , , .

-?

. , -, . , - , , - .

, - . . - - - . ? -, ?

, -. -- , , , . , , -. . , ., , - , . -. , , , - . , , , -, , , -. , . , , , . - - , , -

110 111

, . -, . - , - , - . , . , , 2015 , , . , - . -, , , -, --, . -, - - . : , - , - ; - , - , - , -, , . -. , , - , , - , - . , . , , . , , , , . , - , - .

, -. , . . , -, .

: . - (1636 ) , - . , , . , -, , , . -, - .

On the right:Photo by Obshee Delo project.Alexander Slepinin near the church of st. Nicholas (1636) and the bell-tower, which he began to restore himself alone. Arkhangelskaya oblast, Onega region, Vorzogory village.Alexander, even not being a christian, de-cided that after his death the bell-tower would fall the same way as the churches nearby, and began to restore it to preserve for the descendants.


. - - , - - - , - - .

- , - - , - - -. - - - . - .

- - 130 , 270 ; 108 - - . - .

- - . - - - - -, . - - .

http://www.dom-restavros.ru/

- ( 2005 . - ) 1990 . -- - (), 1995 2002 . ( ) - () . 2002 . () -- - - (). 2004 . - - - .

- - -, -, - , - , -. - , ; , ; -

http://verenitsa.ru/

- . - , - - . - -. - - .

: 1) , 2) -, 3) - , .

: - 1790 -

1755 -

1901 -

1875 - -

1901 -

- XVIII - -

- , , , : [email protected].


Obshee Delo Project. Re-vival of wooden churches of the North unites car-ing people, seeking to pre-serve the ancient shrines of Orthodoxy and the monu-ments of wooden architec-ture in Arkhangelsk, Vologda and other regions of the Rus-sian North.

Volunteers of the Ob-shee Delo clear debris and remove trash from the tem-ples, conduct emergency and conservation works, put icons and invite clergy to perform divine services. Locals take are actively involved, and af-ter the departure of volun-teers continue to take care of their shrines. .

For seven years of ex-istence of the project more than 130 expeditions were carried out, during which sur-veyed about 270 churches and chapels; in 108 of them emer-gency and conservation works were made. The Divine Lit-urgy has been celebrated in eleven churches for the first time since the decades after their closing.

Hundreds of volunteers are sent to the North annu-ally. Teachers and students of Sretensky and St. Nicho-las Ugreshskaya seminaries young people of Optina Mon-astery Metochion and many other churches in Moscow traditionally participate in the expedition. Coordination Center for the project is at the Church of Tikhvin Mother of God in Alexeyevskoye.

http://www.dom-restavros.ru/

Volunteer union of young peo-ple Restvros was founded in 1990 by enthusiastic volun-teers from the All-Russian So-ciety for Historic Preservation and Cultural Organization (VOOPIK) .

We have accumulated a rich experience in attracting volunteers all comers, to take part in simple construc-tion and restoration work in temples and museums in Mos-cow, Moscow region and many other cities, large and small. Our track record includes la-bour in Kiev and Belgorod, Orel and the Kuban; in Be-lozersk and Kirillov, in Kar-gopol and the Konevets Is-land; in the Perm and Nizhny Novgorod

http://verenitsa.ru/

We restore wooden churches in the Russian North. We make projects and participate in scientific discussions dur-ing autumn and winter, and drink strong tea with rum. With the coming of spring warmth we set off to work on the chapels of Vologda. Then we go to the Arkhangelsk re-gion with volunteers, when summer comes where our churches and our friends are.

Our three principles are: 1) our movement is secular, 2) our movement is a volun-teer, 3) all funds collected go to the restoration of churches, none of the participants in the movement receives any payment.

We are restoring: Church of St. Nicholas in 1790 in the village of Gridino in Belsky District of Arkhan-gelsk Oblast

Church of Vladimir Icon of the Mother of God in 1755 in the village of Melandovo in Kholmogorsky District of Arkhangelsk Oblast

Church of Elijah the Prophet, 1901 in the village of Nyun-ezhskaya Shenkursky District of Arkhangelsk Oblast

Chapel of Smolensk Icon of the Mother of God, 1875 in the village of Upper Onega district of Arkhangelsk Oblast

Chapel of the Holy Spirit, 1901 in the village of Osi-novskaya in Shenkursky Dis-trict of Arkhangelsk Oblast

Chapel of St. Blasius XVIII century in the village Nikitin-skaya in Vozhegodsky District of Vologda Oblast

If you can tell us about any other valuable projects, not included in this list, please dont hesitate to email us: [email protected].

Obshee Delo Restavros Verenitsa

114 115

116 117

. - .

, - . -: , , - , , . -. : - , , - , , , - . ( XVI XX). - . -, , - - . , , -- . , . - , . 70 XX - - .

Ruins

Stone Wood

Shelters

New forms

-, . , . . -, . -, ; - - . - . - .

. - , . , - -, . - - -. , , - ? .

118 119

, , - - . , - , , - , . - - . , , - . - . , - , .

+ = , . - - . ., , . - . , , . - . . , - . , , . , - ( ). . , , - : - -, - , - , - .

120 121

Ruins. In hope of res-torationThere are plenty of tem-ples in Russia, which stay in a semi ruined condition. More of-ten they are wooden churches and chap-els in the North, and stone and brick ruins in the middle zone. Many people are attracted to them: photographers, artists, historians, art historians and even ar-chitects are looking for the features of authen-ticity in them, not yet extinct connection with the past, with the real art. They call them her-itage. The results of these searches appear slowly: exhibitions are being opened in the cit-ies; archives are being collected in the inter-net; some make blogs, publish articles, re-searches, reconstruc-tions, etc. This is the way an important work

is held to collect the in-formation about this wide part of architec-tural history (circa XVI c. to the beginning of XX c.) .

Thus the exist-ence of temples is like moving from material to virtual form. It looks like this transformation is more important, than the real state of the heritage, as the com-mon research and un-derstanding of it hap-pens in the virtual re-ality. However, it is im-portant to remember that these ruined tem-ples are in danger of ex-tinction now. These are the houses of God, which we must take care about as the inher-itors. They were born by the Church and the Russian people as a nat-urally necessity for the existence. Only 70 years of estrangement in XX

century have turned them into ruins its time to change that.

Wooden architec-ture hidden oppor-tunitiesWooden architecture can help to preserve the ruins from extinction. It has many obvious posi-tive qualities. It has al-ways been affordable to people, as wood is cheap, easy to process and there is plenty of it. It is easily changea-ble, as the construction is fast; there is a great variety of construc-tive schemes due to the anisotropic struc-ture of wood. Together, these qualities allowed wooden architectural design to quickly de-velop the features of anew style. That is why nowadays the cultural revival of folk wooden architecture can make a significant contribution

to overcoming the stag-nation in our temple ar-chitecture.

One more interest-ing feature of wooden architecture is its spontaneity. Wooden churches have of-ten preceded the stone ones, and appeared just after the establishment of a new settlement. They were built in large numbers, mostly with-out any specific church or state program, just for the natural desire of the people. It is this act of the popular will that is now able to save and restore the remaining ruined temples. After all, if you think about it, what is the point of the state restoration of monuments, if peo-ple living nearby do not take live participation in it? Working together will be a much greater benefit for them. For ex-ample, the volunteer

SHELTERS FOR THE RUINSSergey Kanterin

Preservation or something more

project Obshee Delo, which involves locals in the work, is getting more and more popular. Overall, a small part of rural churches little by little are restored across the country, and in my opinion, it is always ac-companied by the gen-eral development of the town or village. Resto-ration a local church of-ten becomes a trigger for this development. Unfortunately, there is lack of good projects. Architects should pay attention to this fertile area of creativity. Under the influence of specific conditions, they can find new and interest-ing solutions of temples together with the com-munity.

Ruins + shelters = new formsSaving the ruins may not only be a matter of preservation, but also a search for new sty-listic qualities. In the first place, we must iso-late them from the rain to protect the ruins and dilapidated temples from further destruc-tion that is, roughly speaking, make a roof, or shelter. It is already possible to make prayers and a small number of services under it. The shape of this cover, the pattern and texture of the walls, the support system is a sufficient scope for creativity. In the future, the shel-ter can be transformed into a complete temple. The wooden parts will be beautifully combined with the old masonry or framework. As a re-sult, wooden elements can fully compensate

for missing parts or cre-ate new ones. It is im-portant that the whole process of recovery can-not be reduced to the reconstruction, but it can be a new project based on the existing ruins. Wooden temple is easier and cheaper to look for features of the new style, rather than a stone one (although tec-tonics certainly differ-ent and they cannot be compared). Its structure can be compared to a full-sized architectural model. Finally, this ap-proach can solve a set of tasks: the ruined tem-ples are saved, the lo-cals and architects get the experience of real cooperation, the tem-ples are slowly restored and start to operate in the original place, and a search for the new style of church design be-comes possible.

122 123

WOODEN ARCHITECTURE AT RISK

- , 12 - , - . - , , -. http://www.richarddavies.co.uk/. - , - . - , , 2002 - . , , - .

, - , - , - -, , - (WAaR), - , - . : 2015, . -, , ( - ), 2016 . - ( - ).

(, , - )

? , . . , The New York Times.

. - , , , - . , , , - , . . - - .

- ( ), , , , , ( , ), - , . , - - .

, , - - - - - , . - -. - , , - .

WOODEN ARCHITECTURE AT RISK

Wooden Architecture at Risk (WAaR) is a UK based charity set up by people who have seen at first hand the unique and beautiful wooden build-ings and churches in the far north of European Russia and who are moved by the distressed and wretched state of many of these beautiful struc-tures.How can a charity based in the UK, possibly help?The answer is: strictly in partnership with local Russians. Many of the localities are poor, but this does not mean that the people are indifferent to their heritage. On the contrary, given the chance to show that they care, many local volunteers have come forward, carpenters, builders, smallholders, foresters, craftsmen and others, who are prepared to contribute their time and skills. It is in these places that WAaR is helping.

WAaRs first projects are:1. Bells for TurchasovoTo commission and install a set of 5 bells, from the famous Shuvalov bell foundry at Tutaev on the Volga, for the wooden bell tower at Turchasovo, on the river Onega, in Archangel region. Alexei Siou-tine, a university teacher, spent his childhood hol-idays in Turchasovo, the village of his mothers birth. He now returns every summer, to spend time with local people and professional carpenters, con-serving the beautiful Church of the Transfiguration (1786) and its bell tower (1793).2. Support the work of Father Alexei at VorzagoryTo restore the historic troinik, winter church, summer church and bell tower, in the village of Vorzagory. Vorzagory is perched on a high sandy promontory overlooking the White Sea. Father Alexei, a priest from Moscow, and his family, come

Why Russian churches? When I was young, my mum bought a record of Mendelssohns violin concerto played by Jascha Heif-etz. On the flip side was a concerto by Prokofiev. I was head banging to Prokofiev while my friends were head banging to the Rolling Stones from The New York Times interview with Richard Davies.

here every summer. Over many years he has helped the local people restore the Church of St Nicholas (1636) and the 18th century bell tower. The church has now been re-consecrated and liturgies are held. The village council recently returned to the parish the winter church, the Church of the Presentation of the Virgin (1793). Our plan is to help Fr Alexei and his professional restorers return this building to its former glory. In past times a village troinik was a common sight in the Russian North but now less than a handful remain this is a very rare survivor.

WAaR currently has three trustees.

Richard Davies (photographer and publisher) Chairman of WAaR. For over 10 years Richard has travelled extensively in the north of Russia. His book, with Matilda Moreton, Wooden Churches Travelling in the Russian North was published in 2012

Daryl Ann Hardman (Russian translator and charity director) Secretary of WAaR. Daryl Ann has been travelling to Russia and other former So-viet Union countries for 45 years. She has been on the board of several charities working in those countries. She first visited the Russian north in 2002 and has made numerous trips since.

Cathy Giangrande (conservator and fundraiser) Cathy is a trustee of WAaR. For over 15 years she has been raising funds to restore and preserve her-itage sites worldwide, including palaces in Russia. Passionate about Russias extraordinary cultural heritage she is the author of, Saint Petersburg: Mu-seums, Palaces and Historic Collections.

124 125

, , - -. - . - . - , , .

1. - , .2. , - .3. - .

- , - . . . - . -

. , . , , - . , 1903, - - 1894 . - , - - , -. , - , . , , - - , - . Wooden Architecture at Risk (Waar), , - - - . , . -, , , : , , , -, , , - .

, , - :Web: [email protected]: www.therussianark.org.uk ?1) The Russian Ark Project.2) .

,

Illustrated Elevation of the Church of St. Peter and Paul

126 127

THE RUSSIAN ARK

The Russian Ark Project is in-tended to celebrate the shared values of design, craftsmanship and community in Russia and Great Britain. We plan to build one of the most evocative sym-bols of Russian culture, a tradi-tional wooden church.

These ancient log buildings reflect the ingenuity of the Rus-sian people over the centuries. These constructions overlaid with decorative details shin-gled onion domes, axe carved crosses and delicate tracery re-flect a profound and enduring sense of fantasy.

Project aims1. To increase the awareness and enjoyment of traditional Rus-sian culture through direct con-tact with the skills and tech-niques employed in the construc-tion and conservation of wooden architecture.2. To enable the sharing of skills between craftsmen in Russia and the UK, and to give students of architecture the opportunity to learn a less familiar architectural language.3. To present this unique expe-rience to a diverse audience young and old.

Project informationThe church will be built by a mix of architectural students and professional carpenters here in the UK, in collaboration with master craftsmen from the Rus-sian north.

These traditional Russian skills, almost lost during Soviet times, have been revived to re-store those fragile wooden struc-tures that survive. The project intends to encourage links be-tween individuals and organ-isations in Russia and the UK in support of that work. The churches are of a simple con-struction. Logs are laid one on top of the other and interlocked at the corners without the use of nails or fixings. This means that once the church has been built and enjoyed in one loca-tion it can be taken down and re-assembled elsewhere in the UK. The process of building, disas-sembling and re-assembling the church will be very much part of the experience.

Our aim is to establish a di-rect link with the past by recon-structing a church lost to history. The church of St. Peter and Paul in Plyos was destroyed by fire in 1903 but more significantly it was the inspiration for Isaak Lev-

itans extraordinary painting Above Eternal Peace. Painted in 1894, it now hangs in the Tret-yakov gallery in Moscow.

The Russian Ark Project is collaboration of people from a wide range of backgrounds who have seen at first hand the unique and beautiful wooden buildings and churches in the far north of European Russia and who are moved by the distressed and wretched state of many of these beautiful structures.

Disastrous historical events that led to state atheism and a complete disregard for the tra-ditions and heritage of Rus-sias northern towns and villages have resulted in the loss of many of these exquisite examples of wooden architecture. Those that remain are scattered over thou-sands of miles of the north in a landscape of forests, lakes and majestic rivers they are drift-ing into decay and oblivion.

The Russian Ark Project is working with wooden Architec-ture at Risk (WAaR), a charity that seeks to raise awareness in partnership with local Russians. Many of the localities are poor, but the people are not indiffer-ent to their heritage. On the con-trary, given the chance to show

that they care, many local vol-unteers have come forward, car-penters, builders, smallholders, foresters, craftsmen and others, who are prepared to contribute their time and skills.

Please visit our website or email us:Web: [email protected]: www.therussianark.org.uk

HOW CAN YOU HELP?1) By making a donation to The Russian Ark Project2) Can you put us in touch with others who may be interested in helping or supporting us?

128 129

130 131

, -. -, , . , , - , - . - .

, - - . , -, , -...

. - . - , - - . - -

. : - . - - - , -, . . . - , - , . , - -, -.

. - , , - -- - . -

- . - , - , -.

, , -. - , , - - -. -, , - . - , - -. , - , -

RW : , : NAMELESS Architecture

RW Concrete ChurchPlace: Seoul, South KoreaArchitects: NAMELESS Architecture

Photoes by NAMELESS Architecture

, , -, , - , - .

, - - - . - , -, - , -, -, - . - - -.

- , - -

19411945 , - . , - , -, - -. - , , - -, - - .

, - . : , , . , , ,

- -, -, , , .

- - . - , - , - , - .

- . - , - , , , . - . - , -

: , : Reiulf Ramstad Arkitekter

Community ChurchPlace: Hordaland, NorwayArchitects: Reiulf Ramstad Arkitekter

Images by RRA and Hundven-Clements Photography

132 133

, , - -, .

- - , , - . - , - -, -. - - 1073 -- , - - - .

: , . :

Cardboard CathedralPlace: Christchurch City, New ZealandArchitects: Shigeru Ban

Photoes by Shigeru Ban Architects

. - , - .

- . , , - . - - , , -, - . - -, - , - - . - -

, , -.

, , - , - . - - - : , . - , - .

. , - -, , , - -, , - .

- , , -, - - .

- - - , - - , - .

, (, ) , - , - . , . , , - . -, . - - - , - - . - . -

100 : , . : New York architects CAZA

100Walls ChurchPlace: Sebu, PhilippinesArchitects: New York architects CAZA

Photo by CAZA

, - , . , - -, - -, () ( -) .

, - , , . - - , -. , , , , ,

- . - () - - , , . - (- ) () - -, , - - . - , - . - - , - . -

134 135

- .

, - - , - , - - , , , - -. . - - - , . - 16 -

. ,

. - , , , , .

- ( ), , , . - , - - , - - -. , - . 19 -

. - . -, , . - - .

- : - , - , - . , - - , . - , . -

: , :

Foligno ChurchPlace: Italy, FolignoArchitects: Reiulf Ramstad Arkitekter

Photoes by Moreno Maggi

, , - . -.

, - . , , - , . - - , , - . -, -, , .

, , . , . - , - -, - . - , - , .

- - - , . - - - - .

- , - . , - -, -. , - -. - - , -. - , - . - - - , . -, , - . - , , , - , - -.

, .

, - - -. . - - , - , - - . , , - , . - - . - , - - - - -, , , , -. - - . - , - -, , - , - , . -,

136 137

: Bergkapelle ( ): Cukrowicz Nachbaur Architekten ZT GMBH: Alpe Vordere Niedere Andelsbuch, Austria: Andreas Cukrowicz, Helmut Dringer, Hanspeter Schiess

On the right: BergkapelleArchitect: Cukrowicz Nachbaur Architekten ZT GMBHPlace: Alpe Vordere Niedere Andelsbuch, AustriaPhoto: Andreas Cukrowicz, Helmut Dringer, Hanspeter Schiesshttp://www.cn-architekten.at

: . . . . . . .: , 1993 ( 1900 .).

- , - , - , . - -, -. , - , , , , . - , -; , - . -, , .

- -, - , , - . - - , -. - . -

, , -. - - , . .

, . . - -: , , , , , . - - , - - . - , - . - . - -, , - . . -, , - , , .

- - - - , - - -. , , -, - .

, - - , . - , . - - , - - - , , - , - , - .

138 139

What is a church, and what is a temple?A temple is an archi-tectural structure, de-signed for perform-ing divine services and religious ceremonies. There are pagan, Jew-ish, Muslim, Chris-tian temples. In Chris-tianity, a temple is also called a church. The word church is a hose of God in Greek. The main feature of Christian churches is the pres-ence of the altar, where there is an altar with embedded antimins a cover with relics of the saints, which al-lows for a complete cycle of divine ser-vices. Churches can be cathedral. A cathe-dral is a main church, where there is episco-pal cathedra (abish-ops throne), and where usually serves a bishop. Episcopal chair actually represents a single stair elevation, located in the cathedral of the tem-ple where the worshi-pers pray.

New churchesSome say, that many new churches are dif-ferent from the older ones not the best way. Church architecture re-quires special train-ing. Before designing a church, it is neces-sary to understand the structure of church, its historical, hierarchi-cal, symbolical contents. Creativity, worked out through special cases when a man is touch-ing the spiritual world, when image of a church has been revealed to him not in sensual and material, but in spiritual component. Such spiritual enlight-enments laid in the ba-sis for building church architecture. Some kind of a building norms and rules for churches were born. Spiritual norms and rules have been in-terwoven with mate-rial life in ancient times. For example, a raised threshold in the house and low doors opening

inwards. On one hand a possibility to open the door swept with snow, more wind isola-tion, and entrance with a bow to an icon is pro-vided on to provide in-put with a bow icon on the other hand. A canon also includes the con-tents of ecclesiastical order and, remains con-stant in the present as a spiritual core.

Symbolic system of the temple a con-stant canonical basisCross temples were cre-ated in Byzantine Em-pire after it adopted Christianity in the 4th century. This type of temples reflected an im-age of the Holy Catholic Apostolic Church.

A dome of a church a head on a cylindrical base (neck, drum) symbolizes the Old Testament Church, which consists of the upper Angelic rank, and the lower the Prophets and Fathers. Below there is a quad-

rangle, symbolizing the New Testament Church. Inside the temple, from the quadrangle to the pillars structural tran-sitions so called sails come down, which have the Evangelists de-picted on them. The sails are put on four col-umns, which symbol-ize the four Gospels, the foundations of interpre-tation of Christianity. The inner part of the church quadrangle is covered with paintings of evangelical or The-otokos plots arranged in chronological order by the movement of the sun. Under these plots the pillars of the church are depicted the cel-ebrated honored saints. The lower row of icon paintings is towels kneeling space for pa-rishioners of the church, a symbol of repentance for people living in this world. Thus, the forth-coming eternal life is intertwined to the pres-ent in the construction of the temple, the whole

MODERN CHURCH DESIGNNikolay Vasnetsov

: , :

Brother Klaus Field ChapelPlace: Mechernich, GermanyArchitects: Peter Zumthor Photo by Pietro Savorelli

140 141

church is built up in a conciliar hierarchical, it reflects the image of the Triumphant Church (heavenly) and Militant Church (ofthe earth of the people living on Earth). The plan of the church is square it symbolizes the Heav-enly City, the humans arms of salvation the cross. On the east side there is a three-part rounded apse, the place for the altar a sym-bol of heaven on earth and the presence of the Holy Trinity. Gates are put on three sides of the church, just by the square plan as a sym-bol of grace of the Holy Trinity distribution in the earthly world. The central entrance (the western) symbolizes the Royal way the sac-rifice for the human-ity on one hand, and a way for salvation on the other. The crossing of the Royal way (central nave) and the axis of entrances from north to south (transept) forms

the area to which the ambo is attached. There the Holy Commun-ion and preaching is held. An architectural construction called the sky with dome and cross is arranged over this place. The al-tar is a sacred place, a prototype of heaven on earth. Usually a cross or a head with a cross is put over the brick vault, which covers the altar. Altar has three exits to the main volume of the church: the central the royal Gates, the north one the sac-rificial Gates, and the south one is the dea-con Gates. Beautifully painted iconostasis of the altar is oriented to the world in the direc-tion of the western part of the temple.

LightningThe lightning of a church can be external, from the street, and in-ner from the can-dles. The central part of the temple is light-

ened by the windows in the main cylinder

drum. The inner light-ning from the lamps and candles highlights the icons.

FloorsFloor is a symbol of the earth here, from which a man should rise to heaven. This is why floors have not been filled with orna-ments, detracting from the meaning of priest. A clear reminder of the crosses on the floor is not permissible, be-cause the cross should not be derided.

On the natural ma-terials in the church

The question on the materials in the church is not easy. Wood, stone, brick, lime, sand and metal is used since ancient times. Un-comfortable climatic balance, inability scrip-tures frescoes on wet technique, the modified properties of acoustics, etc. occurs because of the concrete. The use of

cement is also undesira-ble due to its incompat-ibility in abutment with mortar and red brick, and because of the in-possibility of raw fres-coes application.

Non-humidified vault is more resistant to temperature changes, withstands the wander-ing dew point. The us-age of modern materi-als on churches is often controversial, because of their interaction with the traditional building materials. But some-times their use may of-fer benefits; this re-quires a careful scien-tific approach.

: , :

Church of the LightPlace: Ibaraki, JapanArchitects: Tadao Ando

Photo by Bergmann (from Wikipedia, CC BY-SA 3.0)

142 143

144 145

, - - - . - , , , , , - .

- , , -, . , - , , . - -. -

, , .

- , : -, - . - ? - , , - , . . - , - , , . . , . , - , -. - .

, , - - . , , , . - , , -, , . , , , - -, , . - , , - . - , .

Kapelle Salgenreute: Bernardo Bader Architecten: Krumbach, Austria

Kapelle SalgenreuteArchitect: Bernardo Bader ArchitectenPlace: Krumbach, Austriahttp://www.bernardobader.com/en/projekt/kapelle-salgenreute-2

, - . -; - , . . . , -, - .

, - .

(-) (--) - , ; -, - . -, - , - . , -, . - - - IV. . -. - . -, - VI. XII. - . XIX . - - - , , , , .

- , .. - , .

, , -, -.

- . .

, - - . -.

. , - , . , , ,

Bergkapelle ( ): Cukrowicz Nachbaur Architekten ZT GMBH: Alpe Vordere Niedere Andelsbuch, Austria: Andreas Cukrowicz, Helmut Dringer, Hanspeter Schiess

BergkapelleArchitect: Cukrowicz Nachbaur Architekten ZT GMBHPlace: Alpe Vordere Niedere Andelsbuch, AustriaPhoto: Andreas Cukrowicz, Helmut Dringer, Hanspeter Schiesshttp://www.cn-architekten.at

146 147

. - , , - . , , .

691, -, - -, 800 - - . - - .

988 - . , . , , , , , -.

, - - , -. , - , --. - - .

- , - . , XIV - , - .

- -

: : Beton: ,

On the left: Chapel in Tarnow Architect: BetonPlace: Tarnow, Polandhttp://www.betonon.com/

. - .

-, , - , . , , - -, . - , , , - , - . -, , , - . , - , - , , . - , - , - - -. - , -. XVI, - , - . - - , - . - - X XVII.

, -- , - - , . , -, , -

, - : , , ., - - , .

- , , - , - . - . , , , , , , -, - . . -. , , , -, - , - . - -, . . , - . - , - . , - , . - , -, , - - , , . -, , .

- - , , -

148 149

, , . , - . -, , - , , - -, - : . , -, , - ; - : , ; - : , - . , , : - . , - , - - .

, - , , , , - .

, , - - - , - . - .

, , -, -, . - , ,

, . , , - , , - - .

, -, , .

- - - - . - , . -. . - XIV . -, -, . - , . XIV . .

- -. : , , , . - - , - . - , - . - -.

-

: / On the right:St Henrys Ecumenical Art Chapel / Architect: Sanaksenaho Architects ltd. / Matti Sanaksenaho, Pirjo Sanaksenaho / Place: Seiskarinkatu 35, Turku, Finlandhttp://www.kolumbus.fi/sanaksenaho/

150 151

- - . . , - -- 18771878 - , -, 1812: , -, .

, , , - . - , -. , . - , -, , - , ,

. - , -, , , - . - - , - . - . - , , , --, , - , , . . - .

, . - . - - XIX. - , - . - - - , , , , , .

: / On the left and on the right:St Henrys Ecumenical Art Chapel / Architect: Sanaksenaho Architects ltd. / Matti Sanaksenaho, Pirjo Sanaksenaho / Place: Seiskarinkatu 35, Turku, Finlandhttp://www.kolumbus.fi/sanaksenaho/

, - , - .

- -. - . , , . - . , , .

- - , - , , , . , , - .

XX .

-- , - . , - , - , - - . , -, . , , - - , - . , .

, - , , - , , - . - -, , . -

152 153

. , - -, - . - . - , , XVII, . , , , - .

:

- . - . . . - . . , . - , 1862, 11. .. , . ., 1889. - . -, - 1996. - . . . . ., . , - - . . - 1216 2010. . - 2- . . 1. : -. 2010.

: / On the left: St Henrys Ecumenical Art Chapel / Architect: Sanaksenaho Architects ltd. / Matti Sanaksenaho, Pirjo Sanaksenaho / Place: Seiskarinkatu 35, Turku, Finlandhttp://www.kolumbus.fi/sanaksenaho/

154 155

The role of the chapelIn the chapel, except for private prayers, the preparation of be-lievers for the Divine Liturgy takes place. The Psalter, can-ons, hymns, hours and service of the day are read without a priest. Priest can perform the sacrament of baptism, confession, Extreme Unction, blessing of the waters, perform the funeral and memo-rial services in the chapel.

From the history of chapel and its analoguesThe history of chapels and their analogues begins in ancient times, when the first Christians erected monuments over the en-trances to the underground cem-eteries and over the underground churches. These gravestone monuments were the first chap-els; they are designated places of worship over graves of the mar-tyrs. Small forms like canopy ci-borium have developed from them.

Sen (Russian) or ciborium (Greek) is a small open chap-el-like construction without walls. It is a canopy over the al-tar, where the liturgical rite the consecration of the gifts of the Holy Spirit is made. A cibo-rium called Royal, is usually put

CHAPELNikolay Vasnetsov

in altars of large temples. The cupola of ciborium symbolizes the glory and grace of God, the sky over the cross and the place, where the body of Jesus Christ was laid. That is why a pigeon was put inside of the ciborium in the early Christianity, in which the Holy Gifts were put.

A Holubets (Russian, a dove) is a gable coated frame canopy over the grave covered with aspen a small architec-tural form, like a mini-chapel, which it is impossible to get into. A covering ridge beam in Hol-ubets symbolizes the dove, which represents the grace of the Holy Spirit rested over the burial. Hence the name.

During the period when the priesthood was not numerous, and temples were mostly put in prince residences, chapels were important organizing centers in the development of Christianity. Located in the settlements, far from the rare operating temples, they were the reference points for missionary priests.

In Russia, the image of churches and chapels developed on the basis of Byzantine archi-tecture in conjunction with the construction of the ancient cul-ture of the Slavs, with wooden architecture. After the Baptism of Russia, temples were arranged in Byzantine style, stately, A A cross-in-square, they decorated the epic country. As the Chris-tianity evolved, newly baptized villagers could not immediately build expensive stone church buildings, requiring not only special handicraft skills, but also its long-term study. Slavs be-gan to build wooden religious

buildings with their own craft and carpentry techniques. This explains the transition to the stone-brick construction of tem-ples from the Byzantine source to the traditional Russian archi-tecture to the XVI century. Con-struction defines the architec-tural image of a church without frills, with symbolic decoration.

Externally, like dresses, ar-chitectural styles has changed, rich dcor and unconstructive, often deprived of church mean-ing: Baroque, Classicism, Mod-ernism et al., but the internal church Orthodoxy discipline or mood does not allow to change the symbolic order, the order of form creation and the church design canon has been mainly preserved.

On the symbolic, constructive, and volume epression of the chapelTraditionally, a chapel, as well as the temple during construc-tion, is oriented to the sunrise, symbolizing the Second Com-ing of Christ. In contrast to the temple, in chapel there is no al-tar part because the chapel was not created for the full range of daily worship and liturgy, which is takes place every Sunday in the church on the patristic tra-dition, in the chapel it is ad-missible only if clearly needed and in the presence of specially brought antimins. We should pay attention to the concept of a temple-chapel. In fact, these are churches with altars, but of a very small size, comparable to the chapel, in which the liturgi-cal service is very rare, so they are often used as chapels. In the

traditional orientation of the chapel, its eastern wall from the inside is the basis of the iconos-tasis. The chapel is crowned or with one cross, or may be sin-gle-domed, double-domed and multi-domed. The constructive solution of chapel can be klet-skaya (rectangular), domed, hipped, and tiered, fiery.

The plan of a chapel can be circular, square, rectangu-lar, cross-like, octagonal, or pol-yhedral.

Dimensional, spatial and color variety of chapelsIn the history of chapels and in modern practice two main ty-pological moments can be seen. One is that chapels can appear spontaneously in a sheltered space, where it is convenient for a person to stand in prayer. It can be a cave or any other natu-ral cover.

Chapels can be divided in two types: open like a canopy and closed, like a chapel with walls. Open chapel suits for con-ciliar prayers of many people, theres plenty of light here. In the closed type chapel there is little light, but it suits more for the renunciation person from the outside world.

The purpose of the chapel while maintaining its spiritual essence is diverse. In our real-ity, the tradition of putting chap-els in urban areas, in rural areas, on the roads, over the springs, in the villages and cemeteries is re-vived. The tradition of putting memorial chapels above the al-tars of former churches, and in honor of the historic and reli-gious events has been preserved.

Also, there are house chapels, hospital, cave, transport and mo-bile chapels, ship chapels, chap-els at schools, in the army, in prisons, etc. Generally accepted structural building materials for the execution of the chapels in the tradition of Russian church architecture are wood, brick, stone, iron, copper, lead. In an-cient times tissue tent chapels during military campaigns and in the field of military camps were used. The color of the chapel depends on the building material, in the case of its dyeing, of its symbolic dedication. The church constitution and church tradition specify the colors that are used throughout the year in the liturgy. Yellow and gold colour means the Divine Glory, white means the spiritual purity and the Transfiguration, green is a colour of eternal life, the Trin-ity and saints, red is the colour of the Easter and martyrs, silver is the colour of purity and repent-ance, and the blue is the colour of the abstinence and the Holy Cross holidays.

Construction of chapels in the modern urban spaceThe new image of the chapel can be founded on the regional ar-chitectural traditions based on centuries-old traditions of the Orthodox Church Byzantine, Kiev, Moscow, Northern Russian and others.

The imag

archmag #1 2015 “faith”

Documents

pt sans pt serif

russian world

archmag faith

open sans

russian north

russian ark

rebirth of orthodoxy

russian state