Soloveichik's apartment building. Restoration and restoration of architectural monuments of the stone island. Category of historical and cultural significance
The existing six-story building was erected by order of State Councilor Mikhail Albertovich Soloveichik (1870-1916) by academician of architecture M. S. Lyalevich, an expert and supporter of the Italian Renaissance. The lower two floors are designed like a large arcade. The middle part, completed by a massive attic, is reinforced by a portico of the composite order, spanning four floors in height. This is a kind of architectural quote, borrowed from the creative heritage of the greatest architect of the Italian Renaissance, Andrea Palladio. The portico repeats the main facade of the famous Palazzo del Capitanio in Vicenza, and the two statues above the three-quarter columns, made by the sculptor V.V. Kuznetsov, seem to have come from the side facade of the same building. However, if there the order is an integral part of the entire structure, then here it looks like a monumental appliqué superimposed on the facade of an apartment building with a repeating floor plan. The introduction of such a quote made the building representative and... The existing six-story building was erected by order of the State Councilor Mikhail Albertovich Soloveichik(1870-1916) academician of architecture M. S. Lyalevich - an expert and supporter of the Italian Renaissance.
The lower two floors are designed like a large arcade. The middle part, completed by a massive attic, is reinforced by a portico of the composite order, spanning four floors in height. This is a kind of architectural quote, borrowed from the creative heritage of the greatest architect of the Italian Renaissance, Andrea Palladio. The portico repeats the main facade of the famous Palazzo del Capitanio in Vicenza, and the two statues above the three-quarter columns, made by the sculptor V.V. Kuznetsov, seem to have come from the side facade of the same building. However, if there the order is an integral part of the entire structure, then here it looks like a monumental appliqué superimposed on the facade of an apartment building with a repeating floor plan. Introducing such a quote made the building representative and memorable.
The arcade motif, and especially the combination of three arches, is a favorite theme of Lyalevich’s work. It varies in such buildings as house of D. V. Bykhovsky And mansion of M.K. Pokotilova, building of the Trading House of F. L. Mertens And apartment house of N. I. Dernov.
The side arches of the portico led into the house area, and the middle one housed the front entrance.
The main courtyard, square in plan, is remarkable in its own way. Unlike ordinary well courtyards, it is both cozy and representative. Its walls are decorated with columns and balconies with balustrades. In the depths there are two more small courtyards, which did not turn into dark mines only because
In the past, the imperial family, nobility, and wealthy people built country estates on Elagin, Krestovsky and Kamenny Islands. Silence and privacy, an abundance of water spaces and greenery have brought Kamenny Island a well-deserved reputation as one of the most beautiful and attractive parts of the city. In the 19th and early 20th centuries, a whole complex of buildings in the Art Nouveau and Neoclassical styles was formed on a small piece of land.
Since 2007, the International Charitable Foundation "Konstantinovsky" has taken part in raising charitable funds for the restoration and restoration of a number of architectural monuments of Kamenny Island.
House of A. A. Polovtsov on Kamenny Island (1911-1912, architect I. A. Fomin)
According to the project of the outstanding architect of the first half of the twentieth century, a student of Leonty Benois, I. A. Fomin on Kamenny Island is one of the best examples of Russian neoclassicism. This estate was intended for the son of a senator, state councilor A. A. Polovtsov.
By its nature, this is an extensive palace-type estate, almost the appearance of a Russian manor house at the turn of the 18th-19th centuries, with a large front facade open to the park, enclosed between the side wings.
The building met all modern comfort requirements even before the revolution: it had central heating, an elevator, and a specially heated winter garden. Fomin finished decorating the interiors of the mansion only in 1916. However, ten years later, by decision of the Soviet authorities, he had to rebuild the building into a sanatorium. The interiors of the house lost most of their decorative decoration in 1922, simultaneously with the confiscation of Polovtsov’s property.
Until the early 1990s, Polovtsov’s house served as the main building of the Clinical sanatorium, then it was rented by a private company, and in 2003 the mansion came under the jurisdiction of the Administration of the President of the Russian Federation.
With the support of the Konstantinovsky Foundation, construction and restoration work was carried out in Polovtsov’s house. A comprehensive restoration was carried out in most of the premises on the first floor, including the lobby, suite of state rooms, dining room, living rooms, and main staircase. The most difficult thing was to preserve the historical appearance of the building as much as possible, recreate the details of the interior and exterior decor, and organize the comfort and capabilities of an ultra-modern building in the historical space.
House of architect V. I. Shene (1903, designed by V. I. Shene)
A two-story stone building with open terraces, a front entrance inscribed in a circle and a small turret. V.I. Shenet was one of the very first and outstanding representatives of modernism. According to his designs, four dachas were built in the Art Nouveau style on Kamenny Island, the Gauswald dacha (1898), the apartment house of N.V. Tchaikovsky, the apartment house of Spiridonov, and the mansion of A.F. Kelch.
House of the banker A. G. Soloveichik (1911, designed by E. F. Edel)
Neoclassical monuments occupy a significant place in the architecture of Kamenny Island. Among them, it should be noted the house of A.G. Soloveichik at the beginning of Polevaya Alley. It combines classic motifs: balustrades, semi-rotundas and modernist techniques: triple windows, open plan. An example of a creative approach to the use of classical forms in combination with modern elements, varying the motifs of Peter the Great’s Baroque and Classicism.
The fate of this house after 1917 is typical: a children's colony, an orphanage, a hospital, a kindergarten. In the 1980s, the house experienced several fires, which destroyed the interior decoration of the rotunda, study and dining room.
House of architect R. F. Meltser (1901-1904, architect R. F. Meltser)
Meltzer, architect of the Imperial Court, student of the St. Petersburg Academy of Arts since 1878, was a brilliant Art Nouveau architect. According to his designs, decoration and furniture were made in the Tsarskoye Selo Alexander Palace, furniture for the Livadia Palace, for the mansions of M. F. Kshesinskaya, the fence of the Winter Palace, etc.
A wooden house on a high stone foundation with an unusual silhouette is a striking example of Art Nouveau. The traditions of folk art used by the architect gave birth to the most poetic and fabulous building on the island, which received its own name - “Fairy Tale House” (or “Baba Yaga”).
Registration number
Category of historical and cultural significance
Regional significance
Object type
Monument
Basic typology
Monument of urban planning and architecture
Creation date information
first half of the 19th century; 1874, 1883, 1907
Facility address (location)
St. Petersburg, Repina street, building 16/3, letter A
Name, date and number of the decision of the government authority to place the object under state protection
Law of St. Petersburg "On declaring protected historical and cultural monuments of local significance" No. 174-27 of 07/05/1999
Description of the subject of protection
Volume-spatial solution: historical dimensions and configuration of the building, consisting of a three-story front building (partially two-story on the courtyard side) and an outbuilding, including a projection, a frame, a bay window completed with a balcony and an attic; historical configuration of the roof of the front building from the side of Bolshoy Prospekt. Structural system of the building: historical brick external and internal main walls; historical marks of flat interfloor ceilings; types of basement vaults - cylindrical, closed, box with formwork and cross; the front staircase of the front building (L-1) – location, dimensions, design (on metal stringers), type (three-flight), steps (made of flank slab); fencing – material (cast iron), execution technique (casting), design (in the form of vertical ornamented posts); handrails – material (wood), configuration (profiled); outbuilding staircase (L-2) – location, dimensions, design (on metal stringers), type (two-flight), steps (made of flank slab); fencing – material (cast iron), execution technique (casting), design (in the form of vertical posts with decor in the upper part); handrails – material (wood), configuration (profiled). Space-planning solution: historical space-planning solution in the dimensions of the main walls. Architectural and artistic design of the facades: facade of the front building facing Bolshoy Prospekt: plinth finishing material – limestone slab; material and type of finishing of the facade surface - plaster finishing for rustication (at the level of the 1st floor - smoothly plastered linear rustication, at the level of the 2nd-3rd floors - smoothly plastered square rustication); three-axis bracing; bay window at the 2nd floor level on plastered brackets, completed at the 3rd floor level with a balcony; balcony fencing – material (cast iron), execution technique (casting), design (in the form of vertical openwork posts); location, dimensions and configuration of historical door (balcony) and window openings; historical material (wood), color (brown) and glazing of window fillings; profiled frames for basement windows; arched sandals on brackets in the shape of a diamond rustication of the 2nd floor windows along 2 and 8 axes; external window sill boards on brackets in the form of diamond rustication for the 3rd floor windows; interfloor profiled cornice; window sill cornice on stylized brackets at the 2nd floor level; a crowning entablature with a smooth frieze and a profiled cornice with denticles, on ornamented double brackets (in the bracing axes); a figured attic above the bracing; facade of the front building on the street. Repina: plinth finishing material – limestone slab; material and type of finishing of the facade surface - plaster finishing for rustication (at the level of the 1st floor - smoothly plastered linear rustication, at the level of the 2nd-3rd floors - smoothly plastered square rustication); unfastening; location, dimensions and configuration of historical door and window openings; historical material (wood), color (brown) and glazing of window fillings; profiled frames for basement windows; external window sill boards on brackets in the form of diamond rustication for the 3rd floor windows; interfloor profiled cornice; window sill cornice on stylized brackets at the 2nd floor level; crowning entablature with smooth frieze and profiled cornice with denticles. courtyard façade of the front building: plinth finishing material – limestone slab; material and type of finishing of the façade surface – smooth plaster; location, dimensions and configuration of historical window openings; historical material (wood), color (brown) and glazing of window fillings; crowning profiled cornice (with denticles of the end facade); outbuilding façade: plinth finishing material – limestone slab; material and type of finishing of the façade surface – smooth plaster; location, dimensions and configuration of historical door (entrance and balcony) and window openings; historical material (wood), color (brown) and glazing of window fillings; risalit; light lantern – design (pyramid-shaped), material (glass); glazed opening in the roof slope; crowning profiled cornice (with denticles on the end facade). Decorative and artistic interior decoration: Premises on the second floor of the front building, apartment No. 6, room 5, with an area of 18.4 sq. m. m, room 6, area 14.0 sq. m: decorative design of the ceiling - square coffers, veneered with wood; a picturesque perspective panel - in the center of the ceiling; room 7, area 22.9 sq. m, room 9, area 13.7 sq. m, room 10, area 7.9 sq. m, room 11, area 9.7 sq. m decorative stucco decoration of the walls - frames decorated with flower garlands, desudéportes with rocaille patterns; decorative molded ceiling design - profiled cornice; paduga, framed with ions and drafts with cuttings of a plant nature; eight compositions with rocaille patterns, including corner ones; round rosette with a floral pattern; three door fillings – material (wood), configuration (with arched finish), type (double-leaf), pattern (paneled, with carved floral ornament); two rectangular beveled mirror panels in carved wooden ornamented frames - on the south wall; room 8, with an area of 14.4 sq.m.: decorative stucco ceiling design - paduga, profiled rods along the perimeter with stylized rosettes at the intersection points; apartment No. 11, room 4, area 31.1 sq. m, room 5, area 27.1 sq. m: decorative design of the walls - wooden paneled panels (in the lower part of the wall), arched panels framed by wooden rods with carved details; window slopes and arched niches covered with wood; two profiled frames, decorated at the corners with molded floral patterns; decorative design of the ceiling - a molded three-part lampshade with ornaments in the form of rosettes, shells, acanthus leaves; along the northern and southern borders of the ceiling there are rods with laurel branches intertwined with ribbons; a decorative painting panel depicting a male figure in an arched wooden frame with carved details - on the western wall; room 4, area 31.1 sq. m, room 12, area 13.8 sq. m: door fillings of the second floor openings - material (valuable wood), dimensions, configuration (with beam lintel), type (double-leaf), pattern - paneled with carved details of floral patterns); room 7, area 24.2 sq. m, room 8, area 9.2 sq. m: decorative molded ceiling design - paduga, profiled rods around the perimeter; room 10, area 10.4 sq. m, room 11, area 12.8 sq. m, room 12, area 13.8 sq. m: decorative molded ceiling design - paduga, profiled traction along the perimeter; main staircase: decorative design of the floor of the lobby and landings - polychrome Metlakh tiles with floral patterns of two types; decorative stucco decoration of the walls of the vestibule and the main staircase - panels with rebates and rosettes in the corners in profiled frames, profiled cornice; decorative molding of the ceiling - profiled traction along the perimeter, a round rosette in the center with a floral pattern; window sills of the premises on the second floor of the front building - material (marble), color (white), configuration (with profiled edge); premises on the third floor of the front building, apartment No. 2, room 7, with an area of 22.9 sq. m: decorative stucco ceiling design - paduga; profiled rods along the perimeter, forming a figured frame; corner compositions in the form of baskets with roses, decorated with bows; oval rosette with floral patterns (vases with flowers); apartment No. 9, room 5, area 56.9 sq. m. m: decorative stucco ceiling design - smooth frieze; profiled cornice with ionics; holly; corner compositions in a holly in the form of cartouches with garlands and branches; profiled rods along the perimeter in the form of cuts, forming figured frames; corner compositions with floral patterns (vases with flowers), a round rosette with floral patterns depicting flowerpots and a flower garland around the perimeter; door fillings of the third floor premises - material (wood), dimensions, configuration, design (in the lower part - panels with folds and rosettes in the corners, in the middle - an ornament of grooves, the upper part - a rectangular panel with concave corners).
The house on the left is the apartment building of M.A. Soloveychik. In the 1780-1790s, there was a wooden house of the grain maker Sievers here. In the first half of the 19th century, a stone house was built. In 1878, the architect Joffrio L.I extended the wing of the building along the alley and added a third floor. And in 1907, the house was bought by the director of the Siberian Bank M.A. Soloveichik. A number of rooms in the house have been redecorated.
Some interior details are still preserved. Here is an example of preserved tiles in the bathroom.
On the odd side of Repin Street we see a corner building belonging to the Lutheran Church of St. Catherine. In 1859, the architect V.Ya. Langvagen restored the kirk and at the same time erected a stone four-story residential building on its left side. An evangelical school for women's needlework was located here.
G.S. Zhzhenov, later People’s Artist of the USSR, was born in this house in 1915 and lived until his arrest in 1937. From 1927 to 1948, on the side of Repin Street there was an apartment of the outstanding philologist and novelist V.F. Shishmarev. At that time he headed the department of the university.
Photo by Karl Bulla 1912 - 1914
During the blockade, its corner part was destroyed by a bomb. The current house is a house restored by German prisoners in 1946.
This is what he looks like now.
House No. 18. Apartment building of Solsky M.D. On this site in 1730 the wooden Lutheran kirk of St. Catherine was built. After a building was built for her on Bolshoy Prospekt, the site was transferred to a Lutheran school, for which a stone building was built. From 1840 to 1890 the house belonged to Doctor of Medicine M.D. Solsky. and his heirs. This house on the 2nd line is house No. 17. Putin lived in this house in the 1990s.
House No. 23. An outbuilding faces Repin Street.
On the 1st line - house No. 22. The site has had many owners. The last owner of the house was the wife of pharmacist E.S. Soloveichik, for whom a third floor was built in 1890.
This is the board hanging on this house:
House No. 24. House of the merchant P.Ya. Bekel. It was built in 1881-83. designed by architect Punchel F.K. Completed in 1932. I think this gate is very old. In general, almost everything that faces Repin Street makes a poor impression. But still, these houses are so cute...
Opposite is house number 25. In 1872-1873 the previously existing house on this site was rebuilt and expanded according to the design of the architect E.F. Kruger. In the part facing the 1st line, a Tolstoy museum was opened in one of the apartments in 1911.
In the summer of 1912, he moved to another premises at Bolshoy Prospekt, house no. 6.
House No. 26. Like everyone else, the site began to be developed in 1720-1730. In 1862, for the new owner Vinokurov I.V. according to the project of architect A.Kh. Kolba 3rd, 4th and attic floors were added. In Soviet times, the attics were rebuilt into the 5th floor. The house was completely reconstructed in 2006.
House No. 27. This house was built in 1913-1915. designed by architect Pereulochny A.F. for A.G. von Niedermiller. Apartment house. An outbuilding faces Repin Street. There's nothing beautiful about him.
Gate grille.
Wooden gates.
This is not my photograph of Repin Street. Summer. I really liked her. Provincial...
House No. 28. Construction of the site began in 1720-1730. In the second half of the 18th century, a garden overlooked the second line and in the depths of the plot there was a two-story stone house. Over time, the old buildings collapsed and were no longer preserved. There were garages on the site. In 1997, a modern beautiful building was erected on the site according to the design of architects S. Gaikovich and L. Chentsov. This is what its façade looks like from Repin Street.
And this is what the building looks like from the second line (house no. 27). During construction, the architectural motifs of the neighboring house No. 29 were taken into account.
Look how brilliantly the new house fits in between the old ones built in the 19th century.
House No. 30 - apartment building of I.F. Smirnov. Built in 1901-1902. designed by architect A.V. Prussakov An outbuilding faces Repin Street. The house is unsightly and shabby, but there is something about it...
House No. 31 is also an outbuilding. House of Dolgorukovs. In the middle of the 18th century it belonged to princes Andrei and Yakov Dolgoruky. In 1906-1907 a number of premises were occupied by private art workshops; P.N. Filonov studied here.
House No. 33. The original construction was in 1720. Then in 1790 the house was rebuilt. It is called the Bach House after one of the owners.
House No. 35. The outbuilding of the house faces Repin Street. In 1853, the owners of the German company W. Siemens and I. Halske founded a telegraph workshop here. Two years later we bought a house. Initially, the workshop only set up telegraph devices brought from Berlin and repaired them. Then we mastered the assembly. On the basis of this production, production associations named after Kozitsky, Elektrosila and Sevkabel were formed.
This photo clearly shows all the other houses on the odd side of Repin Street up to the last pink house No. 45. All the houses are monotonous and ugly.
Here we see two houses at once, No. 36 and 38. House No. 36 is of modern construction, and No. 38 was built in 1822-23 and belonged to the merchant Rakhmanov. Only the outbuilding faces Repin Street.
And look what Rakhmanov’s house looks like from the second line.
House No. 39. In 1860 -1870 belonged to the painter F. Bruni. There is an outbuilding on Repina Street. Then the house was his
heirs. From 1880 until the revolution, the house was owned by the family of the formalist Pel.
This is the gateway of house No. 39.
Now we have reached the last house on the odd side of the street. The house is located on the corner of Repin Street and Sredny Avenue. In the 18th and 19th centuries, a wooden house stood on this site, with a wooden outbuilding along the lane. In 1904-1906 architect F.A. Korzukhin erected a five-story apartment building in the Art Nouveau style. The facade on the 1st floor level was decorated with majolica. Now it is lost. The 1st floor was designed as a retail space. Part of this premises was occupied by a restaurant at the beginning of the 20th century.
Now there is such a store on the ground floor.
This is a photo from 1976. At that time there was a confectionery shop here. I remember it smelled strongly of sweets and chocolate. The smell was even on the street...
This photo is from the beginning of the century.
And here is a small part of the interiors that have survived to this day. Of course, these walls are pathetic to look at. But the ceiling looks good. Against all odds.
Corner house on the opposite side of Repin Street. On Sredny Avenue - house No. 16. The house occupies a vast plot between Repina Street and the 2nd line. Its construction began in 1720-1730. A large wooden house was built on the corner of the 2nd line. Along the avenue there was a garden adjacent to it, occupying almost the entire property. At the turn of the 14th and 19th centuries, a one-story stone building was built instead of a wooden one. In 1780-1800 it belonged to the British merchant D. Vesle, and in 1840-1860 to the merchant J.V. Vohts, who kept a wine cellar here.
. In 1897-1898 by order of the next owner, merchant K.I. Putilov. architect V.V. Shaub erected a 5-story apartment building. Trading rooms were provided in its corner part. The widow of the merchant T.N. Putilova was the last owner of the house. The following photograph from 1912 shows Putilov with his family near the front door of his house.
.From 1890 to 1918 The 1st floor was occupied by a large manufacturing and haberdashery store of the Putilov trading house. After the revolution and before major renovations in the late 1970s - early 1980s, one of the largest haberdashery stores on Vasilievsky Island was located here.
Here in this photo we see the corner of this house, looking at the 2nd line. It was in this corner room that this store was located. If I'm not mistaken, it was two-story and on the landing of the second floor stood a stuffed bear with glass eyes.
In the 1980s, the Stork store was located here.
Some decorations have also been preserved in the house. I would like to show some of them. Look how beautiful it is!
That's all I wanted to tell and show.
Previously, there was a three-story house on this site, rebuilt in 1836 by the prominent master of late classicism A.I. Melnikov. At that time it belonged to the Kostylev merchants. The existing six-story building was erected in 1911-1913. by order of State Councilor M. A. Soloveichik, acad. arch. M. S. Lyalevich - an expert and supporter of the Italian Renaissance.
The lower two floors are designed like a large arcade. The middle part, completed by a massive attic, is reinforced by a portico of the composite order, spanning four floors in height. This is a kind of architectural quote, borrowed from the creative heritage of the greatest architect of the Italian Renaissance, Andrea Palladio. The portico repeats the main facade of the famous Palazzo del Capitanio in Vicenza, and two statues above the three-quarter columns, made by S.C. V.V. Kuznetsov, as if they had stepped off the side facade of the same building. However, if there the order is an integral part of the entire structure, then here it looks like a monumental application superimposed on the facade of an apartment building with a repeating floor plan. Introducing such a quote made the building representative and memorable. Subsequently, a similar technique was repeatedly used by other architects - both in the pre-revolutionary years and in the period 1930-1950s. The arcade motif, and especially the combination of three arches, is a favorite theme of Lyalevich’s work. It varies in such of his buildings as houses on Kirovsky Prospekt, 9 and 48, on Nevsky Prospekt, 21 and 80 (now the House of Models and the Oktyabr cinema).
The side arches of the portico led inside the house site on Panteleimonovskaya, and the middle arch housed the front entrance. The main courtyard, square in plan, is remarkable in its own way. Unlike ordinary well courtyards, it is both cozy and representative. Its walls are decorated with columns and balconies with balustrades. In the depths there are two more small courtyards, which did not turn into dark mines only because the neighboring area was not built up along the entire perimeter. The massive firewalls of building 7 (walls on the property boundaries, made blank for fire safety reasons), which are visible not only from inside the block, but also from the street, also remained open. The rough, spontaneous forms of firewalls, sometimes giving the impression of phantasmagoria, create a striking contrast with the front facades. But they too have long become a familiar, integral component of the historically established urban environment of old St. Petersburg.
The builder of this house, M. S. Lyalevich, was its tenant for several years. And after the revolution, he, a Pole by nationality, left for his homeland, where he became one of the leading architects. In 1944, he died in Nazi-occupied Warsaw.