Winner of international and all-Russian competitions.
Winner Best works 2016 international association of designers VATIKAM with the title MASTER OF THE YEAR in the categories - landscape, furniture, 3d modeling.
Laureate of the Best Works 2014-2015-2016. VATIKAM in the categories - architecture, interior, furniture and landscape.
Finalist of international competitions PINWIN 2016-2017-2019.
Diploma holder of the international association VATIKAM.
Regular participant in Russian and international architectural competitions.
Member of the International Association VATIKAM
Since 2017 permanent member of the expert jury of international competitions VATIKAM.
Private designer— this is the creation of original design projects, which reflect exclusive solutions and individual features. This use is varied different techniques to solve certain problems. We produce a lot of graphic, visual and other materials necessary to demonstrate all the features. We make them with high detail and information content to reveal the image and reflect all the details and elements.
Since 2010, I have been engaged in private practice as a private interior, exterior, and landscape designer. I develop realistic 3D visualizations of premises for various purposes and territories. I unite a creative team of designers, architects, 3D visualizers, engineers and other specialized specialists from different cities. For more information about the services provided, see the services section.
- Developed conceptual solutions for the reconstruction of historical sites in Moscow. Landscaping of plots and squares, improvement of urban areas in Moscow and the Moscow region. Created concepts for public gardens in Crimea. The appearance of exteriors and interiors of private, public and commercial properties. Winner of tenders for participation in international Expo exhibitions. Developed concepts for creating brand awareness for commercial companies. More than 50 completed projects, including: residential, public, commercial spaces, exteriors; landscape improvement of public gardens, urban and suburban areas in Moscow and the Moscow region; exhibition stands, showrooms and trade pavilions in Russia and abroad.
We do not use template schemes - only unique solutions!
Thanks to great experience In the organization and control of construction and finishing works, we create exclusive solutions. Which can be exactly implemented. This allows us to create unique images and achieve ergonomics and functionality using different architectural techniques. We use modern materials and technology. When choosing building materials, furniture and decorative elements, we are guided by global trends in style and comfort. We are official partners and dealers of companies representing famous European brands. As well as companies with a full cycle of production of construction and finishing materials, furniture, decorative items, lighting, etc. We interact with you at all stages of construction and renovation. We carry out designer supervision and repair and finishing work. Conducting designer supervision allows you to timely accept necessary solutions. This minimizes errors and does not slow down construction or repairs.
Our goal is to reflect your personality...
GALLERY
We work in Moscow and the Moscow region.
Remotely throughout the Russian Federation(conditions are discussed individually).
Contact Information:
Phone number for clients:
8 925 262-18-68
For questions of cooperation, partnership and proposals, tel:
8 916 956-62-33
e-mail: [email protected]
DIPLOMA
CERTIFICATES
THANKSGIVING LETTERS
Private interior and landscape designer in Moscow - ADVANTAGES
Private designer is a combination of knowledge and experience rolled into one! This is the use of original ideas and individual work! The advantages of such cooperation are obvious, primarily due to the extensive special knowledge and established creative style. I started my journey with many years practical experience, which consisted of organizing and monitoring the repair and finishing of residential and non-residential premises for various purposes. Due to this, all solutions are subject to criticism regarding their implementation and safety. They also adapt to a specific budget using all kinds of materials, lighting, furniture, decorative items and equipment. For clients we provide profitable offer from trusted companies, official dealers and whose partners we are. This is 10-15% more profitable market prices! Which is another advantage of working with us. A private interior and landscape designer is your personal designer, with whom you are essentially 24 hours a day!
Professional quality
Always in touch! I promptly respond to all questions during the work process. I attend specialized events and international exhibitions to always keep abreast of fashionable and popular trends. I'm keeping an eye out for new ones building materials, which appear on the market, also through our partners. 10 years of practical experience! More than 100 completed projects including: residential, public and commercial spaces. Improvement and landscape design suburban, commercial and municipal territories. We meet the agreed deadlines! In the absence of significant changes and adjustments from the customer, we meet the specified deadline. I can create large-scale projects in a short period of time, the terms of which are negotiated individually. We are on Instagram in social networks and YouTube, links to which can be found above.
Private interior designer: who is he and how to choose him
A private interior designer is a professional who is full of his own creative ideas. Has a large portfolio. This is a specialist capable of creative, out-of-the-box thinking and has a wide range of experience. Such a professional always has his own ideas and techniques. To decide which specialist suits you best than others, you should take into account the qualities inherent in a professional, not an amateur. These qualities include: creativity of ideas and creative thinking; ability to solve problems of varying complexity and implement the most daring ideas of the customer. Must have aesthetic taste, color and spatial perception of things and space in general. Have the ability to navigate the color palette and have an understanding of the impact of color on the world. And the main thing is to have a portfolio that reflects all the inherent qualities and exclusive techniques used.
Private designer must be able to create something beautiful and original from simple things using his own techniques. Pay attention to small details and anticipate the results of using different techniques. You need to be able to think ahead and work out every single detail. Understand what balance and sense of symmetry are in architecture. A professional private interior designer has sufficient flexible and imaginative thinking to apply different ideas. There must be the ability to quickly rebuild under the influence of new conditions and requirements. He is able to mentally imagine the overall picture based on the customer’s verbal description.
PORTFOLIO
The portfolio contains a variety of projects that we have completed throughout our work. These are the interiors of apartments, living rooms, bedrooms, kitchens. Interiors country houses, cottages and townhouses. Commercial spaces of fitness clubs, gyms, halls for group classes and martial arts in Moscow and the Moscow region. As well as showrooms, boutiques, exhibition stands and trade pavilions. The “exteriors” section presents improvement projects for urban and commercial areas, various squares and alleys. In the same section, the architecture of the facades of buildings and structures. Also presented are exclusive small architectural forms (SAF) for landscape and landscaping. In the “furniture” section you can get acquainted with designer furniture and decorative items. In most interiors we use unique designs of objects and elements. This gives greater exclusivity to the space and brings functionality directly to the client and his needs.
Most of the projects presented in the portfolio participated in international architectural competitions and were highly appreciated. There were winners, laureates and finalists. Each of them is a specific solution to the tasks assigned to us in a specific period of time. Each of us is looking for the best solution for our interior. It takes a lot of work, knowledge and experience to create a beautiful, cozy and unique image. PAEVSKIYDESIGN offers a wide range of services for creating design projects, selecting and completing an object. Additionally, we provide designer supervision at all stages of order fulfillment. If necessary, we coordinate redevelopments and carry out engineering design. We have trusted suppliers and partners, which guarantees high quality, short time and real cost, without overpayments and alterations.
Cost of services of a private interior and landscape designer
A private interior and landscape designer is an exclusive creativity. Which solves specific problems and takes into account all customer requirements. It is very difficult to adjust the cost of services to fixed values and derive a single price. The final price will depend on many factors and components. This is the area of the premises or territory, the complexity of the task ( architectural style, the presence of certain elements). The volume of decoration of the space, the degree of functionality, the set of necessary services and the deadlines for completion. Work in classic or modern style and the use of various modern systems(smart home, etc.) will require a completely different approach, elaboration and elements used. We provide an individual proposal for calculating the cost of services for each client. The final cost is calculated, as a rule, after drawing up the technical specifications. You can order the necessary service by calling us or writing by email, WatsApp.
Project composition
For interior and landscape it includes different components:
- drawing up technical specifications that reflect the tasks, requirements and wishes of the customer;
- a plan for the arrangement of furniture, equipment, decorative items, a general plan for the landscape;
- development of realistic 3D visualizations of the interior and territory (including perspectives and views from different sides);
- PROPOSAL OF A VIRTUAL WALK development of a panoramic 3D tour 360 VR (with viewpoints of transitions);
- drawing up working documentation (a set of necessary diagrams and drawings);
- list of materials, furniture, equipment, MAF used;
- proposal for construction, finishing and repair;
- object equipment.
After developing 3D visualizations and their approval, we offer you a 360 VR virtual walk. We create an interactive, panoramic 3D tour with sequential transitions (view points). In the virtual space you can completely immerse yourself in the future atmosphere. Consider in detail the materials used, techniques and Constructive decisions, general design concept. And also used together with 3D visualizations for presentation.
EXAMPLES OF VIRTUAL TOURS 3D 360 VR
How we are working
- I get acquainted with the object, go to the site;
- Discussion of wishes, requirements and preferences, drawing up technical specifications;
- Clarification of dimensions, measurements, photographic recording of premises, for the landscape of the territory;
- Development of a planning solution, a general plan for the landscape;
- Development of 3D visualizations, perspectives, top view;
- Development of working documentation ( necessary diagrams and drawings);
- Implementation - construction.
Private interior designer - FEATURES
- This is an exclusive design. Our important criterion is the use of proprietary solutions. I try to use unique design and content features. It's like an individual - manual assembly products. Almost every work, depending on its specificity, took part in architectural competitions. View our diplomas and letters of gratitude. A private interior designer for apartments, country houses, cottages and townhouses will create an interior that will suit you perfectly. It will reflect your characteristics, understanding of comfort, coziness and safety. For clients, we always offer an individual price offer. Which is calculated from the number of necessary services, complexity, its area and deadlines for completion. During the work process, we enter into an agreement that specifies all the conditions, services provided, terms and responsibilities.
Private architect - CONCLUSION
In our work we combine creativity to create a stylish design image. Knowledge of construction technologies, experience in creating various spaces and organizing construction processes. Helps us always achieve our goals! We are always looking for and offering optimal solutions to realize our ideas. A private interior designer or architect in our understanding is a professional who creates unique images on his own behalf, and does not use templates and names of different companies...
Each of our projects is a blank sheet on which we draw a picture... And this picture was created just for you!
Moments from our work...
2nd edition. M., . - p.: 187 l. ill. The illustrations are made using phototype technique. Title page and the dedication sheet are made using zincography technique. In a white all-fabric (calico) publisher's binding. On the front cover there is polychrome embossing: the title of the publication. Composite paper endpapers with an allegorical design, embossed in gold. Torshoned sawn-off shotgun. 32.2x25 cm.
Vashkov, Sergei Ivanovich (1879 - 1914) - graduate of the Imperial Stroganov School of Technical Drawing, student of V.M. Vasnetsova, Russian artist and architect, famous master of Russian church decorative and applied art, publisher of the magazine "Lamp", a zealous continuer of the Russian tradition in various directions creative activity. In 1900, Evpraksiya Georgievna Olovyanishnikova (1851-1925) invited the young twenty-year-old artist S.I. to creative work in her all-Russian family enterprise. Vashkova and a year later appoints P.I. as head of the art department of the Partnership. Olovyanishnikov and Sons. This catalog is a kind of report by the Association’s masters on the creative work done over the ten-year period 1901 - 1910.
Customers of t-va P.I. Olovyanishnikov and Sons were members and relatives of the imperial family, high-ranking persons, representatives of the merchants and clergy. In the album you can see: Lamps. Easter eggs. Ark for the Holy Gifts. Panagia. Icon of "Christ - Emmanuel". Pectoral cross. Silver fold. Triptych. Miter. Altar cross and banner. A dish for collecting money in a temple. Antidorant dish. The surplice for the deacon. Felony. Icon of Kazan B.M. Ripida. Altarpiece of seven candlesticks. Wedding crown. Setting for the icon of Christ the Pantocrator. Icon of Iverskaya B. M. Majolica candlestick. Chalice with device for Holy Communion. Sakkos. Mantles on the phelonion and surplice. Remote candlestick. Funeral table. Altar crosses. Prayer gospel. Water-blessed bowl. Lectern for an icon. Altar Gospel. White topaz chalice. Panagia. Setting for the icon of the Mother of God. Wooden folding. Icon cases. Icons of St. Nina, the enlightener of Georgia. Icon Arch. Mikhail. Airs embroidered with silks and pearls. Silver Ark. External cross. Trikirium. Dikiriy. Candlesticks. Enamel cross. Bishop's staff. Church furniture. Candle box. Altar Shroud. Monstrance. Mirnitsa. Stands for lamps. Three-branched candlestick on the altar. Lectern for the Gospel. Altarpiece cross and icon. Regimental warehouse. Baptism vests. Censer. Basmen icon case. Brackets for lamps. Cross on the altar. Hanging lantern in the narthex of the temple. Icon - Queen of Heaven. Icon of St. Nicholas the Miracle. Prayer cross. Banners. Memorial service. Cross on Golgotha. A panic attack. A reliquary for the stone on which St. Prayed. Seraphim Sar. Throne. Canvas frame for the icon of Kazan B.M. Easter three-candlesticks. Church chandelier. Vessel with device for Holy Communion. Settings for icons. Altarpiece with seven candlesticks. Basmen iconostasis. Tomb for the shroud. Basmen throne. Reliquary for the tomb of St. Macarius. Archimandrite's and abbot's staffs.
Brief information: Vashkov, Sergei Ivanovich (4 (16) July 1879, Sergiev Posad - 7 (20) November 1914, Moscow) - Russian artist, architect, designer and teacher. One of the masters of Moscow Art Nouveau. Born on July 4 (16), 1879 in Sergiev Posad in the family of journalist Ivan Andreevich Vashkov (1846-1893). In 1893, he began studying at the Imperial Stroganov School of Technical Drawing, from which he graduated in 1901 with the title of learned draftsman. In 1900, he completed an internship at the jewelry workshop of C. Faberge. Even before receiving his diploma, he was invited to work by the Moscow company of church utensils “Commercial and Industrial Partnership P.I. Olovyanishnikova and his sons,” where he was engaged in updating the design of religious utensils produced by the company. In 1901 he became the artistic director of the Olovyanishnikov factory. In 1911, the fundamental publication “Religious Art” was published, which contained photographs of objects made according to drawings by S.I. Vashkova. The most significant works of the artist in this genre, according to art critic M.V. Nashchokina, include: the tomb of St. Paul of Obnor in Vologda, the tombs of Saints Hermogenes and Macarius in the Moscow Kremlin, the tombstones of the Karneevs and Zybin in Moscow and a number of others. Vashkov created his own original artistic language, which combined ancient Russian and ancient Christian motifs. In his works, the artist used filigree, filigree, embossing, wood carving, enamel and other traditional techniques, but combined them in original ways. In 1909, Archbishop Anthony (Khrapovitsky) excitedly remarked:
“The Lord took pity on us, lovers of church splendor: the ancient inspired creativity of sacred objects was restored by the new artist S.I. Vashkov, whose name will occupy one of the most honorable places in the history of our church splendor, perhaps, along with Andrei Rublev and Simon Ushakov.”
Vashkov's architectural works are few in number, but important for the history of Moscow Art Nouveau. Shortly before his death, in 1913, Vashkov and like-minded people founded a new art magazine, Svetilnik, and became its editor-in-chief. From March 1914 he served as a full-time teacher at the Stroganov School. He lived in Moscow on Arbat, 12 and on Chistoprudny Boulevard, 14. He was buried at the Vagankovskoye cemetery.
VASHKOV, SERGEY IVANOVICH (SERGIEV POSAD 4(16).07.1879 - MOSCOW, 7(20).11.1914)
In 1893 he entered and in 1901 graduated from the Imperial Stroganov School of Technical Drawing with the title of scientific draftsman. At the same time, his works attracted the attention of the famous Moscow company of church utensils - the Trade and Industrial Partnership P.I. Olovyanishnikova with her sons. Having not yet received his diploma, in 1901 Vashkov was invited to become the artistic director of the Olovyanishnikov factory and devoted himself entirely to updating the traditional industry, which had long since fallen out of the context of modern artistic development - creating unique, truly artistic church utensils. Vashkov’s original report on his work at the Olovyanishnikov factory was the fundamental publication “Religious Art” (Moscow, 1911), which is an album of photographs of church and civil utensils made from his drawings. The most significant creations of the artist in this genre include: the tomb of St. Paul of Obnor in Vologda, the tombs of Saints Hermogenes and Macarius in the Moscow Kremlin, the tombstones of the Karneevs and Zybin in Moscow; finishing and interior decoration churches in the estate “New Chartoria” in the Volyn province and in the Fedorovsky town of Tsarskoe Selo near St. Petersburg, the temple of the Krasnostok monastery in the Grodno province. In these works, Vashkov, combining ancient Russian motifs with ancient Christian ones, synthesized his original plastic language, in which medieval forms received a new interpretation, reflecting the subject-spatial vision of man at the beginning of the 20th century. Actually, it was Vashkov who managed to fully implement in the field of temple construction the idea of creating an integral, aesthetically meaningful environment, which was developed by W. Morris. The synthetism of his artistic thinking was based on a vivid sense of the infinitely diverse man-made ancient Russian art in its manifestations, which he learned on trips around Russia, and on a subtle sense of the rhythm and style of modernity. Ten years later, formulating his creative credo, Vashkov wrote about this:
“Over the course of ten years of work, I did not consider it necessary to slavishly copy ancient examples of art, to repeat what had long been expressed and experienced... Forms of plastic art, like literary forms, must develop and change, replenished with ever new types, but without losing its typicality. A language that does not change under the influence of new forms becomes dead. The same thing happens with art.”
Thanks to the ascetic activity of Vashkov, after almost two centuries of the dominance of trivial handicrafts, authentic art began to flow into the churches of Russia again. works of art of his time, affirming the revival of church art - one of the most ancient national species arts and crafts. The artist widely used almost all traditional Russian techniques - filigree, filigree, embossing, wood carving, metal cutting, casting, enamel, silk embroidery, inserts of precious stones, etc. However, their combination, as a rule, was unusual - wood carving and enamel, filigree and mother-of-pearl carving, beadwork and decorative silver casting, painting and precious fabrics. Vashkov also used exotic materials such as coconut wood as an ornamental material. V.M. played a huge role in Vashkov’s creative development. Vasnetsov. The young artist considered him his teacher, although he was not formally a student of the master. This statement can be understood - it was Vasnetsov in the 1870-1880s who most clearly and artistically outlined the path of development of national Russian art, based on immersion in the elements of folk art and folklore, which turned out to be very fruitful for the development of the neo-Russian style. In a certain sense, a parallel can be drawn between the works of M.V. Nesterov, who developed Vasnetsov’s principles in painting, and Vashkov’s works in applied arts, also in many ways inherited from the outstanding painter. The shade of reverent, aesthetically sensual attitude towards ancient Russian art characteristic of both of them, the desire to read it in the spirit of modern religious-nostalgic symbolism is a characteristic sign of the era. These qualities can also be read in Vashkov’s architectural works. He was involved in architectural design from time to time, so his works in this area are few in number, but extremely important for his time. The apartment building in Moscow at the Church of the Holy Trinity “on Gryazekh”, designed and built in 1908-1909, is widely known. - the artist’s first experience in architecture, where he, in fact, acted as a decorator of a previously designed structure. Basic decorative theme The building became a “carpet” of decorative reliefs, stylizing the bas-reliefs of the Dmitrov Cathedral in Vladimir. Vashkov “populated” the facade plane with clumsy fairy-tale animals, birds of paradise and unprecedented plants. Here, as it were, a return to mythological characters, seen in a new way, characteristic of the era of symbolism, took place. Vashkov’s appeal to the world of Russian folklore was realized in an even more purposeful and original way in wooden dacha I.A. Alexandrenko, erected in 1908 in the village of Klyazma. She attracted attention with her individuality figurative characteristics, the integrity of the architectural and stylistic solution of the entire site (the artist designed outbuildings, garden benches, lanterns, a fence with carved gates and wickets), the bright multi-colored wooden plot carvings, stained glass windows, tiled stoves and fireplaces and, finally, that feeling of genuine hand-madeness that all of Vashkov’s creations breathe. Among the images placed on the facades of the Klyazma dacha, one can find many ancient symbols that worried its author - beregins, the Alkonost bird, a double-headed eagle, finally a lamb personifying Christ, a peacock - the bird of Eden, etc. The poetry of Vashkov’s artistic language is the flesh of his nature , who never tired of admiring the beauty of life, the harmony and perfection of nature. He wrote: “In moments of admiration for nature, art composes fantastic tales in which the sky, the sun, the moon and stars come to life, all the forces of nature are spiritualized, and animal world speaks the language of man and shares his admiration.” In this sensitive listening of the artist to the voices of the commodity world, the nature of the unique worldview of symbolism, imbued with images of the change of seasons, individual natural states, and their connection with human passions. In 1910, Vashkov designed a parish school for the village of Klyazma, and in 1914 he made sketches of a memorial church in honor of the 300th anniversary of the Romanov dynasty. This is the pinnacle of his creativity, the visible embodiment of his artistic worldview. The elegant volume of the one-domed temple was lavishly decorated with subject majolica, subsequently produced by the Abramtsevo plant. Sudden death did not allow the artist to complete his work; The church was erected after his death in 1914-1916. arch. IN AND. Motylev. The forms of the temple figuratively gravitated towards the monuments of Moscow of the 15th-16th centuries. and, in particular, “Godunovsky” architecture. However, their interpretation also reflected the influence of Art Nouveau aesthetics, which focused attention on the visual perfection of architectural details, striving for simplicity and laconicism of architectural language. It is interesting to compare the design of the temple with the designs of the Old Believer churches of I.E. Bondarenko - such a comparison irrefutably testifies to the influence of this new modern layer of religious architecture on Vashkov’s work. Shortly before his death, in 1913. The artist and a group of like-minded people created a new art magazine, “Svetilnik,” designed to popularize Russian art and scientific research in the field of its history. As the editor-in-chief of the publication, Vashkov managed to rally around himself an authoritative circle of artists and scientists. Its editorial board included D.V. Ainalov, N.P. Kondakov, N.V. Pokrovsky, A.V. Prakhov, F.I. Schmidt, N.I. Troitsky, V.M. Vasnetsov, M.V. Nesterov, A.V. Shchusev and others. Unalien literary activity, the artist not only edited, but also wrote articles about Russian art for the magazine, which complements his creative portrait.
MASTER'S WORK
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1906(?) - 1907 |
Interior decoration and utensils for the church on the estate of N.I. Orzhevskaya "New Chartoria". Volyn province |
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Dacha I.A. Alexandrenko. village Klyazma. Moscow region (burnt down in the late 1990s) |
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1908 - 1909 |
Apartment house at the Church of the Holy Trinity, “on Gryazekh”. With the participation of architect. L. Kravetsky and construction engineer. P. Mikini. M., Chistoprudny Blvd., 14. (Fig. on pages 10, 64 and 205) |
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1900 - 1910s |
Tomb of St. Pavel Obnorsky, Vologda. |
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1910 - 1911 |
Parish school named after Ivan and Pelageya Apeksandrenko. (Builder - architect E.I. Zelensky), village. Klyazma Moscow region. (Fig. on page 65) |
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1911 -1913 |
Project of a parochial school for the city of Kostroma, (not implemented). |
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1913 |
Temple-monument in honor of the 300th anniversary of the House of Romanov to St. Nicholas of Myra and Metropolitan Alexy. With the participation of architect. IN AND. Motyleva. (The paintings based on the sketches of S.I. Vashkov were started by the sculptor N.P. Gavrilov). village Klyazma. Moscow region (Fig. on page 207) |
THE CONTRIBUTION OF THE ENTREPRENEURIAL FAMILY OF THE OLOVIANISHNIKOVS TO THE DEVELOPMENT OF RUSSIAN RELIGIOUS ART IN THE END OF THE 19TH – BEGINNING OF THE 20TH CENTURIES
Starting a conversation about Russian jewelry art of the late 19th and early 20th centuries, we immediately list the largest and most significant Russian (St. Petersburg and Moscow) jewelry firms - Faberge, Sazikov, Khlebnikov, Postnikov, believing that it should be classified as a manufacturer of church bells. However, in the jewelry business, the Olovyanishnikovs left a bright mark, creating magnificent works in the “Russian style” (or as it is also called “neo-Russian style” or disapprovingly “pseudo-Russian”). By the beginning of the 20th century, the wealthy Yaroslavl merchant family Olovyanishnikov owned 35 stone shops, bell-foundry and lead-bleaching factories in Yaroslavl, lead-bleaching, paint-grinding and lead-rolling factories in the village of Volokushi, Yaroslavl province, as well as trading branches in the capital (St. Petersburg), Moscow, Tula, Yaroslavl, Nizhny Novgorod and Vologda, a factory of church utensils in Moscow. Regarding religious jewelry art specifically, we must talk about the Moscow Olovyanishnikov factory, which employed 206 workers in 1917. In terms of its importance, this factory in Moscow was second only to the leading factory in the jewelry industry, owned by the company I.P. Khlebnikov Sons and Co. The Olovyanishnikovs could not compete with the St. Petersburg company of Carl Faberge. The Faberge firm was one of the world leaders in jewelry. The Olovyanishnikovsky factory produced a wide range of church utensils made of silver, gold and bronze, priestly vestments, furniture and church sculptures made of wood and marble. In addition to products for religious purposes, the factory also produced products for secular purposes (for example, lamps and dishes). The Olovyanishnikovs’ company took on responsible and labor-intensive orders for the production of shrines for relics and church domes. The emergence of the unique “Russian style” of church utensils from the Olovyanishnikovs company is associated with the name of V.M. Vasnetsov’s favorite student - the talented artist Sergei Ivanovich Vashkov (1879 - 1904), who headed the art department of the factory for more than 15 years. The artist was confident that the purpose of the factory’s artistic products was to cultivate a person’s aesthetic and moral sense. The ideas contained in a work of art must be understandable to the person purchasing it. Vashkov found ideas accessible to understanding in the art of early Christians and in the art Ancient Rus'. Vashkov and his co-workers created in a truly national spirit, so art critics considered their works stylistically close to the products of Russian folk arts and crafts. The church utensils they created were alien to social elitism, since they were aimed at pilgrims from all social strata, united by common participation in the sacraments. Vashkov was opposed to the meaningless decoration of church utensils and considered it necessary to use only Christian symbols. semantic load: dove with an olive branch (“Noah’s dove”), fish (the secret symbol of the first Christians), lamb, Phoenix bird (the secret symbol of Christ among the early Christians), etc. From folk art Vashkov borrowed images of lions and the Sirin bird in his ornaments, but still he strove for the greatest simplicity of lines. Stones found a place in Vashkov’s products only when it was necessary to clearly emphasize the composition. Possessing impeccable artistic taste, tact and a strong religious worldview, the artist avoided secularism and tackiness, preferring oxidized silver and silvered bronze to gold. He preferred to use gold in the form of gilding. At the international exhibition in Turin in 1911, S.I. Vashkov received a gold medal, and the company itself received four (!) “Grand Prix” and a special award “For Cooperation”. Viktor Ivanovich Olovyanishnikov (1874 – 1932) received an honorary diploma at this exhibition. On the eve of the celebration of the 300th anniversary of the Imperial House of Romanov, the Olovyanishnikov company fulfilled the order of national importance: casting an ensemble of bells and church utensils for the Cathedral under construction in St. Petersburg in the name of the Feodorovskaya Icon of the Mother of God in memory of the 300th anniversary of the reign of the House of Romanov on Mirgorodskaya Street near the Nikolaevsky (now Moskovsky) station. The initiative to build this temple came from the “Union of the Russian People”, and the temple was built using public donations. The winner of the temple design competition was civil engineer S.S. Krichinsky, who presented a project in the style of Rostov churches of the 17th century. The temple was built using new technology - the 20th century - from reinforced concrete. It was built in about two years (1911 - 1913). The facade of the temple, lined with white oxbow stone with ornaments by V.I. Traubenberg, decorated with the Romanov family tree and the Feodorovskaya icon, made of majolica in the workshop of P.K. Vaulin based on a drawing by the artist S.P. Chekhonin. Another icon, placed above the entrance, was made according to a drawing by V.M. Vasnetsov using mosaic technique. The iconostasis of the temple was carved from linden in the Moscow workshop of the Palekh icon painter I.M. Dikarev, icon cases were made there and icons were painted - copies of ancient Russian ones. Golgotha and the royal seat were made in the same workshop. The painting of the temple in the style of the frescoes of Dionysius in the Ferapontov Monastery was commissioned to be created by V.S. Shcherbakov. The Tsar's retinue ordered the Olovyanishnikovs' company to create a silver tabernacle in the form of a small copy of the Assumption Cathedral in the Kremlin. It was donated by His Majesty's Retinue to the Feodorovsky Cathedral. The Olovyanishnikovskaya company made liturgical vessels for the cathedral, copying 17th-century vessels from Kostroma Ipatiev Monastery. Bells with the names of the members were also cast royal family. According to Vashkov’s design, a true masterpiece was created - an openwork bronze chandelier in the form of Monomakh’s cap with a diameter of three fathoms. A real event in the life of Russian jewelry art was the production at the Moscow factory of the Olovyanishnikov company, according to Vashkov’s design, of a letter of loyalty of the Russian nobility on the occasion of the 300th anniversary of the House of Romanov, a casket and a dish for presenting it to the Sovereign. The casket was made of cast silver, decorated with enamels and precious stones. The tent lid of the casket was crowned with a red winged griffin with a black sword and shield - the coat of arms of the Romanov boyars. The dish was a beautiful carved piece of mammoth bone, mounted in silver and bearing an image State Emblem Russian Empire. In 1913, the Moscow Olovyanishnikov factory received a high and honorary title Supplier of the Supreme Court. Before the outbreak of the First World War, the imperial family managed to place a large order at the factory - a coat of arms and shrine for the relics of the Holy Patriarch Hermogenes for the Assumption Cathedral of the Moscow Kremlin. This work turned out to be the last for the wonderful Russian artist and jeweler Vashkov. He died in 1914. Many art historians are inclined to believe that this last work Sergei Vashkov and is his best, most perfect work in terms of integrity and harmony of artistic design.In 1918, the Bolsheviks who seized power closed the Yaroslavl bell production and the Moscow factory of church utensils. The lead bleaching plant in Yaroslavl was nationalized and has survived as a fairly successful enterprise to this day. The most tragic thing for Russia is that most of the best works of the Olovyanishnikov company were lost. The magnificent decoration of the Feodorovsky Cathedral in St. Petersburg has not reached us. Now it is being reconstructed.Material about masterpieces of jewelry art created by masters of the Olovyanishnikov company was used when conducting lessons on world artistic culture and Russian church art ( elective course) in the St. Petersburg Orthodox Gymnasium of the Holy Blessed Grand Duke Alexander Nevsky in 2004 - 2012. In order to create a visual image, rich illustrative material was used in these lessons, since the Olovyanishnikovs themselves were the owners of the monthly magazine “Lamp”, dedicated to the religious art of Russia and its history. “Lamp” was published in 1913 – 1917, publishing articles on church archeology, theological issues, works on outstanding works of architecture and art, following in line with national traditions. The magazine was beautifully designed and contained from 10 to 15 illustrations on 30-60 pages of text. In 1911, the Olovyanishnikovs released a collection album “Russian Religious Art,” where they presented the factory’s products for the years 1901–1911. The album contained 188 sheets of tone photographs with images of more than 300 items of church utensils, 41 brocade samples self made and 38 secular items.
Church of the Savior Not Made by Hands in the village of Klyazma, Moscow region
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Lermontovskaya street, 20.
The temple was built in 1913-1916 in honor of the 300th anniversary of the Romanov dynasty by architect V. I. Motylev based on a drawing by S. I. Vashkov, a student of Vasnetsov. It was built at the expense of the merchant of the 2nd guild Ivan Aleksandrovich Aleksandrenko.
The church is completed with a dome with kokoshniks and decorated with beautiful majolica panels.
The temple is an interesting example of neo-Russian style with a touch of modernity.
You can read the inscription in ancient script on the tiled band of the drum about the year of foundation.
They were going to consecrate it as the Church of St. Nicholas the Wonderworker and Alexy, Metropolitan of Moscow. After the revolution of 1917 the temple was destroyed, and it suffered externally.
In 1989 it was consecrated as the Image of the Savior Not Made by Hands and restored.
Sergei Ivanovich Vashkov (July 16, 1879, Sergiev Posad - (November 20, 1914, Moscow) - Russian artist, architect, designer and teacher. One of the masters of Moscow Art Nouveau
Architectural works by S.I. Vashkov are few in number, but according to M.V. Nashchokina are important for the history of Moscow modernism.
He worked at the Moscow company of church utensils “commercial and industrial partnership of P. I. Olovyanishnikov with his sons,” where he was engaged in the design of religious utensils. In 1901 he became the artistic director of the Olovyashnikov factory.
In 1911, the fundamental publication “ Religious art", it contained photographs of objects made according to his drawings. According to art critic M.V. Nashchokina, the main works include: the tomb of St. Paul of Obnor in Vologda, the tombs of Saints Hermogenes and Macarius in the Moscow Kremlin, the tombstones of the Karneevs and Zybin in Moscow and others.
Porch mosaic
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Moscow has a huge number of magnificent luxurious buildings that create a unique ensemble of the city - an open-air museum. Architectural styles different eras can be seen on the streets of the capital. These are classic porticoes with a colonnade, flowing bay windows of modern balconies, “neo-Russian” window openings and Gothic turrets at the corners of houses. But the pedestrian’s attention is invariably attracted to two Moscow houses with incredible beauty carved patterns on the facade.
Muscovites nicknamed one of them “the house with animals.”
Everyone is surprised and wondering what kind of house this is? Now there is an aquarium in the lower floor of the house, and people even more associate this building with something “animal”. However, this house was built in 1908–09. as profitable for the people of the Trinity Church on Gryazekh, which is located on Pokrovka Street and is currently being restored. The project of the house was developed by the architect Lev Ludvigovich (Leon Wojciech) Kravetsky with the participation of civil engineer Peter Karlovich Mikini. Both of them came from Poles, but studied and worked in Russia. Money for the construction of the house was allocated by the Olovyanishnikov merchant family, whose members were trustees and ktitors of this church and lived on Pokrovka. The family owned a factory of church items, famous before the revolution, which produced items from gold, silver, bronze, wood, and brocade vestments. 
At the beginning of the 20th century, it became fashionable in Moscow architectural practice to turn to ancient Russian motifs of antiquity, and architect Kravetsky planned to decorate the facade of the house with fabulous bas-reliefs. Took on sketches of future jewelry famous architect, designer and artist Sergei Ivanovich Vashkov. Bas-reliefs served as models for fantastic animals, birds and trees Demetrius Cathedral in Vladimir, which S.I. Vashkov considered it the pinnacle of Vladimir architecture. But the artist did not just copy these ancient drawings, but created on their basis unique inimitable mythical images of incredible lions, griffins, unicorns and others fairy-tale creatures. Although more ancient images of strange animals can still be seen at St. George’s Cathedral in Yuryev-Polsky.
St. George's Cathedral Yuriev-Polsky The house was originally built on three floors - church parishioners lived on the first floor, and the other two were intended for renting and making a profit. When the house turned into a communal apartment during the Soviet years, in 1945 two more floors were added for housing. Now on the lower floors of the house there is a Marine Aquarium-Oceanarium, an antiquarian book store “Russian Bibliophile”, and on other floors there is an “Apart Hostel” and residential apartments. You can get acquainted with the detailed history of the Trinity Church on Gryazekh, the amazing “Three Joys” icon and the unusual “house with animals” .
Another unusual house, nicknamed by Muscovites “lace” or “lacework”
, located on Leningradsky Prospekt (27). It was built in 1940-1941 according to the design of architects A. Burov and B. Blokhin. Shortly before the war, these architects built three series of large concrete block houses. This house was the third and best in this experiment, since at that time the country needed concrete for the construction of factories and fortifications, and residential buildings were not built en masse from concrete blocks. The house was erected just before the war and in fact was an exemplary beginning of Soviet large-block construction, since blocks were used in it maximum size, a whole floor high, which remain so in our time. 
The method of prefabricated construction from prefabricated concrete blocks made it possible to speed up, reduce the cost and mechanize the construction process of a residential building. But along with the beginning of the so-called mass “block construction”, this house was lucky - it was decorated along the facade with the most beautiful openwork pattern with floral ornaments according to sketches by the artist V. Favorsky. Openwork grilles made of concrete are installed on the kitchen windows facing Leningradsky Prospekt, because this side is shady. It was in this house that for the first time in the USSR industrial concrete blocks were applied as constructive and at the same time as decorative elements building. Such a new block arrangement system was approved by the USSR State Construction Committee in 1955 for use in mass construction, but in the end such houses were not put into production. It's a pity…
In addition to innovation in the construction of the house, a new system of internal layout of apartments was introduced here. The house consisted solely of small apartments intended for single family living. It was planned to place a cafe inside the house and kindergarten. The layout of the house was based on the idea of public living: there was only one elevator, two bright staircases, all the staff rooms opened onto the lobby of a single entrance. It is now also a residential building with shops and a bank on the ground floor. total area typical two-room apartment with isolated rooms of 55 meters, a kitchen area of as much as 14 meters, and even with such openwork on the window!
“Musical Forest House” on Tverskaya Street.
The outstanding architect Andrei Konstantinovich Burov lived on Tverskaya Street in house 25, built according to his own design in 1936. This house was awarded the Mossovet Prize as one of the best houses in Moscow. It stands out very unusually among all the monumental buildings of the Soviet period on this street and its external elements resemble Italian palazzos with arches and paintings. In addition, it was built unusually, in two parts and for different customers. The left side of the house on the Tverskaya side was built first in 1936 by order of the People's Commissariat of Forestry. Therefore, it is decorated with numerous paintings on a forest theme using the sgraffito technique based on sketches by Vladimir Andreevich Favorsky. Recently, right in front of this house, from the corner of Blagoveshchensky Lane, tents with shops were demolished, resulting in the formation of a cozy green public garden. And most importantly, the facade of the house opened on this side, where above front door Can read the unique inscription “House of Engineering and Technical Development of the People’s Commissariat of Forestry”
. By the way, it was on the site of this square and this part of the house that until 1929 there was a church in the name of the Annunciation Holy Mother of God, which gave the name to the lane. 