Krivoarbatsky lane, 10. Melnikov's house.
Muscovites call this strange house in Krivoarbatsky Lane “Melnikov’s house.” Konstantin Stepanovich Melnikov (1890-1974), a brilliant Russian architect who influenced the entire world architecture, considered the house one of his best creations. Melnikov's house is known all over the world.
Melnikov House (House-workshop of the architect K. S. Melnikov)- a single-apartment residential building, a world-famous monument of Soviet architectureavant-garde. It was built in 1927-1929 in Krivoarbatsky Lane in Moscow according to the design of the outstanding Soviet architect Konstantin Melnikovfor yourself and your family.
The house-workshop is the pinnacle of K. S. Melnikov’s creativity and is distinguished by its innovative design features and thoughtful functional layout. A single-apartment residential mansion in the center of Moscow is a unique example of this type of construction for Soviet times. Currently the building is in unsatisfactory technical condition.
The dream of having his own separate house-workshop appeared to Konstantin Melnikov during his years of study atMoscow School of Painting, Sculpture and Architecture . At first he intended to buy ready house and rebuild it, and therefore spent a long time looking for a suitable building in Moscow. The plans for the reconstruction of one of the old stone Moscow houses in a non-classical style, created by the architect in 1916-1917, have been preserved.
Unlike Melnikov’s other buildings, the architect’s own house-workshop was designed taking into account exclusively his own taste and ideas about housing and the working environment. In 1922, the architect drew sketches of an oval and even egg-shaped building, continuing to work on the interior. The final version of the project involves a combination of two cylinders embedded into each other.
What is unique about Melnikov’s house is that at the end of the 1920s, when the NEP was being phased out in the USSR, and the construction of communal houses began throughout the country, one person was allowed to build a private house in the center of the capital. There are several explanations for this fact.Firstly, Melnikov’s house was an officially recognized experimental structure in which the architect tested the idea round house, which he then wanted to use in other projects, including for the construction of communal houses.
Secondly, in the mid-1920s, Konstantin Melnikov was one of the largest and most recognized Soviet architects not only in the USSR, but also in the world. The construction of the USSR pavilion for the International Exhibition of Decorative Arts and Art Industry in Paris brought him world fame.
Thirdly, the architect built his house-workshop in 1927-1929, when he had a large number of real orders and could select from family budget funds for construction. The construction of the house was carried out construction organization Moscow municipal services exclusively at the expense of the architect (K. S. Melnikov received a loan for the construction of a house for a period of 15 years). Due to the fact that the building under construction was considered an experimental demonstration structure, Melnikov was also exempt from ground rent.
Frame of a house under construction (near the house of K. S. Melnikov and his wife Anna Gavrilovna), 1927-1929.
Membrane construction of interfloor slabs, 1927-1929.
Workshop project. Axonometry, 1927-1929.
Drawing of the hexagonal window of the first floor of the northern cylinder.
Windows on the west side of the small cylinder. The top window, the only octagonal one in the house.
The internal layout of the building is distinguished by exceptional functional thoughtfulness, about which Melnikov himself said: “I will give a prize to the one who can count how many floors there are in the house, and to my brother the architect - a riddle: where did such a wealth of variety in volumes come from from one single form of standard, who constituted the organic being of the Architecture of our house.”
The family's daily life took place on the ground floor of the workshop house, which was divided into the following rooms.
Front(6.3 m²). The entrance to the small hallway is located in the center of the street façade. The interior glass door of the hallway is original: its leaf serves two openings at once: it can close the hallway, combining the corridor with the staircase to the second floor, or close the entrance to the corridor, as if extending the space of the hallway.
Dining room(17 m²) - the main room on the first floor, where the family gathered, dinners and receptions were held. The dining room is lit by a single hexagonal opening and a large rectangular window to the left of the entrance to the house.
Kitchen(7 m²) adjacent to the dining room. One of the openings in the outer wall on the kitchen side was used for a refrigerator, and a buffet was built into the partition between the kitchen and the dining room. From the kitchen, the mistress of the house could communicate with family members located in other rooms using a special speaking tube (internal telephone). The kitchen is illuminated by two hexagonal windows, in front of which there is a work front - gas stove and a long table with containers for food and dishes. Above the stove there is a glass hood screen, unique for the 1920s, which allows air to be removed from the stove through ventilation, which was especially important since the kitchen did not have a closing door.
Sanitary unit, consisting of bathroom And restroom(7 m²) adjoins the kitchen and has common communications with it. The bathroom has one hexagonal window, a gas water heater is installed.
Two identical in size children's work rooms(4.5 m²) son and daughter of an architect. Each room has one hexagonal window and places for studying: near the window, near the partition, there were desks, shelves for books and textbooks. On the whitewashed ceiling of these rooms there are colored triangles: yellow for the daughter, blue for the son.
Toilet (cloakroom) room(11 m²). Along the partitions of the toilet room there are built-in wardrobes: to the right of the doorway is the women's wardrobe (for mother and daughter), painted white, and to the left is the men's (father and son) wardrobe, yellow. The clothes of all family members were stored in this room. Here the Melnikovs changed clothes before going out and before going to bed - it was customary to go upstairs to the bedroom in sleeping clothes or dressing gowns. In the dressing room there was a sofa, a dressing table, a large dressing table.
Hostess's workroom, Anna Gavrilovna Melnikova (5.4 m²). There was a wardrobe, a place for ironing, a sewing machine.
Corridor(11.7 m²). The kitchen, dining room and toilet room open onto the corridor with open openings to the ceiling (the height of the first floor is 2.65-2.7 m) without doors. From the corridor there is access to the basement, located only under the first cylinder and including brick foundations buildings that once stood on this site and were discovered during the construction process.
In the basement of the house there are heater chamber(14.6 m²), from which warm air circulates through the channels throughout all the premises of the house. The heater furnace is connected by a channel to the kitchen - garbage was thrown down through it, which could be burned. In addition, in the basement are arranged pantry And cellar for storing food.
In the cylinder facing Krivoarbatsky Lane there is one floor above the first floor, in the other cylinder there are two floors. A fairly wide (1.1 m) staircase leads from the front floor to the second floor, which begins with a straight flight and then turns into a spiral staircase ending on the third floor.
Located on the second floor.
Living room(50 m²) is the front room of the house. In it, the Melnikovs received guests, played music, and talked. The furnishings of the living room emphasized its purpose - a piano, a sofa, an armchair, round table. The living room is illuminated by a huge screen window. In addition to the main window, the room has a small octagonal window that gives the room scale. Initially, this window was not provided, but during the construction process Melnikov noticed that through this gap a ray of sun coming out from behind the neighboring house entered the living room, and the window was left. Moreover, it, the only one in the house, was given an octagonal shape.
Bedroom(43 m²) occupied the second floor of the northern cylinder and was intended only for sleeping.
The bedroom in Melnikov's house was common to all family members. There were no wardrobes or any other furniture in the room, except for three beds built into the floor - a double for the parents and singles for the son and daughter. The beds were made of plastered boards, with armored mesh inserted inside. The parents' bed is visually isolated from the children's beds by two radially located screen partitions that do not touch each other and do not reach the outer walls.
The bedroom is illuminated by 12 hexagonal windows overlooking the garden. There were no ceiling or wall lights in the room, only electrical outlets. To decorate the entire bedroom - walls, ceiling and built-in beds - a single finishing material of copper-golden color was used.
The third floor was entirely occupied Workshop of K. S. Melnikov(50 m²), in which the architect’s workplace was located. Subsequently, when the architect’s son Viktor Melnikov became an artist, he took over the workshop on the third floor, and the living room was converted into the studio of K. S. Melnikov. The workshop and the living room are almost identical rooms, but they are perceived by visitors in completely different ways: the living room has a single huge window, the workshop is illuminated by 38 hexagonal windows, forming a complex ornamental pattern. The technique used to illuminate the workshop gave the room an unusual appearance and created ideal lighting conditions for the architect’s workplace - light came from all sides.
The protrusion of the small cylinder forms a mezzanine in the workshop, from which K. Melnikov loved to look at the sketches, drawings, and paintings laid out on the floor. The mezzanine balcony has access to terrace, fenced with a blind parapet. The roof was ribbed and covered with iron, on top of which there was a lattice wooden flooring. Water flowed through rhythmically arranged holes into gutters and was discharged into drainpipes fixed at the joints of the cylinders. A canopy is built over part of the terrace, which is a continuation of the round ceiling of the northern cylinder. In the summer, the Melnikovs drank tea on the terrace, relaxed in the air, and used it as a solarium.
Now Melnikov's house is threatened by the prospect of ending up in the hands of private owners - against the wishes of its creator and his son Victor (1914-2006), a famous artist who was the custodian of the house for thirty years.
Victor Melnikov’s will stipulates that the House should become the state museum of Konstantin and Victor, that is, the father and son of the Melnikovs. The executor of the will is the daughter of Viktor Melnikov, Ekaterina Karinskaya, who currently lives in the House.
However, the owner of half of the House, former director of the development company Rosbuilding, Senator Sergei Gordeev intends to take ownership of the entire building and open a private museum there. 38-year-old senator from the Ust-Orda Buryat Autonomous Okrug and deputy general director of the National Judo Union Sergei Gordeev is also known as the founder of the Rosbuilding company, specializing in real estate. The company became famous as a successful raider - a specialist in the hostile seizure and resale of enterprises.
Mr. Gordeev stated that he does not intend to comply with Viktor Melnikov's wishes that the museum should be dedicated to both father and son Melnikov and that it should be state property.
In 2007, Sergei Gordeev founded the International Trustee Committee for the creation of the Melnikov House museum. It included cultural figures, representatives of Russian and international organizations which are engaged in the protection of architectural heritage. At the same time, many committee members had concerns that for Sergei Gordeev this organ had an exclusively decorative function. Since its creation, the committee has met only once, and since then its members have received the only response to their collective letter from Mr. Gordeev. The members of the committee are convinced that the wishes of Konstantin and Viktor Melnikov must be fulfilled in in full when making decisions regarding the future of the House in Krivoarbatsky Lane. Committee members consider the Melnikov House to be in danger and call on the Ministry of Culture Russian Federation protect the legacy left by Viktor Melnikov to the state and its citizens.
During the last five years there have been litigation aimed at clarifying the ownership of the property of the House and the archive. The formal initiators of these processes are Viktor Melnikov’s youngest daughter Elena and her cousin Alexey Ilganaev. Mr. Gordeev actively supports them and participates in these processes with the goal of obtaining the ownership of the entire house and three-quarters of Konstantin Melnikov’s archive.
In 2010, the 120th anniversary of the birth of Konstantin Melnikov will be celebrated.
Interior of Melnikov's house. Photo from the site agram.saariste.nl.
IN Melnikov gradually began to be forgotten in the 1930s, although he took part in several major competitions, for example, for the design of the Palace of Soviets on the site of the Cathedral of Christ the Savior. Gradually, the architect found himself out of work: he taught at the Architectural and Construction Institutes, but did not build anything else. By some miracle he survived the purges of the late thirties, and his house survived the war. The last structure in which Melnikov took part was the USSR pavilion at the Montreal Expo in 1967.
Forgotten by the general public, but forever revered by the architectural community, Konstantin Stepanovich Melnikov died in Moscow in 1974, bequeathing his house in Krivoarbatsky Lane to his children, Victor and Lyudmila. Each of them received half of the house.
Design difficulties
Melnikov's house is on the UNESCO list of sites that are in danger of destruction. It was slightly renovated in the early 1990s, but this did not solve any of the problems. Thus, the construction of new buildings in the nearby district has catastrophically worsened the condition of the foundation, the roof is leaking in the house, and the condition of the walls also raises numerous questions. What especially worries the defenders of the house is that in Russia there is no experience in conservation and restoration of buildings built by constructivists of the 1920s using new, previously untested technologies. Thus, just studying the building represents a considerable scientific task, let alone its repair.
The sad experience of the capital authorities' treatment of architectural monuments worries the defenders of Melnikov's house, perhaps more than the outcome of the trial between the heirs. Sooner or later the house will be transferred to the state, there is practically no doubt about it, but will it be able to avoid the fate of the Grand Palace in Tsaritsyno, Voentorg or the Moscow Hotel?
Turning from the noisy Arbat into the quiet Krivoarbatsky Lane, it is difficult to pass by house number 10, an outlandish cylindrical mansion standing in the depths of the courtyard, a little away from the wooden fence. This is the Melnikov House. Everything here is unique: the design, the play with space, the atmosphere reigning inside, and, most importantly, the creator - the great Russian architect Konstantin Stepanovich Melnikov, a genius and innovator. Fate is not always kind to geniuses, and it was she who allowed Konstantin Stepanovich to realize hometown only a small part of the projects he conceived; if he sold at least half of it, modern Moscow would be completely different.
In 1927, Konstantin Melnikov received from the authorities land plot for the construction of a private house-workshop in Krivoarbatsky Lane. The very fact of receiving such permission in a country that in those years rejected bourgeois values in the form of individual housing in favor of communal houses was akin to a miracle, but Melnikov is a well-known and sought-after architect who receives orders both at home and from abroad, author the Soviet pavilion at the International Exhibition of Decorative Arts in Paris and most of the new Moscow clubs - places of leisure for a person of new times, and the creator of the first sarcophagus for Lenin's body. It can be assumed that this was precisely what explained the favor of those in power.
The design of Melnikov’s own house was recognized as experimental and demonstrative; there really was a lot of new and experimental things here, for example, the shape of the building in the form of two combined cylinders and the special design of the walls - brickwork created an openwork frame, thanks to which construction could be reduced in price; the vacant openings in the wall (there were about two hundred of them) were filled with construction waste, and the rest became hexagonal windows. The construction process of the house, which was finally built in 1929, caused a lot of rumors among Muscovites. Many, for example, seriously argued that an underground plant was being built near Arbat, and the incomprehensible structures on the surface were its pipes. And today, when almost ninety years have passed since its construction, the Melnikov House looks like something alien, but invariably attracts everyone who has ever seen it, so let’s quickly go inside.
The first surprise waiting for the guests lies right behind the front door. Many expect to see a riot of colors and shapes behind it, but they are not to be found here - visitors are greeted by a small cozy entrance hall with hangers for outerwear and a shelf for hats, on which hats that belonged to Konstantin Stepanovich Melnikov and his wife, Anna Gavrilovna, still lie . A little further away we can see the stairs to the second floor, which we still have to climb, but for now, we turn into the corridor and find ourselves in the dining room, where almost nothing reminds of the avant-garde, except perhaps one side hexagonal window. A small buffet, an oval-shaped table, chairs, a lamp above the table - all this creates the effect of being not in a house in the very heart of Moscow, but somewhere in a country dacha. It seems that the owners only went out for a short time on business and will return soon. On the wall are portraits of family members painted by Viktor Melnikov, a special place here is occupied by a portrait of Anna Gavrilovna Melnikova, the wife and muse who inspired Konstantin Stepanovich’s creativity.
Everything that is located next to the dining room also creates the impression of home comfort: a kitchen with utensils that are the same age as the house, and two children’s rooms, and a special dressing room where family members changed clothes after returning from the street - it was customary to go upstairs only in home clothes . Walking along the corridor, one cannot help but pay attention to the small staircase down - after going down it, we briefly find ourselves in the basement, where not only is there a food pantry, but also the unique heating and ventilation systems invented by Konstantin Stepanovich originate. Both systems still function today - in a house not equipped with central heating and double-glazed windows, it is warm even in the middle of a dank Moscow March. The stone that lined the walls in the basement remained from ground floor house that once stood here is another simple and functional solution. Returning to the first floor, you should carefully look at one of the walls opposite the kitchen. Two inconspicuous holes in it are a communication system between the first floor and the workshop; Anna Gavrilovna used them to call her husband and children for lunch.
Going up to the second floor, you expect to see something unusual there, but the reality exceeds all expectations, so much so that it simply takes your breath away - we are in the living room of the Melnikov House. In the living room you understand how brilliantly the space is used here: the first floor, intended for eating, cooking and other household needs that do not require a long stay there, has dim light and low ceilings. The second floor, as a space for living, is a lot of light and air. Light enters through a floor-to-ceiling window overlooking the alley, while the high ceiling creates ideal acoustics. Here the Melnikovs received guests and spent evenings listening to music - once there was a piano here. The only octagonal window in the house is hidden in the corner; they say that Konstantin Stepanovich came up with the idea to make it during the construction process, when he noticed a ray from the setting sun falling into the future living room in this place. Nearby is a stove built by Konstantin Stepanovich and a work table: in 1942, when his son Victor graduated from the Surikov School, the elder Melnikov gave him his workshop, moving into the living room. The living room is full of must-see details such as original lamps and a number of shelves for books and magazines; it’s not hard to guess that all this was also created by Konstantin Stepanovich. In addition, the living room is exactly the place where the two cylinders that form the house come into contact.
The living room area is clearly separated from another room on the second floor - the bedroom. The head of the family considered sleep the most important source of restoration of the body, so everything in the bedroom is thought out to the smallest detail: the walls are painted with golden paint (Konstantin Stepanovich said that, thanks to this color, “air is visible” in the bedroom), the light coming from the windows is dimmed, and the ceilings are the same low, like on the ground floor, but there is no trace of the cramped effect characteristic of sleeping cells in communal houses. Once upon a time, there was no furniture in the bedroom at all, except for unique beds growing straight out of the floor, but, alas, they were preserved only in photographs; During the war, Anna Gavrilovna and her daughter left for evacuation, while father and son Melnikov remained at home. In winter there was no firewood, so the stove had to be heated with dismantled beds. Now only the remaining partitions that separated the parents’ bed from the children’s beds remind of them.
To get to the main room of the house - the workshop, we climb the spiral staircase from the second floor to the third. Once at the top, you understand the main idea laid down by the elder Melnikov, and invisible at first glance: the house symbolizes human life: from base needs we rise higher and higher until we achieve the ability to create something on our own, because the possibilities of each person are truly limitless. As in the living room, the studio has a lot of air and light, but its sources are not in one large window, but in many hexagonal windows that penetrate the room right through; It's a pleasure to work here. If desired, you can look at the workshop from above - for this there is a narrow staircase leading to a special mezzanine balcony.
Konstantin Stepanovich looked at the sketches lying on the floor from there, and his son Viktor Konstantinovich gave lectures on painting to students there. From the balcony you can go out onto the roof, which served as a place for family tea parties in the warmer months.
IN last years The Melnikov house became the object of disputes between the descendants of its creator and the state. Viktor Konstantinovich Melnikov, who died in 2006, first bequeathed the house to his daughters on the condition of establishing a museum there, but then changed everything, excluding both daughters and bequeathing the house to the state. Several years ago, the Ministry of Culture decided to create a museum and asked the daughter of Viktor Melnikov, who was registered and lived in the house, to vacate the premises. She refused and a huge scandal broke out, ending with her eviction in 2014. All the scandals and trials do not have the best effect on the avant-garde monument - until the house is entirely owned by the state, it is impossible to carry out the repairs that it badly needs. In order not to end on a sad note, let's better try to imagine what Moscow would be like if the course of history had turned out differently, and instead of Khrushchev's five-story buildings, somewhere in the southwest of the capital, blocks of cylindrical houses with hexagonal windows would have appeared. What a good dream!
Text and photos — Evgeny Lesnyak
How to find: Krivoarbatsky lane, 10 (yard of the Melnikov House)
The Melnikov House or the House-Workshop of the architect Konstantin Stepanovich Melnikov is a world-famous monument of Soviet avant-garde architecture, a single-apartment residential building.
It was built in 1927-1929 in Krivoarbatsky Lane in Moscow by Konstantin Melnikov (1890-1974) for himself and his family. These were the years of the “golden season” of the great architect, who lived a long life in Soviet Russia until 1974, and the last building according to Melnikov’s design dates back to 1936.
3-4.
The Melnikov House is one of the few private residential buildings in the center of Moscow. Until recently, it was wholly owned by the descendants of the architect.
5-6.
Now the heirs own half of the house, the second half, bought by entrepreneur Sergey Gordeev, was transferred to the management of the Shchusev Museum of Architecture.
7-8.
According to Konstantin Melnikov’s will, the house should become a museum open to the public, but this has not happened so far; the architect’s descendants continue to live in the house and the building is in danger of destruction.
9-10.
And on December 4, 2013, it became known that restoration of the Melnikov House should begin in 2014 at the expense of the Ministry of Culture. The work will be supervised by employees of the Shchusev Museum of Architecture.
11-12.
For those who love tales: there is a common legend, from which it follows that an architect asked his little daughter to draw a house in which she would like to live. My daughter drew it. Dad turned the child's drawing into a real, but unusual house.
13.
Floor plan of the house of the architect Konstantin Melnikov. via
Sometimes it is added that the child’s drawing resembles two intertwined wedding rings. And the completed house became a declaration of love to his wife etched in stone.
14.
The frame of a house under construction: near the house of K. S. Melnikov with his wife Anna Gavrilovna. via
I don’t know if there is any truth to this legend, but it is undeniable that
“This is a house-sculpture, a creative manifesto of an architect-artist of the 20th century. The man said: “I want to build a house like this” - and did it. He broke away from all the traditions of house building, everything here was invented anew.” [David Sargsyan]
The original layout, elegant spatial composition and strong design techniques glorified the architect and his creation throughout the world.
15-16.
 |
 |
In honor of the good news about the imminent restoration, ARCHITECTURAL DIGEST magazine recalls its archival material about this unique house, equipped with photographs of the interiors: House of Konstantin Melnikov. The following is an article from AD.
Six years ago, the now deceased director of MUAR, David Sargsyan, told AD about the house of Konstantin Melnikov.
17.
“I could have visited Melnikov’s house long before I became director of MUAR. I was friends with the actress Natalya Leble, and she, in turn, was friends with Melnikov’s son Viktor. I saw the house from the outside many times, but was not eager to go inside - I was embarrassed to impose.
18.
I went inside for the first time, having already become the director. And then, in 2000, we held an exhibition of paintings by Viktor Melnikov (in the photo - his self-portrait in the bedroom) for his eighty-fifth birthday. And I began to be friends with the family who lived in the house and visit there often.
19.
The residents of the house perceived it as a shrine. They had special rules on how to behave: “We never ventilate here, we don’t touch this door, there was a wall here - it should be restored.” The interiors, even unkempt ones, were striking in their artistry. In the multi-light volume, the walls are painted lilac, and on the floor there is a lilac-white carpet - shabby, Chinese, apparently, but with “elements of art nouveau”. I don’t know whether Melnikov bought a carpet for the walls or painted the walls the same color as the carpet, but without a carpet the space “doesn’t work.” The stove in the house was built by Melnikov himself and is similar to the architects of Malevich.
20.
My favorite room in the house is the Green Bedroom. One of Victor Melnikov’s paintings shows that the bedroom was once a single “sculpture”: the beds seemed to grow out of the floor - like altars or podiums. In the center is the parents' bed, next to them are the children's beds. And everything - the floor, the walls, and the ceiling - was painted yellow-green. These beds were cracked during the war, they were removed and ordinary beds were installed, and the floor there is now plank. The “sculptural” nature of the room allows us to understand why this house is important for the architecture of the twentieth century. The photograph of the Green Bedroom shows how boldly Melnikov managed the life of his family: in the common space of the bedroom of parents and children there are no walls or even partitions.
21.
In fact, the house is small, there are no revolutionary innovations in it. But in Melnikov’s archives there is a project for the same house, only with three cylinders - it was a module on the basis of which he planned to build entire villages. He experimented on himself. But since the module remained in a single copy and was not repeated, it became unique. On the landing there are photographs of Konstantin Melnikov in his youth and his house during construction.
22.
The value of a house is given by the egoism with which it is built. This is a house-sculpture, a creative manifesto of an architect-artist of the twentieth century. The man said: “I want to build a house like this,” and he did it. He broke away from all the traditions of housing construction, here everything is re-invented. At the same time, cleverly invented - this cozy home, although its convenience is not obvious.
23.
The house has the self-will of the architect, confident in his genius. His heirs bore, of course, a heavy burden. Viktor Melnikov lived a heroic life, keeping his father’s archives - alas, in poor conditions. The main room of the house is Konstantin Melnikov’s workshop with three rows of hexagonal windows. The staircase leads to the mezzanine - from it there is an exit to the balcony. Nastenakh - paintings by Viktor Melnikov.
24.
When Senator Sergei Gordeev bought part of the house, everyone was afraid that a office center. But then Gordeev created the Russian Avant-Garde Foundation. He, like all other participants in the process, agrees that Melnikov’s house should become a museum - a residential and creative space, and work on its creation is in full swing.
25.
The situation with Melnikov’s house is typical for Russia and, by and large, optimistic. It, like a crystal, reflects our entire country. This is an unhappy house, its history is confused and burdened with the passions of the Russian soul. It needs restoration. But he is still an icon of twentieth-century architecture and a magical point of Moscow. The photo below shows the dining room, like the rest of the house, furnished with conservative furniture that contrasts with the avant-garde architecture.
I like this house. I wouldn't live in it myself. But it’s always interesting for me to go there with someone and once again see how surprised the person who sees it for the first time is.”
Address of the Melnikov House: Moscow, Krivoarbatsky lane, 10
Source of photos:
1) black and white, if the source is not specified, and the top ones in color: melnikovhouse.org
2) in the article: admagazine.ru
Section of the website of the State Museum of Architecture named after A.V. Shchusev about the Melnikov House muar.ru - here: technical documents (BTI plans, object passport cultural heritage and etc.); acts of inspection of the House and the territory adjacent to it; questions of the struggle for the preservation of the House, the creation of a museum in the House; home ownership issues.
A message about the start of restoration of the Melnikov House in 2014 on the website of the Moscow State Construction Supervision Committee: stroinadzor.mos.ru
More photos of the interiors of the Melnikov House:
Advantageous loans from Raiffeisenbank: fast processing and maximum benefits
Premium World Black Edition Card
Home Credit Bank Home Credit Bank
Installment cards are not a credit card
Sklansky-Chubukov’s strategy, or how to shove profitably Push from the ante and from the button