Nezhinskaya 13-Нежинской 13

book cover by El Lissitzky, 1927

Vladimir Stenberg, 1928

postcards 1978

We have been visiting our friends at the Zhurgaz house, to see how is going their struggle to preserve their home and the close El Lissitzky’s typography. The planned new high rise building has been built up, although in recent times the construction has been stopped. The destitution of mayor Luzkhov left in disgrace his wife Elena Baturina, former queen of Russian real estate. But it seems that the building has been sold from Inteko to another company which managed to advance in the consruction. Recently, welcoming the appeal of the neighbours, the prefect had stopped the construction, but in total contraddiction a protocol signed by the first deputy mayor in the Moscow city government autorises the demolition of a part of the building to faciltate access to the garage of the new building. More info in the appeal published below:

EL LISSITZKY PRINTING PLANT, MASTERPIECE OF AVANT-GARDE ARCHITECTURE, IS IN URGENT NEED OF PROTECTION!

Russian version below - Россия версии ниже

Despite numerous public protests, publications, films and television reports about the danger of natural destruction faced by the unique, recently rediscovered architectural landmark, built according to plans of El Lissitzky (the printing plant of the JSC Ogonek, 1930-1934, located at 1st Samotechny Per. 17), measures for its protection have not been taken. On the contrary, the danger of aggression has sharply increased. As can be seen from the protocol №26-13-119/1, signed by Vladimir Resin, the first deputy mayor in the Moscow city government, the question of alienating a part of the printing plant (the one-story building №6 on its territory) for the purposes of building an entrance into the underground parking lot for a luxury apartment house, is under active deliberation.  Federally-owned land on the grounds of the landmark can be sold to the privately-owned investor Inteko, so that it can pursue its own interests. In the minutes of the meetings approved by Vladimir Resin not a single word mentions that at stake is a certified landmark of cultural heritage, protected by the laws of Russia.

In 2007, the printing plant of the JSC Ogonek, built in 1930s according to plans of El Lissitzky, a major figure of 20th century avant-garde, was discovered and registered as a landmark. The construction was commissioned by Zhurgaz (an association representing print periodicals), led by the journalist Mikhail Koltsov. Better-known architectural projects of El Lissitzky are discussed in all encyclopedias of the world, but none of them was realized — except the printing plant in central Moscow, located in the 1st Samotechny Pereulok. In 2008 a special committee recognized El Lissitsky’s printing plant as a proven cultural heritage landmark, subject to protection. However, this has interfered with construction of a new apartment rise.  Soon a fire has broken out, with three simultaneous sources on the roof. The fire was not investigated, and conservation of the building mandated by law was not performed. On the contrary, large-scale construction of a commercial multi-story building was begun next to the printing plant, in the inadmissible proximity to it, so that its balconies overlook the orphaned landmark that “spoils the view” from the new house.
Dear defenders of world cultural heritage, please help prevent destruction of El Lissitzky’s legacy in Moscow!

Please address letters and inquiries to:

1.    Dmitry Medvedev, President of the Russian Federation
103132,  Moscow , Staraya ploschad, 4.
e-mail president@kremlin.ru

2.    Sergey Sobyanin, Mayor of Moscow
125032, Moscow, Tverskaya street, 13 .
E-mail :  mayor@mos.ru

3.    Aleksandr A. Avdeyev. Minister of Culture of the Russian Federation
125993, GSP-3. Moscow. Maly Gnezdnikovsky Pereulok. 7/6, 1-2.
(e-mail): info@mkrf.ru

Please keep us informed of any action you undertake to sustain our campaign.
Thank you for your support.

Elena Olshanskaya
jourgaz@gmail.com

more about the story

ШЕДЕВР АРХИТЕКТУРЫ АВАНГАРДА – ТИПОГРАФИЯ  ЭЛЬ ЛИСИЦКОГО НУЖДАЕТСЯ В СРОЧНОЙ ЗАЩИТЕ!

Несмотря на многочисленные выступления общественности, публикации, фильмы и телерепортажи об угрозе естественного разрушения уникального вновь выявленного памятника архитектуры, построенного по проекту классика мирового авангарда Эль Лисицкого – «Типографии Акционерного общества «Огонек», 1930-1934 г (1-й Самотёчный пер. 17), меры по его спасению не принимаются, напротив – опасность агрессии резко возросла.
Как видно из протокола № 26-13-119/1, подписанного первым заместителем Мэра Москвы в Правительстве Москвы В.И.Ресиным в настоящее время активно прорабатывается вопрос об отчуждении части типографии – одноэтажного строения № 6 на ее территории для строительства въезда в подземный гараж для элитной новостройки.
Федеральная земля внутри памятника может быть продана частному инвестору ЗАО «Интеко» для его личных целей. В протоколах совещаний, утвержденных В.И.Ресиным, ни словом не упоминается о том, что речь идет о выявленном объекте культурного наследия, охраняемом российским законодательством.
В 2007 году в Москве было обнаружено и поставлено на учет здание, построенное в 1930-х годах по проекту классика мирового авангарда Эль Лисицкого – «Типография Акционерного общества «Огонек».
Заказчиком постройки являлось Журнально-газетное объединение («Жургаз»), которым руководил журналист Михаил Кольцов.  Знаменитые архитектурные проекты Эль Лисицкого включены во все энциклопедии мира, однако ни один из этих проектов не был реализован, кроме Типографии в центре Москвы, в 1-м Самотечном переулке.
В 2008 году специальная комиссия признала Типографию Эль Лисицкого  выявленным объектом культурного наследия, подлежащим охране, это помешало строительству на ее месте современного здания.
Вскоре случился пожар (три одновременных возгорания на крыше).

Пожар не расследовался, консервация здания, в соответствии с законом, проведена не была.
Напротив, рядом с типографией, в непозволительной близости от нее, началось мощное строительство коммерческого многоэтажного здания,  лоджии которого нависают над бесхозным памятником, «портящим вид» новостройки.
Несмотря на многочисленные выступления общественности, публикации, фильмы и телерепортажи об угрозе естественного разрушения уникального вновь выявленного памятника архитектуры, построенного по проекту классика мирового авангарда Эль Лисицкого – «Типографии Акционерного общества «Огонек», 1930-1934 г (1-й Самотёчный пер. 17), меры по его спасению не принимаются, напротив – опасность агрессии резко возросла. Как видно из протокола № 26-13-119/1, подписанного первым заместителем Мэра Москвы в Правительстве Москвы В.И.Ресиным в настоящее время активно прорабатывается вопрос об отчуждении части типографии – одноэтажного строения № 6 на ее территории для строительства въезда в подземный гараж для элитной новостройки. Федеральная земля внутри памятника может быть продана частному инвестору ЗАО «Интеко» для его личных целей. В протоколах совещаний, утвержденных В.И.Ресиным, ни словом не упоминается о том, что речь идет о выявленном объекте культурного наследия, охраняемом российским законодательством.
В 2007 году в Москве было обнаружено и поставлено на учет здание, построенное в 1930-х годах по проекту классика мирового авангарда Эль Лисицкого – «Типография Акционерного общества «Огонек». Заказчиком постройки являлось Журнально-газетное объединение («Жургаз»), которым руководил журналист Михаил Кольцов.  Знаменитые архитектурные проекты Эль Лисицкого включены во все энциклопедии мира, однако ни один из этих проектов не был реализован, кроме Типографии в центре Москвы, в 1-м Самотечном переулке.
В 2008 году специальная комиссия признала Типографию Эль Лисицкого  выявленным объектом культурного наследия, подлежащим охране, это помешало строительству на ее месте современного здания.
Вскоре случился пожар (три одновременных возгорания на крыше). Пожар не расследовался, консервация здания, в соответствии с законом, проведена не была.
Напротив, рядом с типографией, в непозволительной близости от нее, началось мощное строительство коммерческого многоэтажного здания,  лоджии которого нависают над бесхозным памятником, «портящим вид» новостройки.

Защитники мирового авангарда!
Не допустите уничтожения постройки Эль Лисицкого в Москве!

The city looks more natural, or maybe less un-natural in the winter light. Pperhaps our gaze is more domesticated, more used to the everyday dimension of this megalopolis, but details at human scale show on the surface of our perception.

Artists have always inhabited the Narkomfin, and are among those who struggle for saving its architectural heritage. Nevertheless their role in the Narkomfin story is also ambiguous, as possible agents of gentrification and displacement. MIAN is allowing some artists to use the spaces of the building as studio, but the residents react against the artists, denouncing their supposedly  illegal use  of the building.

residents of the narkomfin lock up artists

Residents of the Narkomfin building were trying not to let out of the Narkomfin building people who came to see the exhibition called “The Communal block” which was organized by the Union of Street Art. For the exhibition they unauthorizedly occupied the Narkomfin house as a sign of protest against adoption of Luzhkov’s General Plan of Moscow city development. The exhibition continued for 40 minutes and was closed as Narkomfin residents started calling the police and were trying to detain artists, journalists and visitors of the exhibition. When police arrived all exhibits were given to the Narkomfin building as a gift for inconvenience caused by the exhibition and its organizers (non-residential part of the building was occupied by the artists without authority). But none of visitors or artists were detained or arrested. One of the exhibition aim was to draw public attention to the problems of Moscow’ General plan. Curator of the exhibition was Denis Mustafin.

Translation Anastasia Volkova

obrazanet, Pravo na Slovo performance at Narkomfin

Burning Moscow-El Lissitzky printing plant from OGINO KNAUSS on Vimeo.

An interview with Elena Olshanskaya
(chairman of Zhurgaz condominium management)

oginoknauss.org/​blog/​?p=1170

translated by  Michael Subotin

“We live in cities born before us. They no longer suffice for the tempo and needs of our day. We cannot raze them overnight and rebuild them “correctly”. It is impossible to change their structure and type all at once. Moscow, with its plan, belongs to the concentric medieval type (Paris, Vienna). Its structure is: center – Kremlin, the A ring, the B ring, and radial streets. The critical locations are points of interesection between large radial streets (Tverskaya, Myasnitskaya, etc) and circles (boulevards). The squares that arose there must be utilized without slowing down the traffic, especially dense at these points. This is the place for headquarters of central institutions. This is where the idea of the proposed type was born.”

El Lissitzky. “A series of skyskrapers for Moscow”, WB1 (1923-24). El Lissitzky. The Film of Life. Part 7, p. 127, ed “Novy Ermitazh-1”, Moscow, 2004.

El Lissitzky’s architectural products vividly display his signature manner as a painter and graphic artist. The famous, though unrealized project of horizontal skyskrapers continues to impress with its image of a giant poised on three legs.

Unfortunately, the comprehensive plan of the master, who dreamed of creating a new face of Moscow above the space of the old city, was left on paper.
Nonetheless, Lissitzky’s autograph exists on Moscow’s map. It is found in the configuration of a building, which, although modest in size, evokes a visual rhyme with the famous skyskrapers. It is the only extant building built following Lissitzky’s design: the former printing house of the Journal-Newspaper cooperative (Zhurgaz)  in the 1^st Samotechny Pereulok.

The draft of the polygraphic complex on the Zhurgaz land plot. El Lissitzky. 1930.

The first stage of the project is marked in red.The project was modified several times. In the end, only the first stage of El Lissitzky’s polygraphic complex was built, with elaborations made in 1932 by the architect Mikhail Barsh. After the Zhurgaz cooperative was eliminated in 1938 and its head Mikhail Koltsov was arrested, the printing house was for many years a restricted military zone. The building is surrounded by a solid wall. Although it has been empty for the last 10 years, access to it is still closed to researchers.

The architectural landmark was discovered after it was marked for demolition.
A commertial multi-story construction project was planned on this location for 2006. At that same time, El Lissitzky’s blueprints were discovered in archives and the printing house was included in the list of cultural heritage landmarks of the city of Moscow. The decision was made on 21 August 2008, and after a month and a half the building suffered a fire: three simultaneous conflagrations on the roof. Since then, this cultural heritage landmark, which cannot be officially demolished, is dying from natural causes under rain and snow, while Moscow’s administration is showing complete apathy.

Against the background of the neighboring construction site: December 2009 / April 2010 / November 2010

A large contruction firm is building an elite multi-story house in  unacceptable proximity to the printing house. Can the two be neighbors for long?

Lissitzky’s printing house needs urgent defense!

Please address letters and inquiries to:

(e-mail): info@mkrf.ru

Nikolai Milyutin’s plan for the Linear City
Residential zones (А) and industrial zones (Б) share a green band. Railroad tracks run along the industrial zone.

“Let’s transform Moscow into exemplary socialist city of the proletarian state”
by Aleksandr Dejneka, 1931

Konstantin Melnikov, ‘Green City’, 1930

Mikhail Barsch and Moisei Ginzburg, ‘Green City’, 1930
———————–
see also: www.thepolisblog.org/2009/12/imagining-socialist-city.html
www.archinect.com/features

see also:
NARKOMFIN-THE MILYUTINS’ PENTHOUSE

from Milyutin family archive
With courtesy of Ekaterina Milyutina – NLO Publishers, Moscow

Down the kitchen slavery. You go for a new way of life!
DEINEKA, 1931

News about demolitions costantly come from Moscow, were the efforts of citizens and organizations as Arhnadzor, can’t stop the pressure of real estate market oligarchy, of which the main esponent is the wife of the mayor itself. No surprise that in this situation, organs due to preserve architectural heritage, as the Moscow heritage committee (Moskonansledie) do not really struggle to do their job…

Alexeev Mansion, 11 Bakhrushina Street demolished on July 25th
The building
www.archnadzor.ru
archnadzor.livejournal.com
Interview with Arhnadzor

Through our local executive producer, we contacted Moskonansledie few weeks before our trip for an interview. The officers did not object to it, but we have been asked for an official written request, which we provided. Once in Moscow, we have been invited to a preliminary meeting in order to clarify the goal of our interview. Eventually we met with two employees in an old house of merchant -now the representative office of Moskonansledie- apparently emptied of other employees and human presence.

They cautiously questioned us about the nature and goals of our project , how we would  use this interview, etc. We clarified in detail our background, our artistic and scientific approach, the reason for our involvement in this project about Moscow, how we are proceeding with our documentary project, the  interviews previously done. They required us to submit a list of questions that would have been presented during the interview, and promised us an answer asap. They did not assure us to release the interview, but  told us that it should have been possible. We left with a confirmation to our impression regarding Russian public institutions as  an highly opaque bureaucratic machine. For the rest of the week, we have been pointlessly waiting   for an appointment. Not that they refused. Actually, our official request for an interview has been accepted and signed by the Director of Moskomansledie.  But since then, everyday we received a message that may be the day after a meeting for the interview could have been arranged, which in the end never took place. Simply, in five days, they have not been able to find who among the “technicians” of  the public agency could be available for interview.

From our point of view, it’s not a big problem. Not that we think that the responses of Moskomansledie could have added so much to the film we are making! But, having had the opportunity to listen to  many voices telling us about the Narkomfin building and contemporary Moscow, from the descendants of Ginsburg and Milyutin -the extraordinary persons  which realized such a masterpiece-, to the inhabitants still living inside the building, from architects and scholars who are struggling for preserving its memory and conditions, to the entrepreneur who has bought most of the apartments to redevelop the building for commercial purposes, we have a quite definite view of the story. From these people narrations and from our direct observations of the events, the image of Moscow’s institutions does not appear chrystal clear, and their role appears biased and disputable.

For the sake of correctness, we asked them to express their point of view. We have openly expressed our curiosities and perplexities to Moskomansledie’s representant, and if they do not consider important to publicly answer , they are just  providing another mosaic piece for the picture, implicitly confirming many of the impressions captured in Moscow  about the Governmental agencies as being inefficient, disregarding their basic tasks, and strongly influenced by private interests.

NARKOMFIN – RUSSIAN TELEVISION from OGINO KNAUSS on Vimeo.