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Evening “the Fate of crossing»

October 26 at 18.00 in The Museum “House on the Embankment” will be an evening of “Fate of the cross”, dedicated to the commander of the 2nd Cavalry army Philip Mironov.

The future hero of the civil war Philip Mironov was born in the village of Ust-Medveditskaya Don region in a Cossack family. In 1914, he volunteered for the army, and at the end of world war I was awarded 4 orders and the rank of military Sergeant. During the Civil war, Philip Mironov fought on the side of the Bolsheviks and received many awards. However, the fate of the hero of the First world war and the Civil war was tragic. Actively opposed to the policy of “raskazachivaniya” , in 1921 he was arrested on false denunciation and shot.

About the history of Philip Mironov, about raskazachivanii writer Yuri Trifonov in 1978 wrote the novel “the old Man”. People involved in the fate of the commander lived in The ” house on the waterfront.” About this paradoxical interweaving of destinies and biographies will be discussed in the report of the employee of the State archive of the Rostov region V. Grechko- “Destinies of crossing”.

The TV channel “Spas” Released a story about Yuri Trifonov

In the next program of the cycle “Moscow in the works of Russian writers” TV program “Orthodox encyclopedia” tells about Yuri Trifonov.

The guest of the program, the writer’s widow, Director of the Museum “House on the Embankment” Olga Trifonova.

The program is attended by well-known Muscovite, historian and writer Alexander Vaskin. The leader – the priest Alexei Uminsky

The live TV program – on August 10 of 2019

A meeting of admirers of Yuri Trifonov on 30 August 2018

August 30 at 19:00 in the Museum will meet fans of Yuri Trifonov, an outstanding writer of the XX century, who gave the name of the House on the waterfront.

This evening you can read aloud excerpts from the works of Yuri Valentinovich and talk with the widow of the writer Olga Romanovna Trifonova.

The meeting is dedicated to the 93rd anniversary of Yu. V. Trifonov, which is celebrated on August 28.

Mandatory registration by phone: +7 (495) 959-49-36

Admission is free.

Exhibition "Four on Ice, not counting dogs"

In 2018 the end of expedition "Papanincev" on the first in the world drifting scientific station "North Pole-1" has turned out 80 years.

The ice landing took place on May 21, 1937, and the wintering ended on February 19, 1938. The expedition was attended by residents of the House on the waterfront: Hydrobiologist and oceanographer P.P. Shirshov, pilots I.P. Mazuruk and M.V. Drunk, M.S. Babaushkin.

This event is devoted to the exhibition "Four on Ice, not counting the dog", which presents the personal belongings of the participants of the expedition from the funds of the Museum "house on the Embankment", as well as exhibits from the collection of the Museum of History of the institute Oceanology RAS, including a gift Photo Album "Papanincev" with photos of M.A. Troyanovski. The composition of the album includes more than 500 expeditionary photographs, which can be carefully considered on the interactive monitor.


Lecture by Olga Trifonovoj "Boris Shumjackij: the creator of the Soviet Hollywood"

Boris Shumjackij: The creator of the Soviet HollywoodIn his lecture Olga Trifonova touches the unusual fate of a journalist, revolutionary, participant of the civil War, diplomat and head of the Soviet cinematography Boris Shumjackogo. From 1930 until his arrest in 1938 he headed the domestic movieland, during his leadership were filmed films such as "Chapaev", "Circus", "Cheerful Guys", and with his name linked the success of Soviet films at international film festivals.

The lecture will be conducted by a documentary film "30th: Boris Shumjackij. History of the Soviet Hollywood "and discussion.

Olga Romanovna Trifonova is a writer, author of novels "The only wife of Stalin", "The Last Love of Einstein", the widow of the Soviet writer Yuri Trifonova, the head of the Museum "house on Quay".

The lecture will be held on February 16, 2018. In 19:00

Registration by Link…


Exhibition "Business of Life. Revolution»

December 28, 2017 -April 1, 2018
Museum "house on Quay"

In the last days of the outgoing year, the museum "house on the Embankment" presents the exhibition-installation "The matter of life. Revolution ".

In the center of the Museum Hall there is a grey pylon with two old hangers on it. One of them-wooden, home. Opposite-metal, with hooks from bent wire, camp. 806 residents of the house on the embankment were repressed. They took their outerwear from such wooden hangers to never return to the house.

In the year 100 anniversary of Revolution of 1917 and 80th anniversary of "big Terror" the museum has prepared the exhibition devoted to several inhabitants, passed references and prisons in struggle with autocracy and victims of Stalin's repressions. Among them Isaac Green, Pavel Postyshev, Osip Piatnitski, Alexey Rykov, Alexander Serebrovskij, Ivar Smilga, Boris Shumjackij, Valerian Deer, Valentin Trifonov.

Nine magazines are placed on the exposition pylon, each of which is devoted to the biography of one of the exhibition's Heroes. In magazines published essays, created by the head of the museum Olga Romanovna Trifonovoj. They are illustrated by archival photographic materials and modern kinds of courtyards of the house on Quay, interiors of porches and staircases.

Curator of the exhibition, author of texts: Olga Romanovna Trifonova.
Designer: Daria Vinokurov.
Architect: Maria Plynskaja.
Editorial: Artem Gottlieb, Alexandra Zueva, Tatiana Polyana, Anna Redkin, Anna Stadinchuk.
Translator: Dmitry Belanovsky.

The exhibition uses photographic materials from the archive of the Museum "house on Quay", archive "history of Russia in photos"/russiainphoto.ru, archive Itar-Tass.

The address of the museum: ul. Serafimovich, 2
Phone number + 7 (495) 959 49 36

Alexander Alexandrovich Milchakov

Alexander Alexandrovich Milchakov was born on March 16, 1931. From the hospital, he was immediately brought to a new apartment at home on the boardwalk, thus becoming the first newborn child of our home.
His father Alexander Ivanovich Milchakov (1903-1973) worked in the governing bodies of Komsomol, in 1928-29 GG. He was secretary-general of the Komsomol. From 1932 to 1938. He was in leading work in the gold industry of the USSR. At the end of 1938. had been repressed and had been in Norilsk and Magadan camps for over 16 years. In 1954, Rehabilitated returned to Moscow.
In 1949, Sasha Milchakov graduated from the school 12 in the Staro-quarter Alley, then board of Mcti it. Mendeleev. After receiving a diploma in engineering and work in the workplace, he devotes himself to literary creativity and journalism. He graduated from the Literary Institute. a.m. The bitter, working in a series of newspapers and magazines ("Innovator and inventor", "Change", "The Moscow Truth"). For many years he worked as a Programm podrobnosti in the edition of the newspaper "work" and then as the senior editor in the television USSR. His own Peru has a number of books, essays and stories. He was "troubled in the city" by filming a miniseries film on Dovzhenko's name. The book has been translated into several foreign languages and published in a number of countries in Eastern Europe.
Many remember the television broadcast of Vladimir Molchanov "before and After Midnight" in the late 1980s. With the story of journalist A. Milchakov-"Rosstannaja Road" on the sites of the secret graves of the firing squad in Moscow and the region during the years of Stalin's terror. We also remember his numerous publications on the pages of the evening Moscow, demanding the opening of the KGB archives and naming the firing squad and the burial sites of their ashes. In the early 1990s, A.A. Milchakov was chairman of the Moscow Commission on finding places for the victims of political repression in Moscow and the field.
Alexander Alexandrovich Milchakov left his life on 29 January 2004 and was buried together with his parents in the Novodevichy Cemetery. He was a worthy son of his father, a century of which was celebrated in 2003. Both of them, both the father and the son, each in their own way, defended the ideals of justice and civic dignity.

Mikhail Pavlovich Korshunov

Mikhail Pavlovich Korshunov was a singer of the House on the boardwalk and one of the creators of our museum.
He was born on November 19, 1924. Simferopol, Sloboda melons-El. In the 1930s, Father Misha Pavel Semenovich served as vice-president, then chairman of the Intourist. The family korshunovyh one of the first to have entered the Government House on Vsekhsvyatskoj Street. He studied Mikhail Korshunov at the 19th School on the Sofia embankment, in one class with Yuri Trifonovym and left Fedotov. Before the war, he graduated from nine classes. In 1942, after completing the 10th grade (evacuation), he volunteered to join the army and was sent to the Kharkiv military Aviation school and from there in 1943 to the Zhukov Air Academy. Subsequently, in 1945, the order was transferred to the Institute of International Relations, where, already his in 1946, he studied for three years.
In 1947, Mikhail Korshunov moved to the bitter Literary Institute, and was in the Paustovsky seminar. Konstantin Paustovsky once said of his disciples, among whom were Trifonov with Korshunovym: "They will not betray the literature in the wrong and cowardice, and they will not exchange their nobility for their own well-being." We believe them. "We love them."
After graduating from the Institute in 1951, Korshunov first worked in children's magazines, particularly in the Murzilke. There were over 30 books in the Detgiz publishing house. Since 1956, Korshunov has moved on to creative work, then admitted to the Writers ' Union. His books are autograph, bachelor party, and others. In recent years, co-authored with his wife, Victoria Romanovna Terekhova (also a girl from the Pol House of Government), Mikhail Pavlovich, creates books about the house: In 1995, the Secret of Moscow, in 2002, "Mysteries and legends of the House on the Embankment". These are the words of the last book:
"Whatever I write now about the house of has, however hard," oblijannye the blood of the facts, and no matter how interpreted the story of the house, the modern writers, rushing to podvorovyvaja our lives, I know, do not abandon the lived bersenevskih years, not perecherknuing them Black words, because I, like Yuri Trifonova, like all my friends, all the smell of time forever. I'm not afraid of being primitively sentimental and putting a hand on the rough wall at home, otogrevajaing it, off, although the house is more and more of a legitimate rejection by others. Also, for what the commemorative boards carry, and the people they are in honour of, do not always evoke compassion and understanding … It's true, but it's not going to take his hands off his walls. No ".
Mikhail Pavlovich Korshunov left life on August 15, 2003.

Yuri Valentinovich Trifonov

Yuri Valentinovich Trifonov was born in 1925 in Moscow; His childhood was held in the famous Grey House of the government opposite the Kremlin, and later in his drive, he will give the name "house on the boardwalk." From the Government House, after his parents were arrested, he was exiled with his grandmother and sister. He worked as firemen, Volochilshhikom tubes, Gvozdilshhikom-that is, laborer. And it was a dream to go to the Literary Institute, become a writer. The dream came true, he became an outstanding writer, but not because he entered the go and finished it, but because, in all his essence, he was a writer. The writing gene was very early in it: at nine, he was already "writing" adventure and science fiction, and in the twenty-five he wrote the tale "students." At the beginning of the Fifties there was no educational institution, no library, no matter where this news was discussed. Despite some stamps, a tribute to the time and the youth of the author, she had a deafening success.
But the real Glory came after the publication of the documentary "The Glow of the fire" and the "Exchange", and then every new thing Trifonova became an event. Publications in the magazines read overnight. Photographed (the Xerox was not there), even handwritten. His books have been translated into all the languages of the world, because they are perennial topics: love, loneliness, bitterness of incomprehension, fear of death … And all the majata and the futility of our then life in the country of the Soviets. What is called a "household" is a word that, as a label 'em to his prose then official criticism. Like being a base, a disgrace. They did not like it, those critics, they referred to it as the "Procrustean of the welfare", "on the Side of life", etc.
The circulation of his books was, in those times, ridiculously small, and the secretaries of the Writers ' Union published millions. His last novel, the novel about the destiny of the generation-"time and place," was stuck in the word: afraid to publish.
And there were pages on the table of the other novel-the provocateur Azefe, but in fact he was going to write a novel about how the Bolsheviks came to power. I was going to … And I realized that there was a wall in front of him-it won't be printed again.
And when he realized it, he died. 28 March 1981, aged 55 years. He died in a hospital bed, in a poor hospital, as many Russian writers died.

He was tall, big, slow, he said always slowly, he knew the story, he loved and regretted people, especially the old ones, and at the same time he was able to mark funny and petty traits in people. A wonderfully witty story; So do you. Not spared. I loved friends and knew how to be friends; Replied to all the letters, collected stamps (since childhood, when all the boys were collecting stamps); And in fact, with all the seriousness and even the mrachnovatosti appearance, there was a lot of it from the boy. A boy from a good family, although sometimes in some circumstances affected me the ability to give a hard (almost criminal) response to belongs and hooliganism.
He loved dogs and gniloglazyh kittens, easily forgiven people, helped aspiring writers, and hated literature officials. He didn't even hide his, kind of arrogant, defiance. But the unlucky was treated castle respectfully and with caution.

A. Trifonova

Boris Mikhailovich Yoffan (1891-1976)

Boris Mikhailovich Yoffan, one of the largest and best Soviet architects, was born in 1891. In Odessa. That's where his childhood went. Another boy Yoffan has a passion for painting and decides to become an artist in the future. At the age of 12, he enters a picturesque section of the art school. Later, under the influence of comrades, Yoffan moves from scenic to architectural division. In 1911, He graduates from the school and receives a diploma and an architect's title. On the departure of the military service, Yoffan practiced in Saint Petersburg apprentice with known architects of A. Tamanyan, a.i. Dolginova, partially employed by his older brother, Dimitri. In studying the works of the Russian classical, a young architect thought increasingly about the origins of the architecture.

In 1914, Yoffan leaves for Italy, which is 10 years old. The end of the art school gave Iofanu the right to go directly to the third course of the Higher Institute of Fine Arts in Rome. The great imprint of has's life was left by architect Armando Brazini, his future rival in the contest for the project Palace of Soviets in Moscow. In 1916 Yoffan successfully graduated from the Higher Institute of Fine Arts and began to work independently. He builds a great deal in Italy (Rome, Akvil, Tivoli, Tuscany, etc.). Then ends the course at the higher Engineering school. In 1921, He's entering the Italian communist.

In 1924, Yoffan returns to the USSR. He is being transported to Moscow a.i. The Rykov he met in Rome. Rykov was in Italy for treatment after a deferred heart attack. He proposes Iofanu to build a new Soviet life, a new socialist architecture-joyful, majestic and pompous. Has was interested in this proposal, first of all because it had dreamed of building large-scale public buildings and had opened up tempting prospects in the realities of Soviet reality.

Boris Yoffan became a large and significant figure of the Soviet architecture. In Moscow, its projects built comfortable and functional housing, social and educational establishments. The first residential complex built in Moscow was home on Rusakovskaya Street (1925), with excellent economical layout of apartments and harmonious exterior.

The largest architect was the House of CEC and the ANC of the USSR on the police Cordon Embankment (1927-1931). This construction is an important milestone on the creative path of architect. Built in the era of the idea of communal houses, this House was significantly different. It contained, in addition to housing, a large number of constructed public spaces: a club with a theatre hall (now the Theatre of Estrada), the largest theater in Europe in 1600 spectators, a department store with food and promtovarnym branches, Dining room, gym, library, mechanical laundry, mail and Savings Bank. The house had a printout of the time expressed in the asceticism of the external image. It was then dominated by a strict and concise constructive, whose distinctive features were simple, logically geometrizovannye forms. The gloomy grey walls gave the impression of a irrevocableing power, overwhelmed by its greatness, which clearly outlined this construction among late-design constructs and was apparently supposed to make the architectural image of the house a sign of Might and Invincibility the power he owned. Some diversity in this was the fountains placed by the architect in the courtyard of the complex, in memory of his presence in Italy.

On a site of more than three hectares, limited police cordon embankment, Street Serafimovich and Canal, about half a million cubic metres of residential and public space were erected on three and a half thousand piles, which, even today, is Huge construction. There were 505 apartments in the House that had everything to live comfortably. The Government House was the first and last target of an elite dwelling to which the definition is a simple, austere volume. All the houses for the Soviet elite that followed him were closely linked to the changed creativity of the Soviet architecture, which the course for the mastery of the classical heritage.

The main theme of Boris has was the design of the monumental and Majestic Palace of councils, which was to stand almost opposite to the "house on the Embankment" in the place of the Temple of Christ the Savior, which was blown up in December 1931. The idea of a DC was proposed by M. Kirov in 1922 At the first-of the Council Convention. Architect B winning the international competition. p.m.. has, UI. v.a. Shchuko and Trac. V. The Gelfreich was approved by the government in 1934, and the end of the construction by order of the XVIII Congress of the party was scheduled for 1942.

The size of the building have any imagination-height of 416 meters, weight 2 million. tonnes, total of 7 million. Cubic meters, roughly equal to the sum of 6 (!) of the famous New York skyscrapers.

Project development continued until the end of the 1930s. Construction began in 1937 and by 1939 The foundations of the high-rise part of the building were completed. In 1940, the first half of 1941. The installation of the steel frame for which the special high quality steel was developed with the label "DC" began. A Moscow stone combine was created for the construction of the Palace of Soviets, which subsequently dressed as granite all over Moscow (bridges, high-rise houses, the new Temple of Christ the Savior, Metro). "The Council palace will stand exactly the same as we see it in the coming years." Century is not going to leave its marks on it. "We will be so that he can stand, not aging, forever," he wrote N. Atarov.

After the war, it became clear that this huge project could not be handled. In addition, it was necessary to perpetuate and win the war in the guise of the palace. The work of the team under the direction of has was continued: many solutions were offered, including a reduction in the height of the building. Design interrupts declared in 1956. The-competition for the new project of DC, which was intended to be constructed in the south-west of the capital, was not implemented. The last nail in DC's coffin was packed in 1957, when the metro station was renamed "Kropotkinskuju". On the foundations of DC, the largest outdoor pool in Europe was built in Moscow.

Boris Mikhailovich, as the author of such a giant, expressed the idea of supporting this powerful vertical with satellite buildings that would give Moscow a silhouette of a non-planar city, but a city with a scenic silhouette. The point is, in the early 1920s and late 1930s. 20th century, a large number of churches and bells were demolished in Moscow, expressing a very beautiful "living" silhouette. As a result of the destruction, Moscow lost it and became practically a "plane", "Virgin" city. Therefore, the role of high-rise buildings that support DC dominant has been given great importance. In addition to the topography, ideological, they also topographic function. Each building was a landmark in the urban environment. Thus, the emergence of high-rise buildings is an obligation that we must iofanu.

At that time, the prospect of Moscow's development in the Southwest (in particular, the Sparrow Mountains) was stubbornly advanced. It's a very profitable point working for all of Moscow. It was on the Sparrow mountains that the architects wanted to carry out their most ambitious and ambitious projects (L.) Vitberg is the Temple of Christ the Savior, H. Ladovsky is a red stadium, and. Leonids-the Institute library them. Lenin). The first and most ambitious of all the heights approved the building of the hotel on the Sparrow Mountains (later the project was transformed into a Moscow-MSU building, but the original idea was retained). This work was entrusted to the Iofanu, as he was the head of the construction Trust for high-rise buildings (DC management). To emphasize the scale of the building and its impact on the city, Yoffan designs it over the very eyebrow of Moscow-the river, which is the edge of the Sparrow Mountains. This decision did not enjoy Stalin, but Yoffan long and stubbornly continued to defend it. It was a fatal mistake. In 1947, The has project is leading a team led by Leningradcem Lev Roudnev. The building was built within the original time-frame (opening of 1.09.1953) in almost the intended iofanom form. Much later, the responsible secretary of the DC Building Commission, friend and Comrade Boris has, the author of a remarkable monograph on architect Isaac Eigel said that the project had not been approved because of the important Government Communications.

The third most important structure in the master's biography was a magnificent, powerful and colorful, dynamic and impulse, and his inner energy in the USSR Pavilion at the International Exhibition in Paris, 1937. At the exhibition The Pavilions of the USSR and Germany were one against another, demonstrating the political confrontation of the two powers in a spatial way. They were like two fighters ready to converge in a deadly fight. The Soviet pavilion was already built when the author of the German pavilion Albert Speer just embarked on a project. By buying French employees, he penetrated the room where he worked yoffan. Speer wrote: "When I visited Paris, I accidentally wandered into a room where fugitives the Soviet Pavilion project was secret." On a high pedestal, two figures triumphed, as if they were in our pavilion. "Then I would design a cubic mass, dismembered by heavy pylons, which should have seemed to be stopping this storm, while the Soffit 'veed from top to bottom on a Russian pair of eagle with a swastika in the claws." This text interestingly describes not only the form ("cubic mass") in which rivalry has been poured, but also clearly always Speer the natural shift of competition beyond the formation of artistic values and cultural values. The reasons for political confrontation prevailed in the Speer of the pavilions. It is indicative that both architects-Yoffan and Speer-received gold medals from the organizers concerned to preserve peace and not to create tension between the two powerful States. The architectural appearance of the pavilions, their powerful demonstrative character, were conspicuous. Our pavilion was certainly better. It was a structure built on one breath, the implementation of the original sketch, that for Variantshhika has was probably the only building of its kind. "The unstoppable dynamism of the artistic solution", "tearable Forward and Energy", "the symbol of the New World", called the pavilion. It was a victory, a triumph, a joy. "This piece will remain in the memory of the participants in Expo 37, just like the Eiffel Tower at the same exhibition of 1889 years" (d.) Arkin). The has pavilion is the embodiment of a single whole of two art. Architecture and sculpture meldeded together. The word of the fly said, "there had to be a balance and a subordination so that the building and the sculpture alone could not exist." The solemn footstep (invented iofanom), I turned into a expeditious impulse. A lot of work, power, nerves cost the faith ignatevne her sculpture. When it was installed in 1939, A 10-metre pedestal in front of the main entrance to the VSHV sculpture has lost a great deal. The pavilion was 24 meters tall. "The statue is crawling across the earth, all the points of view and the composite effects are destroyed," the indignant of the fly. Both-Yoffan and the fly-endured this for the rest of their lives and sought the installation of a sculpture at a higher level. And the Soviet pavilion is still in Paris.

The death was followed by Boris has on a drawing board that was stabbed with a sketched pedestal of the "work and woman" sculpture. This happened in March 1976.

Almost half a century he went hand in hand with his friend, his wife and muse Olga Fabricievnoj Yoffan. After her death, he recalled her most warm words: "There are people who do not engage directly in creative work, are not built at home, they do not make discoveries in science, but they have a wonderful talent to build the lives of others, to create The atmosphere for a lot of creative work. "This talent was enjoyed by Olga Fabricievna …"

The following literature was the basis for the material:

1.     . Eigel, Boris Yoffan, M. 1978
2.     O.P. Voronov, V.I. "A Fly," M. 1976
3.     Proceedings of the Scientific conference "Vipperovskie Reading-1996", M. 1996:
-AV Ikonnikov, "Utopia in architecture between two world wars"
-B. "Schultz," special case, "or development logic?"
4.     n.sh Saghoyan, "Illustrated Dictionary of Architectural Terms and concepts," Volgograd, 1999
5.    P. Druzhinin, the Palace of Soviets. Project of Academician Shchusev, M. 2001
6.     n.s. Atarov, Palace of Soviets, M., 1940
7.     Ivanov Cheredina, "Moscow housing of the late 19th and early 20th century", M. Moscow, 2004
8.     M. Korshunov, V.R. Terekhova The secrets and legends of the House on the Boardwalk, M. "The Word," 2002
9.     Lecture materials Gnima them. Av Shchusev

Sergei Baklashov

Buildings designed B.M. Iofanom

1925 -by Street, 4 (9 three breakout houses);
1927 -Moscow Agricultural Academy. Timiryazev
Street. Upper, 4a, Faculty of Chemistry and 12th Training Corps);
-Experimental station at the Chemical Institute, UL. Butt, 10;
1928-31 GG -1st House of the CEC and the ANC of the USSR ("House on the Embankment");
1929-34 GG -sanatoriums "Barvikha";
1931 -the Council Palace Project;
1937 -USSR Pavilion at the International Exhibition in Paris
(sculptor) Fly);
1939 -The USSR Pavilion at the International Exhibition in New York;
1938-44 GG -Baumanskaya metro station;
1944-47 GG -the laboratory of the Institute of Physical Problems of the USSR;
The Laboratory of academician co-defendants Kapitsa;
Reconstruction and rehabilitation of the Vakhtangov Theatre;
-The Urban reconstruction project of Novorossiysk and Stalingrad;
1947-48 GG -Work on the project on high-rise buildings, new MSU building;
1962 The Institute of Physical Culture (Purple Boulevard, 4) is the last house built Iofanom.