Step into the future, return to the past

A little over a month ago, the republican conference of young researchers “Step into the Future” was held at the Institute for Advanced Studies. My student and I presented a work whose purpose was methods of studying and preserving historical and cultural heritage using the example of an architectural monument - the building of the museum of the city of Buinaksk (former city theater) by creating its three-dimensional virtual reconstruction. The virtual reconstruction was carried out according to the 1942 plan. Work in this direction in Dagestan is currently weak, although a huge number of monuments that are of interest not only for Dagestan are in critical condition. From what I found, the only thing of interest is the virtual tour of the Naryn-Kala fortress, but the technology there is slightly different. In Buinaksk, at the end of the 70s, about 40 monuments of federal and regional significance were destroyed, and today there is no way to recreate them even in a virtual version. The work was long and painstaking, since the building has a very interesting and unique architecture. The work was presented in the “cultural studies” section. Unfortunately, this turned out to be the only unappreciated work. Preference was given to works of an abstract nature. I don’t understand what criteria were used to evaluate the work, but the atmosphere of the event, thanks to the chairman and his bad mood and some other reasons, was offensive. The work gave him a “headache.” When we asked for comment on this decision, the following comments were made: "Why is this even necessary?" A strange question from representatives of “culture”. It was said that this should not be done at all, that computer reconstruction should not be done.

The basis for the reconstruction was the model of the theater on display in the museum. It was made in 1961 by master Imanali Isakov (direct great-grandson of Naib Shamil Hadji-Murat). It was carried out by the author in accordance with the scale, and accurately conveys the original appearance. The master also designed the interior of the building, placing inside the rooms the furnishings that were there in 1916. Even the furniture in the model was made by him in exact accordance with the original. The second source was the 1942 plan, stored in the archives of the museum and BTI. But Patimat Nabievna asked why we used “this terrible layout”? The arguments that this is the only reminder of the building, that no photographs or other materials have survived that could be used to recreate the theater, did not satisfy anyone. “Just because we haven’t found photographs doesn’t mean they don’t exist” is a meaningful argument.

I look forward to your comments and suggestions for its development. One fact that it was created on the basis of the Vienna Opera House and it was here that the autonomy of Dagestan was proclaimed deserves attention

For support and assistance in writing the work and collecting material, I would like to say a big thank you to the director of the museum, Mikail Magomedovich Digrichilov, who provided great assistance.

Historical and cultural information about the monument

In 1916, at the expense of industrialist Magoma Kurakhmaev and Khizri Gadzhiev, a theater building was built in Temir-Khan-Shura according to the design of St. Petersburg architect Joseph Zilbershmidt. The project had to comply with all the latest technical and technological advances of the time. The theater had excellent acoustics, a rotating mechanical stage, and an orchestra pit. Equipment and furniture for the theater were custom-made in Austria and delivered to Temir-Khan-Shura via Turkey. The theater became the cultural center of the first capital of Dagestan. All significant events of Dagestan at the beginning of the twentieth century took place there. The professional theaters of the republic began their activities here - Russian, Kumyk, Avar, Lak. Over the years, Fyodor Chaliapin, Klavdia Shulzhenko, Lyubov Orlova, Nikolai Kryuchkov and others performed on the theater stage. In 1921, a theater and music college was opened on the basis of the theater, where Gottfried Alievich Gasanov, the founder of Dagestan classical music, worked. During the years of revolution and civil war, the theater became an arena of political struggle. Makhach Dakhadaev, Nazhmutdin Gotsinsky, Gaidar Bammat and others performed here. The architecture of the building itself was also unique. It was built in the classical Empire style. Doric style columns decorated the entire perimeter. The pediments and friezes are decorated with a Greek meander. The central entrance was crowned by a dome with a spire. Door and window openings were designed and assembled according to the architectural style. In 1920, the first congress of the highlanders of Dagestan took place in this building, at which People's Commissar for National Affairs Joseph Stalin proclaimed the autonomy of Dagestan. The theater was recognized as a historical and architectural monument of federal significance. In 1975, despite the ban, the city authorities decided to demolish it. The roof, floors, beds and balconies inside the building were destroyed. The building was prepared for an explosion, but through the efforts of the townspeople they managed to defend it. In 1983, reconstruction of the theater began. Unfortunately, it was carried out without restoration technologies and restorations. As a result, only the outer façade of the building was preserved. The unique molding and forged grilles of the balconies were irretrievably lost, and the acoustic capabilities of the hall were damaged. In 1993, by decision of the government of the republic, the local history museum was transferred to the building. This year the museum turns 100 years old. This is the first museum in the North Caucasus

http://www.youtube.com/watch?feature=player_detailpage&v=5YRnWp15798

The very name of the event speaks of some kind of breakthrough, but with such an attitude and incompetence of those who could really help take this very step, one gets the feeling that Dagestan has no future and all the enthusiasm will go to waste. I hope that this is not so, and people who love Dagestan, who are ready to work and implement some of their ideas for the sake of its prosperity and development, will still find support.