Translated material
Mariinsky hollow
The problems of the famous theater are ongoing: the construction of a new scene has distorted the old new scene of Mariinsky, a huge parallelepiped, squeezed by the will of the artistic director of the theater Valery Gergiev into the lane between the houses of the 18th century and the hook channel, not only erased the whole old quarter from the face of the earth, but also threw the shadow on the old stage of the theater.
In any case, the wall of the historical building that goes to the gray wall of the new scene, according to experts, slowly slides into the hooks of the channel. Not all experts tend to blame for this new building. The head of the Department of Geotechnology of the Architectural and Construction University, the corresponding member of the Russian Academy of Construction Sciences Rashid Mangushev is sure that the new Mariinka did not affect the old one:
- We made calculations, justifications that showed that no additional deformations arise. The distance between the buildings is quite large, the Kryukov Canal embankment is strengthened. During the construction, we were observed, and we did not observe any deformation of the old theater. Another thing is that during the time of the theater, its foundations and structures received serious deformations, cracks were seen back in the 1960s. In St. Petersburg, many buildings give a precipitate. Apparently, now the old theater building needs an examination, and then, it is possible that it will require an increase in not only ground, but also underground structures.
Indeed, the cracks on the wall, which go out onto the hooks, especially on one corner, did not appear yesterday: a bomb fell into the theater, but, most importantly, reconstruction was carried out here in the 1960s. According to the head of the department of the grounds and foundations of the St. Petersburg State University of Railway Transport Professor Vladimir Ulitsky , she was quite barbaric:
- The piles were driven here almost metro, 80 centimeters in diameter, I was here and I remember how everything walked with a stilt. Moreover, they added the wall, found the old foundation from some kind of fence and built, then loaded it, loaded, decided to strengthen and filled the carcinogenic resin. I spoke with Lithuanian experts, they explained to me that her evaporation causes respiratory tract cancer - until the resin hardens. But the resin, in fact, never finishes completely, the water erodes it all the time. And then everyone raved up with chemistry, introduced it into life, and who opposed it almost an enemy of the people.
Vladimir Ulitsky slowly bypasses the building around, shows the places where the “beacons” were set, but now flew out, explains that the sediment of the building is a natural thing, it is not necessary to be afraid of it if it goes evenly around the entire perimeter of the structure:
- So it was before, because the beacons have been standing here since the 19th century, everything can be checked. But now, at first, after scoring the Soviet piles, and now - after the construction of the second scene, a serious bias of the wall, adjacent to Kryukov, went.
Vladimir Ulitsky was directly related to the initial project of the second scene of the Mariinsky Theater, whose author was the French architect Dominic Perro, and still regrets that they refused that project:
- That project was easier, sparing. According to our calculations, the risk zone did not go beyond the canal. And when they began to make a new project, the risk zone was already captured by the old theater at 15 meters. We warned officials about this, but they shouted - they say, if the old building does not crack, we will sue for slander. Well, now, now it cracked. Unfortunately, in our country the final solutions are not for specialists, but for officials, and if the specialist begins to object, he is simply spread rot.
This is also happening now, when a new project of reconstruction, restoration and adaptation of the old scene of the Mariinsky Theater appeared, which caused fierce disputes in the Council for the Preservation of Cultural Heritage. Vladimir Ulitsky was present at that meeting of the Council:
- Absolutely incredible project. They demand to return the back wall of the theater to the appearance that she had according to the project of architect Schroeder, there the windows were upstairs, which they later refused - you see, they want to ennoble this wall so that it was more pleasant to look from the windows of the new building. In general, they want to expand the scene, block the courtyard and arrange elevators for serving decorations and much more.
Not only the old theater suffered from the pit of the new scene, which stood here for several years. Firstly, the old theater is built on wooden stilts that do not threaten anything while they are in the water. But because of the pit, the water left and the piles were injured. Yes, and two quarters from the theater in the synagogue on Lermontovsky Prospekt cracked corners, also had to be strengthened. Then, 1650 piles were scored under a new stage, a third of which is superfluous. All this is time and money, it is beneficial for them to do so.
- There are a lot of cracks and other deformations in the building, but there are ways to cure them and preserve the object of cultural heritage in a sparing way without analyzing it. It is only necessary to treat confidence in professionals who will do this. The project, which first presented by the French architect Xavier Fabr, did not arrange the Council for the preservation of cultural heritage, and the Fabr has already significantly redesigned it.
Irina Lyubarova defines the state of the historical building of the Mariinsky Theater as “limitedly working” or “maintainable”.
- In non -professionals, such definitions cause a smile, but in fact they mean that the bearing capacity and technical qualities of the structures of the building can be returned, and then it can be used again without any fears. Now you can also go to the theater without fear, but we will not wait, when they will still close it and we will finally begin to start a comprehensive examination, and then to the restoration, which this building is waiting for.
This issue does not give rest to the co -chair of the St. Petersburg branch of the All -Russian Society for the Protection of History and Culture Monuments to Alexander Margolis.
- For many years we were assured that the theater needed a second wind, new squares, and what happened? Now it turns out that it is necessary to reconstruct the old building, that Gergiev ordered the Architect Xavier Fabra equipment for some grandiose workshops, warehouses of the props. It turns out that they do not at all move to this new theater, this is a semi -detective story, it needs to be understood - how could this turn out. This does not fit in my head, it is some kind of prohibitive adventurism.
The most outraged by Alexander Margolis Mostik through Kryukov Canal, which destroyed one of the best species in the city: it was assumed that he would connect the two buildings, and it turned out that the designers missed, and he rested against the wall.
- Here, as in a drop of water, the attitude of the customer to the historical heritage is reflected. Now we need to break through a hole in the capital wall, and inside the destroy a lot. When the Fabr represented this part of his project, it was a pity to look at him.
Margolis believes that the bridge, by the way, has not received any legal approvals, should be disassembled. And he doesn’t really blame the Fabra:
- He just fulfills the order. When he represented the project, he admitted that he did not really understand how some of the tasks set for him can be solved. It seems to me that Gergiev on the building itself as a monument does not give a damn. The main thing for him is to solve his creative tasks, and what cost is not important. Because if you fulfill all the innovations that he ordered in the old building without having previously strengthened it, then this will end in a disaster, the building will simply die. The law generally excludes all these innovations, but how in our Fatherland they relate to the law, especially the people of Gergiev’s caliber, we know. They are convinced that laws are written for anyone, but not for them. The very history of the emergence of a new scene, for which the quarter of Staraya Kolomna was destroyed, definitely testifies to this. This is an object of the World Heritage, where all new construction is prohibited by law, because we did not seem to respond to the coordination of international conventions. So Gergiev consistently bends his line - his theater is primary, and Petersburg is secondary.
- And what to do now?
- The examination showed that both the foundation and the walls of the old scene of the Mariinsky Theater are in a betrayal state. They must be strengthened, saved from the upcoming destruction and only after that begin some new work. And the Fabra project must be radically adjusted in the direction of reducing the intervention in the old architecture. And the number one question consists in the sequence of actions: the customer believes that it is necessary to immediately begin the reconstruction and adaptation of the old building to the concept of Gergiev. I believe that this cannot be done until the most serious work on the conservation of the building is carried out. And they are not cheap, and you can’t do them in one construction season.
Mikhail Milchik, a member of the Federal Scientific and Methodological Council for the preservation of cultural heritage of Mikhail Milchik, is disturbed by another aspect of the new project-attempts to recreate the decoration of the facade converted to the hooks of the channel built in Soviet times.
- I think this is completely unacceptable. In addition, we did not agree with another superstructure over this part of the facade. And, of course, it is necessary by all means to withstand the attempt to “revive the bridge” through the hooks of the channel, this bridge is a real “slap in the face of social taste”, moreover, partial disassembly of the inter -story floors that he rested rested. This will cause significant damage not only to the appearance of the monument, but also to its constructions. It would be the most correct to disassemble it and replace it with a tunnel under the canal. It is expensive, but not more expensive than the bridge itself. In order to insist on disassembling the bridge, we have the 73rd law on cultural heritage sites and our city law on the boundaries of protection zones-both of these laws in this case are grossly violated.
- Maestro Gergiev, being an outstanding conductor, on this basis mistakenly believes that he is an outstanding urban planner.
In any case, the wall of the historical building that goes to the gray wall of the new scene, according to experts, slowly slides into the hooks of the channel. Not all experts tend to blame for this new building. The head of the Department of Geotechnology of the Architectural and Construction University, the corresponding member of the Russian Academy of Construction Sciences Rashid Mangushev is sure that the new Mariinka did not affect the old one:
- We made calculations, justifications that showed that no additional deformations arise. The distance between the buildings is quite large, the Kryukov Canal embankment is strengthened. During the construction, we were observed, and we did not observe any deformation of the old theater. Another thing is that during the time of the theater, its foundations and structures received serious deformations, cracks were seen back in the 1960s. In St. Petersburg, many buildings give a precipitate. Apparently, now the old theater building needs an examination, and then, it is possible that it will require an increase in not only ground, but also underground structures.
Indeed, the cracks on the wall, which go out onto the hooks, especially on one corner, did not appear yesterday: a bomb fell into the theater, but, most importantly, reconstruction was carried out here in the 1960s. According to the head of the department of the grounds and foundations of the St. Petersburg State University of Railway Transport Professor Vladimir Ulitsky , she was quite barbaric:
- The piles were driven here almost metro, 80 centimeters in diameter, I was here and I remember how everything walked with a stilt. Moreover, they added the wall, found the old foundation from some kind of fence and built, then loaded it, loaded, decided to strengthen and filled the carcinogenic resin. I spoke with Lithuanian experts, they explained to me that her evaporation causes respiratory tract cancer - until the resin hardens. But the resin, in fact, never finishes completely, the water erodes it all the time. And then everyone raved up with chemistry, introduced it into life, and who opposed it almost an enemy of the people.
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Mariinka cracked
Vladimir Ulitsky slowly bypasses the building around, shows the places where the “beacons” were set, but now flew out, explains that the sediment of the building is a natural thing, it is not necessary to be afraid of it if it goes evenly around the entire perimeter of the structure:
- So it was before, because the beacons have been standing here since the 19th century, everything can be checked. But now, at first, after scoring the Soviet piles, and now - after the construction of the second scene, a serious bias of the wall, adjacent to Kryukov, went.
Vladimir Ulitsky was directly related to the initial project of the second scene of the Mariinsky Theater, whose author was the French architect Dominic Perro, and still regrets that they refused that project:
- That project was easier, sparing. According to our calculations, the risk zone did not go beyond the canal. And when they began to make a new project, the risk zone was already captured by the old theater at 15 meters. We warned officials about this, but they shouted - they say, if the old building does not crack, we will sue for slander. Well, now, now it cracked. Unfortunately, in our country the final solutions are not for specialists, but for officials, and if the specialist begins to object, he is simply spread rot.
This is also happening now, when a new project of reconstruction, restoration and adaptation of the old scene of the Mariinsky Theater appeared, which caused fierce disputes in the Council for the Preservation of Cultural Heritage. Vladimir Ulitsky was present at that meeting of the Council:
- Absolutely incredible project. They demand to return the back wall of the theater to the appearance that she had according to the project of architect Schroeder, there the windows were upstairs, which they later refused - you see, they want to ennoble this wall so that it was more pleasant to look from the windows of the new building. In general, they want to expand the scene, block the courtyard and arrange elevators for serving decorations and much more.
They want their old woman to go out, but this will not work. The question of adapting the building to new functions is simply not worth it: you must first save the building, save it from destruction, and only then declare competitions and come up with all kinds of reconstructions. We must strengthen everything and put the distance sensors, we have such - I can sit in my department and see which the wall of the theater is stable and which is under excessive stress.They want their old woman to dance, but this will not work
Not only the old theater suffered from the pit of the new scene, which stood here for several years. Firstly, the old theater is built on wooden stilts that do not threaten anything while they are in the water. But because of the pit, the water left and the piles were injured. Yes, and two quarters from the theater in the synagogue on Lermontovsky Prospekt cracked corners, also had to be strengthened. Then, 1650 piles were scored under a new stage, a third of which is superfluous. All this is time and money, it is beneficial for them to do so.
Irina Lubarova
Not all experts speak as sharply as Vladimir Ulitsky. Irina Lyubarova, director of the Stone Architecture company, believes that all defects, including angular cracks in the walls of the Kryukov Canal, are originating from the middle of the last century. She diplomatically refuses to talk about the influence of the new scene, explaining this by the fact that the project of reconstruction, restoration and adaptation of the old scene of the Mariinsky Theater has not yet been approved. Nevertheless, she is sure that the first number should go restoration.- There are a lot of cracks and other deformations in the building, but there are ways to cure them and preserve the object of cultural heritage in a sparing way without analyzing it. It is only necessary to treat confidence in professionals who will do this. The project, which first presented by the French architect Xavier Fabr, did not arrange the Council for the preservation of cultural heritage, and the Fabr has already significantly redesigned it.
Irina Lyubarova defines the state of the historical building of the Mariinsky Theater as “limitedly working” or “maintainable”.
- In non -professionals, such definitions cause a smile, but in fact they mean that the bearing capacity and technical qualities of the structures of the building can be returned, and then it can be used again without any fears. Now you can also go to the theater without fear, but we will not wait, when they will still close it and we will finally begin to start a comprehensive examination, and then to the restoration, which this building is waiting for.
Meanwhile, the very fact that Valery Gergiev, who received a new scene, which was supposed to solve all the problems of the theater, supposedly choking in old dusty rooms, nevertheless wants a cardinal renewal of now the old scene, cannot but raise questions. It turns out that in the giant new building there is not even a rehearsal hall for actors, there are no pantries-I want to ask what is there, in this glass-concrete casket, if not the most necessary? Was it really impossible to lay all this in the project and no longer touch the historical building?In the new building there is not even a rehearsal hall for actors, there are no pantries-I want to ask what is there then, in this glass-concrete casket, if there is not the most necessary?
This issue does not give rest to the co -chair of the St. Petersburg branch of the All -Russian Society for the Protection of History and Culture Monuments to Alexander Margolis.
- For many years we were assured that the theater needed a second wind, new squares, and what happened? Now it turns out that it is necessary to reconstruct the old building, that Gergiev ordered the Architect Xavier Fabra equipment for some grandiose workshops, warehouses of the props. It turns out that they do not at all move to this new theater, this is a semi -detective story, it needs to be understood - how could this turn out. This does not fit in my head, it is some kind of prohibitive adventurism.
The most outraged by Alexander Margolis Mostik through Kryukov Canal, which destroyed one of the best species in the city: it was assumed that he would connect the two buildings, and it turned out that the designers missed, and he rested against the wall.
- Here, as in a drop of water, the attitude of the customer to the historical heritage is reflected. Now we need to break through a hole in the capital wall, and inside the destroy a lot. When the Fabr represented this part of his project, it was a pity to look at him.
Margolis believes that the bridge, by the way, has not received any legal approvals, should be disassembled. And he doesn’t really blame the Fabra:
- He just fulfills the order. When he represented the project, he admitted that he did not really understand how some of the tasks set for him can be solved. It seems to me that Gergiev on the building itself as a monument does not give a damn. The main thing for him is to solve his creative tasks, and what cost is not important. Because if you fulfill all the innovations that he ordered in the old building without having previously strengthened it, then this will end in a disaster, the building will simply die. The law generally excludes all these innovations, but how in our Fatherland they relate to the law, especially the people of Gergiev’s caliber, we know. They are convinced that laws are written for anyone, but not for them. The very history of the emergence of a new scene, for which the quarter of Staraya Kolomna was destroyed, definitely testifies to this. This is an object of the World Heritage, where all new construction is prohibited by law, because we did not seem to respond to the coordination of international conventions. So Gergiev consistently bends his line - his theater is primary, and Petersburg is secondary.
- And what to do now?
- The examination showed that both the foundation and the walls of the old scene of the Mariinsky Theater are in a betrayal state. They must be strengthened, saved from the upcoming destruction and only after that begin some new work. And the Fabra project must be radically adjusted in the direction of reducing the intervention in the old architecture. And the number one question consists in the sequence of actions: the customer believes that it is necessary to immediately begin the reconstruction and adaptation of the old building to the concept of Gergiev. I believe that this cannot be done until the most serious work on the conservation of the building is carried out. And they are not cheap, and you can’t do them in one construction season.
Mikhail Milchik, a member of the Federal Scientific and Methodological Council for the preservation of cultural heritage of Mikhail Milchik, is disturbed by another aspect of the new project-attempts to recreate the decoration of the facade converted to the hooks of the channel built in Soviet times.
- I think this is completely unacceptable. In addition, we did not agree with another superstructure over this part of the facade. And, of course, it is necessary by all means to withstand the attempt to “revive the bridge” through the hooks of the channel, this bridge is a real “slap in the face of social taste”, moreover, partial disassembly of the inter -story floors that he rested rested. This will cause significant damage not only to the appearance of the monument, but also to its constructions. It would be the most correct to disassemble it and replace it with a tunnel under the canal. It is expensive, but not more expensive than the bridge itself. In order to insist on disassembling the bridge, we have the 73rd law on cultural heritage sites and our city law on the boundaries of protection zones-both of these laws in this case are grossly violated.
- Maestro Gergiev, being an outstanding conductor, on this basis mistakenly believes that he is an outstanding urban planner.
But this is not so. The public and the protection authorities should show firmness here. But even if such firmness is manifested, this does not mean at all that this will be successful, since decisions are not made in St. Petersburg, ”said Alexei Kovalev, deputy of the Legislative Assembly of St. Petersburg. - On our misfortune, the head of the Mariinsky Theater is a friend of the president. If not for Gergiev, there would not be this terrible second scene of the Mariinsky Theater. Petersburg is completely alien to him, this is just a point of application of ambitions for him. He considers the city to be his patrimony, opens all the doors with his foot, the laws on the protection of monuments do not exist for him. Of course, we will express our opinion, but orders will come from the Kremlin. And so it will be until Gergiev is transferred to the category of ordinary citizens subject to law.Maestro Gergiev, being an outstanding conductor, on this basis mistakenly believes that he is an outstanding urban planner