Elena Melnikova: "I have grown in it"

The conflict around Melnikov’s house, which has long, has moved to the hot stage in recent months. Inna Denisova spoke with both granddaughters of Konstantin Melnikov, who are on opposite sides of the barricades. Elena Viktorovna Melnikova tells her version of events.

- Around Melnikov’s house a new scandal. Now with the participation of the Museum of Architecture. The house is taken under protection. What's happening?

-Just finally, a museum began to be created, which could be created back in 1988. Father and his sister, Lyudmila Konstantinovna, decided to create a museum of architect Konstantin Melnikov back in 1978, after the death of his grandmother. And they began to compile an inventory of the creative heritage of the architect. But after a minor quarrel between the brother and sister, the courts began on the division of property, in which Ekaterina Viktorovna Karinskaya performed on behalf of her father and which, thanks to her efforts, lasted 13 years, and the issue of the division of the creative heritage was left without consideration.

In September 2001, my father and I asked the President of Raasn A.P. Kudryavtsev, thanks to which a draft resolution of the Government of the Russian Federation “On the establishment of the State Museum of Architect Konstantin Melnikov” was developed in the Ministry of Culture. Viktor Konstantinovich and Lyudmila Konstantinovna Notarially issued “preliminary consent to gratuitous transfer to federal ownership ... museum items and museum collections ... and the transfer of a monument to the History and Culture“ Residential House-Master of Architect K.S. Melnikov ”... followed by the operational management of the State Museum of Architects. Konstantin Melnikova. " The draft resolution was transferred to the State Construction and the Ministry of Culture. Subsequently, the state building was disbanded, and the draft resolution remained to lie “under the cloth”.

Melnikov’s house was supposed to be preserved as a memorial museum with the preservation of the memorial atmosphere that existed during the life of Melnikov. It was assumed that the state would allocate a separate building for the exposition and storage of a creative heritage: grandfather and dad had a lot of work. The dad and I and I hid the draft resolution from Ekaterina Viktorovna.

I can control the conduct of restoration work, I have worked all my life in this area.

- Why hid?

- Dad deliberately removed her, realizing that she did not want a museum to be created, but on the contrary, he does everything so that the museum would not be created.

In September 2004, at the initiative of the President of the Raasn A.P. Kudryavtsev in the Moskomarchitecture created a commission to preserve the monument of history and culture “House-Mastern architect K.S. Melnikova ”and the creation of the State Museum of the architect K.S. Melnikova. In January 2005, it was decided to create a museum as a division of the Moscow History Museum. Then we just wanted to give us the house of Melgunov’s house under the museum’s building - it was two steps, it would be very convenient.

However, due to the organized Karini trial to cancel the gift agreement 1/2 of the house from the Moscow Museum of the History of Moscow, the following was reported: “The Museum of the History of Moscow cannot participate in the project you proposed-the creation of the museum of the architect K.S. Melnikova as his structural unit. An important role in our decision is played by the unresolved legal and financial problems with the heirs that have existed for many years. ”

- Ekaterina Karinskaya says that she wants to deal with the museum as its director.

- Without a special education, it is impossible to be the director of the museum. For example, I have a construction education, but I can’t and I do not want to be a director. My knowledge is enough to control the restoration and condition of the building structures of the monument. And Karinskaya cannot be the director, her education-an engineer-energy-does not give knowledge necessary for the performance of the duties of the director of the museum. When the first restoration of the house began in 1989, Karinskaya, picked up from me, took control of everything. As a result of such vigilant control, restoration caused a huge damage to the house. Drainage was illuminated, due to which all surface waters flowed under the house: the foundation and walls of the house were wet, covered with a fungus. We fought for two years - we removed the drainage. But instead of normal soil, loam was brought. They fell asleep to them all the width of the blind area and paths; Washed the foundation and walls cannot dry. Every year, the fungus rises higher. In the bathroom, the author’s floor construction was destroyed. Restorers performed a concrete base of the floor with a ramp without a ladder, that is, without water disposal. It turned out a trough into which water is typed. Delights were not made. You may have seen in old rooms small gratings with holes in the floor? These are fools. With them, the space under the floor is ventilated, and nothing rot. They were not installed: the water was gained, the floor in a year buried completely. If before the restoration the floor of the author’s structure was more than 60 years, now it has rotted in one year. Wooden partitions of the first floor were installed on monolithic concrete beams, which is also a distortion of the author’s structure. As a result, cracks of sedimentary nature were formed in the partitions. Grandfather had original ceilings that are not subject to calculation. Intuitive design. By the time of the beginning of restoration, the deflection of the ceilings exceeded the regulatory deflection accepted for wooden structures. But the ceilings stood for more than 60 years. The overlaps of the high cylinder decided to straighten out. And straightened, squeezing out the entire structure of the floor ceilings. As a result, the floors in the studio on the third floor and in the bedroom on the second floor were deformed.

The dad and I and I hid the draft resolution from Ekaterina Viktorovna.

- Who is responsible for the illiterate restoration?

- Officially, it is recognized as the "best restoration of the year." Everyone who spent her received bonuses. A commission was created for the restoration, but not a single signature of the commission members at the act of acceptance was created.

- Ekaterina Viktorovna was also unhappy with this restoration.

- I wonder what she was unhappy if she signed under the grade “excellent”. And she persuaded her father to sign. I only hope that we will eliminate the problems that have arisen in the process of new restoration. If you ever get to her.

- That is, you hope that the house will be restored again and the mistakes made during the previous restoration will be fixed?

- In any case, I know that they can be fixed. You can restore the initial author's designs. I ended MISI in the department of architecture and can control the conduct of restoration work, I worked all my life in this area.

- The construction of new houses in Krivoarbatsky Lane and on Arbat caused Melnikov’s house a lot of damage?

-Because of her, the sediment of the building began. When the old two-three-story houses demolished and began to build new ones, they dug a foundation pit, made a common plate and put two houses on it, which much exceeded the overall dimensions of previously existing houses both in squares and in heights. Because of this, the monument lost one of the important decisions of the architect-the studio was covered from the first to the last beam of the Sun; Now it is lost.

- Why does the foundation sit down?

- Under the common stove, Karst is located in 2004. Karst is very afraid of two things: water and vibrations. Can you imagine what vibration comes from two -story underground garages? One of their ventilation is worth it.

One fine day in 2003, dad and I went to the site in the morning and saw that we had cut off a piece of land. “Each centimeter brings us income,” said representatives of the neighboring construction. According to the Monument Law, the territory is their integral part. And we managed to defend the site allocated to the grandfather under the construction of the house: the boundaries of the site were installed in 2004. I really hope that in the house everything will be restored according to the original grandfather's version. And not the way Yekaterina Viktorovna arranged now.

Karinskaya does not need a museum at all. She dreamed of living in a house with her family.

- It seems that two sisters have common goals - preserving the house and creating a museum. What are your disagreements?

- Ekaterina Viktorovna says one thing, but does another. If she wanted to make a museum, she would act differently. The memorial museum is a complete preservation of what and how, not the situation, adapted for living a completely different family. And now the situation in the house is changed beyond recognition. There is now Ikeev’s bed two by two! Children's house from Ikei. Heaps of huge soft toys. Dad had an old ZIL refrigerator. He worked normally. We did not find this refrigerator even on the territory of the house. Well, if only I put it in the basement! There is a two -meter modern refrigerator and the same huge freezer, modern technique. They dismantled my father’s bed: part is behind the bathroom, part in the basement. Is this the preservation of a memorial atmosphere? From the second floor, the wardrobe was moved to the first. The bookcase, standing in the bedroom, is located on the third floor. They opened the cabinet - the clothes of Konstantin Stepanovich and Anna Gavrilovna always hung there, since 1925: she is not in the closet. Where is all this? We did not find grandfather's archives: where they were lying, they are not. I enter and do not recognize the room. But I grew up in it. It costs me nothing to restore the situation: there are drawings and photographs. Our task now is to describe everything that is in the house.

From all this, I draw conclusions that Karinskaya does not need a museum at all. She dreamed of living in a house with her family. So she lived for the last nine years, referring to the fact that she is the performer of the will. However, if you read the legislation, you will see that the executor of the will has a lot of duties and no rights. He is obliged to make an inventory; is obliged to maintain the situation; must conduct an assessment; It is obliged to ensure the entry into the rights of the inheritance during the year ... and most importantly: to ensure the safety of all inheritance property. How many years have passed since the dad's death? In February 2015, there will be nine. And the entry into the rights of the inheritance today is in the distant, far prospect. To date, there is not even a complete inventory of hereditary property. When Karinskaya handed over the inventory of hereditary property to a notary public - it was in 2007-2008, then when they compared with the inventory that the dad and I compiled in 2004, it became clear that more than 600 positions were not included there.

And yet we all look forward to that the museum will finally be created.

- What is the situation with the inheritance? Which of you will inherit?

- We both are the heirs of the first stage for a mandatory share and have the right to 1/4 of each inheritance property after the death of Viktor Konstantinovich Melnikov, but since even after the first ships with aunt, a lovely heritage was declared indivisible, we have the right only to compensation for our shares. No more rights. Although dad first gave me half of the house, but her Karinskaya sued.

I am not at all claimed to live in the house - but, of course, I would like to enter there.

“Your sister claims that you wanted to sell this part of the house.”

- This is the fantasy of Karinskaya. Which was invented in February 2005 in order to persuade his father to sue the gift agreement for 1/2 of the house by invalid. What she achieved. And what once again stopped the process of creating a museum.

As for compensation, then It can be paid only after other procedures. First inventory. Then the assessment. The house should enter the hereditary mass. Then receipt of certificates of the right to inheritance. Only after all this between me and the state of the Karinskaya and the state, two agreements should be signed that we agree to compensation. Then we will be paid for our fourth shares. As for the house, a quarter of it, by will, departs to the state, and a quarter shares two between us.

- And what is the story with businessman Gordeev, who eventually sold part of the house?

- After Aunt Mila, her son Alexei entered the inheritance rights. He sold his part to Gordeev with a prerequisite - the creation of the museum of the architect Melnikov. And I would sell - also with the condition of creating a museum, if I had such an opportunity. Gordeev really wanted to make a museum. And as a result, he sacrificed his share at home to the state, provided that the museum will nevertheless be created.

In 2005, when Karinskaya provoked the abolition of a gift agreement, we almost agreed to make a museum as a division of the Moscow History Museum. But then she starts the courts, convincing the pope that I supposedly sell my half of the house. On January 27, 2005, I left the house in the morning, went to the clinic in my father’s affairs, I came home - and he did not let me go back. And I left.

My father handed me copyright to his own and grandfather's works: I still have them. Karinskaya then sued: supposedly he was blind, he could not sign anything. But the judge appointed a posthumous forensic examination, as a result of which it was established that the father could read the document that he signed. The copyright remained with me.

- As a child, did your sister have a warm relationship?

“It seems to me that she hated me from birth.”

- She says she loved.

- No, she never loved me. It was more strange that I treated her very strangely: I considered her proud, I wanted to take an example from her. I am a softer person. I was always proud of her. And recently I met an old acquaintance from a neighboring house in Krivoarbatsky Lane, he was already over 60, and the first thing he remembered from childhood was “how we pounded your sister for harmfulness.” He opened my eyes to me. This is not pride, but pride and selfishness. Humanly, we will no longer be able to agree. She does not want to. Yes, and I can’t. She wants to live there. I am not at all claimed to live in the house - but, of course, I would like to enter there. I grew up in this house. I lived for a long time with my father. For me, this is a memory.

I don’t want to live there now. I have my own taste, my desires-in this house I could not do everything in my own way, and I have no right to do so: the atmosphere of the house should be preserved as the grandfather’s life was preserved. And Karinskaya rearranged everything at her discretion.

Only I know how everything was in the house.

- Now you are working with the Museum of Architecture? How?

- I work. Previously, in the Museum of Architecture, the director was Mr. Sargsyan, Katin Friend, and she stated that only the Melnikov’s house museum can be engaged in the architecture. As soon as Sargsyan died, she immediately stated that the museum of architecture in terms of level does not correspond to Melnikov’s house, that Pushkin’s museum should deal with them. And what does the Pushkin museum have to do with architecture? From her point of view, there were allegedly no painting specialists in the Museum of Architecture.

Returning to the long -suffering history of the creation of the museum. In 2011, Gordeev donated half the house he bought by the state under the creation of a museum. Immediately after that, I proposed in court a settlement agreement, according to which the gift agreement remains valid, and I transfer my half the house for the state to create a museum and preserve the memorial atmosphere as during the life of the architect Melnikov. The settlement agreement was signed by the state and me. As a result, the Architecture Museum invited me to assist in creating a museum and restoring a memorial atmosphere. I provided the museum with lists of those items that Karinskaya did not include in the inventory of hereditary property transferred to the notary. Only I know how everything was in the house. And so our cooperation with the museum began. Karinskaya was also offered to sign a settlement agreement. But she refused, demanding the unquestioning execution of the will of Viktor Melnikov. This refusal once again confirmed that she did not want to create a museum at all.

At the same time, the paternal testament is compiled in such a way that it is unfulfilled. It says: “... I will bequeath the Russian Federation on the following conditions: a) the Government of the Russian Federation establishes the State Museum of the Father and the son of Melnikov; b) all the property of me bequeathed ... is transferred to the federal property and is transferred on the right of operational management of the institution of the State Museum ... ”In 2008, the Minister of Culture Avdeev explained to me that while the house would not belong to the state, it would be impossible to create a museum. But by testament, you first need to create a museum and only then transfer the house! This inconsistency has created problems. I think that such a testament on behalf of the father was composed of Karinskaya intentionally, in the hope that the museum will never be created.

Karinskaya all the time declares: "I will not leave until the building is allocated to the museum." Please: the museum of architecture allocated the building. A great old two -story building on the Vozdvizhenka. There are now transferred work given for temporary storage to the Schusev Museum. At least about these works I can be calm: although nothing will be lost there. The state allocated a building. The decision was officially signed on the creation of the State Museum of Konstantin and Viktor Melnikov. Дому Мельникова присвоен статус памятника федерального значения. И тут Каринская заявляет, что правительство РФ не имело права без ее согласия подписывать постановление о создании музея. Она в тупике. Понимает, что нужно выезжать из дома. Но она заявляет, что будет стоять до конца. До какого конца? До полного уничтожения Дома Мельникова?

После смерти отца Каринская не имела права жить в доме, тем более что при его жизни она там не жила. Как исполнитель завещания, она должна была обеспечить вступление в права наследства всех законных наследников, а уж сразу после официального создания музея она тем более должна была незамедлительно покинуть дом и не препятствовать описи наследственного имущества и восстановлению мемориальной обстановки.

— Но ее прописка в Доме Мельникова действительна?

— Обе наши прописки признаны недействительными в 1996 году. И жила в этом доме с отцом не она, а я — с конца 1989-го и до 27 января 2005 года, за исключением недлительных отъездов на отдых и на три месяца после рождения моей первой внучки. С конца 2002 года с Каринской мы уже вообще не общались: в доме ее не было. Мы с отцом занимались созданием будущего музея, боролись с соседними стройками, исправляли огрехи реставрации, восстанавливали документы.

— Каринская говорит, что водила в дом экскурсии.

— Насколько мне известно, только иностранцев. Очень редко — студентов. Соответственно брала с иностранцев деньги. Это был ее заработок. Найденные в доме комиссией по описи мемориальной обстановки деньги были в иностранной валюте.

— Почему дом в итоге захватывали?

— «Захватывали» — неправильное слово. Елизавета Лихачева пришла и позвонила в звонок. Вышел Николай, муж Кати. Сказал, что Екатерины Викторовны дома нет. Елизавета, увидев постороннего мужчину в доме, написала в полицию заявление. У Лихачевой были с собой документы о праве собственности, о праве оперативного управления и постановление на вход в дом. То есть все необходимые документы для того, чтобы войти. Входили с видеозаписью: без видео не было сделано ни одного шага.

— С какой целью пришел Музей архитектуры?

— Во-первых, зафиксировать положение вещей в доме — для этого, собственно, и проводили видеосъемку. Во-вторых, понять, в каком состоянии дом. Я нужна была для того, чтобы сразу сказать, чего не хватает. Вошли с видеокамерой, ничего не ломая. Спокойно все отсняли, все опечатали. Неопечатанными оставили только туалет, ванную и кухню.

После смерти отца Каринская не имела права жить в доме, тем более что при его жизни она там не жила.

— Екатерину Викторовну предупреждали?

— Музей архитектуры предупреждал Каринскую и просил вывезти ее личные вещи в целях составления описи мемориальной обстановки. Я понимаю, что не имею права утверждать, что Каринская вынесла что-то из дома, — но я видела, что нет многих предметов, а она, как исполнитель завещания, должна была обеспечить сохранность всего наследственного имущества и должна нести ответственность за возможные утраты.

— Договориться вам с ней было нельзя?

— Бесполезно. Как мне рассказывал наш двоюродный брат Алексей, в 2005 году он к ней уже обращался. Сказал ей: «Катя, всегда можно договориться. Чего ты хочешь? Всем хватит. И музей будет». На что она ответила: «Я хочу, чтобы тебе ничего не досталось». То же со мной. По-моему, она хочет, чтобы все досталось только ей. Все эти годы после смерти отца она меня в дом не пускала. Теперь я хочу, чтобы ее в доме не было. Я хочу, чтобы в доме был мемориальный музей и чтобы дом был доступен всем, а не избранным.

— А сломанная дверь в памятнике?

— Через три часа после нашего ухода появляется Каринская с группой молодых людей, которые отодвигают охрану и взламывают дверь. Охранники ничего не ломали, они только сменили личинки замка. А эти сломали дверь, чтобы войти в дом. Об этом происшествии имеется заявление в полиции.

— Что сейчас происходит в Доме Мельникова?

— Опись второго и третьего этажей закончена. Сейчас мы должны перейти на первый этаж, где она незаконно проживает. Одно помещение мы на прошлой неделе опечатали, она вскрыла. Я предполагаю, что там есть материалы, которые она хотела скрыть, но не успела.

— То есть, вы считаете, у нее нет цели создать музей?

- No. Она не сохраняла дом в надлежащем состоянии. Я считаю, что ее цель — только личная выгода и чувство превосходства над всеми. И больше ей ничего не нужно. This is my opinion.

— На должность директора музея вы не претендуете?

- No. Но и не позволю, чтобы Каринская была директором. Потому что тогда музея не будет. Директору музея нужно быть искусствоведом, кроме того, важная вещь — возраст. Ну не руководят в нашем возрасте музеями. Антонова уникальна, но она была директором музея всю свою жизнь.

— На должность руководителя нового музея назначен Кузнецов Павел Владимирович, а его заместителем — Елизавета Лихачева. Вы можете оценить их компетентность?

— Думаю, что это хороший выбор. А Елизавета Лихачева как раз по образованию искусствовед. Абсолютно им доверяю. Считаю, что они смогут решить все вопросы, связанные как с созданием, так и с реставрацией и дальнейшим функционированием музея.

— А что за история с крестами на могиле вашего дедушки?

— Когда бабушку с дедушкой похоронили, отец сам сделал кресты из белого бетона. Во время похорон отца один из крестов сломался пополам. Фотографии есть, могу показать. Увидев сломанный крест, мы решили заменить оба креста на хорошие дубовые православные кресты с иконами. В общем, они наши кресты ликвидировали: по заказу Саркисяна были сделаны пародии на отцовские кресты, которые выглядят ужасно.