Profitable building Lidval on Kamennoostrovsky Prospekt. Profitable house of I.B. Lidval Architectural solution of Lidval's house on Kamennoostrovsky prospect

By the end of the 1930s, both the number of customers and the contents of their wallets had decreased, and Paul returned to Sweden. His brother Edward had been dead for several years, and the firm was now run by his sons Alf and Oscar. Paul Lidval opened his own atelier on Regeringsgatan Street, and therefore there were two Lidval tailoring firms in Stockholm at one time. However, after a while, Alf and Oskar had to close their business, and only Paul remained.

One of the regular clients of his firm was the artist Karl Gerhard. Another famous client was the writer and journalist Jan Uluf Ohlson. When he once expressed doubts about some detail of the ordered costume, Lidval replied: “Prince Yusupov wanted it to be that way.” This comment immediately cut short any further argument from the client.

Atelier Paul Lidvall ceased to exist almost exactly 100 years after Father Jun Petter settled in our city. The Lidvali brothers moved among people belonging to the upper strata of society, and they quickly managed to establish their activities in Sweden, although they never reached the same financial and social level there as in St. Petersburg. One does not need to have a particularly rich imagination to imagine the problems that Russian Swedes, who had less education and social connections, faced in their newfound homeland (30, p. 293).

2.2. Swede with a "Petersburg" soul

Fyodor Lidval was born on May 1 (May 20, old style), 1870, and after his birth he was entered in the book of the Swedish parish of St. Catherine (14, p. 17) (see Appendix). Fedor Lidval graduated primary school at the church of St. Catherine and entered the second St. Petersburg real school, where he studied for six years, from 1882 to 1888. In 1882, the father took his son to Sweden, this trip he remembered for a lifetime. IN trading house“Lidval and Sons” by Fyodor Lidval could be seen extremely rarely, since by that time he already knew for sure that he wanted to become an architect. But he could not enter the architectural department of the Academy of Arts, since his grades were not high enough. Therefore, for the next two years he studied at the technical drawing school of Baron Stieglitz. Having received serious training there, Lidval became a student of the Academy of Arts in 1890. The first two years spent in the general classes of the "old" Academy, which all students had to pass, regardless of their further specialty, were devoted to general education sciences, drawing and copying classical engravings. Moving then to a special class of the architectural department, Fedor Lidval is engaged in technical sciences, “drawing architectural parts and ornaments of all styles”, compiling architectural projects under the guidance of visiting professors. Drawing classes continue, and in the summer months, he, like other students of the architectural department, undergoes practice on buildings. During the holidays, Fedor Lidval, like his brothers, served twice in the Royal Life Guards Regiment in Stockholm, as they considered it mandatory (14, p. 17-18).

Having received solid artistic and technical training, having carefully studied historical architectural styles, Fyodor Lidval continued his education since 1894 in the workshop of Leonty Nikolaevich Benois, who was the author of the projects for the buildings of the Singing Chapel, the Ott Clinic in St. Petersburg and the western building of the Russian Museum, which this day is named after him. Subsequently, such large and creatively different masters of architecture as G.A. Kosyakov, M.S. Lyalevich, A.I. Tamanyan, N.V. Vasiliev, M.M. Peretyatkovich, V.A. Schuko, N.E. Lansere, I.A. Fomin, A.E. Belogrud and others. Coursework Fyodor Lidval, made in the workshop of Benois, do not yet give an idea of the originality of the future architect. ABOUT early works We can judge Lidval from photographs of projects for a country villa (1894), two public buildings (1895), placed in the album-book "F. Lidval". All of them are executed in the spirit of the then impersonal pan-European renaissance (14, p. 26).

Two-year studies in the individual workshop of the Academy's art school ended with the development of a graduation program for the title of artist-architect. In 1896 Fedor Lidval completed his education by designing an exhibition hall. After graduating from the Academy, F. Lidval traveled to Europe and the USA. The creative activity of F. Lidval in Russia lasted about twenty years. It is possible, with some conventionality, to distinguish two periods: from 1897 to 1907 and from 1907 to 1918. The most famous buildings are: the Lidval House, the Astoria Hotel, the Azov-Don Bank, the Zimmerman apartment building, the Nobel mansion, the 2nd Temporary Credit Society, the Swedish Church, the Nobel Brothers Partnership. F. Lidval built several dozens of buildings in St. Petersburg, which left a noticeable mark on the architectural appearance, while demonstrating his characteristic artistic tact, combining the techniques of the classical school with new motifs and forms. At this time it main topic- profitable house, the main type of buildings in capitalist Petersburg. F. Lidval, like his colleagues, sought to create a memorable image, at the same time placing as many apartments as possible in houses for various segments of the population (14, p. 24).

Contests occupied a lot of place in his activity. In the development of projects, Lidval successfully collaborated with A.N. Benois, O.R. Munts, R.I. Kitner, G.A. rational in terms of the structure of an apartment house with three courtyards. This quite mature work of young architects was awarded the first prize. Subsequently, F. Lidval performed quite a few competitive projects (14, p. 74).

In 1912, F. Lidval took part in a custom-made competition held by the Ministry of Railways and the Academy of Arts for the design of the building of the Nikolaevsky railway station. In 1911, F.I. Lidval participated in the competition for the design of the building of the Noble Assembly, located at the corner of Malaya Sadovaya and Italianskaya streets, 27 (14, p. 82).

The activity of F. Lidval was multifaceted. He taught at the Polytechnic Institute, participated in the publication of the journal Malaya Posadskaya No. 5. In 1907, he was a member of the jury of the Mosque competition, then the passenger building of the Nikolaevskaya railway, a theater in Tambov, a school folk art and many other structures. By 1915, there are two competitive projects - buildings of the Volga-Kama Bank, one for Tiflis, the second for Kyiv, completed by Lidval together with the talented architect G.A. Kosyakov. In the same year, Lidval, together with Kitner, completed the project of the Lysva People's House in the Perm province (14, p. 43).

In 1910-1917, F.I. Lidval taught at the Faculty of Architecture of the Women's Polytechnic Institute, led architectural design, and, like L.N. Benois, encouraged draft designs. There was a very strong composition of teachers: V.A. Pokrovsky, V.A. Kosyakov, M.S. Lyalevich, V.V. Starostin, P.F. Aleshin, V.A. .V. Belyaev, M. M. Peretyatkovich and other major architects and artists of St. Petersburg. Together with Lidval, they did a lot to educate women architects, many of whom became prominent Soviet architects. In 1914-1916, F.I. Lidval participated in the release of an architectural and artistic weekly. He was a permanent member of the judicial competition commissions, was involved in the development of programs for the design of various projects (14, p. 76).

Having built at least ten large residential buildings in a relatively short period of time, Lidval moved into the ranks of the most prominent St. Petersburg architects. His work receives official recognition from the public. In 1907, a special commission for awarding prizes for the best facades awarded Lidval a silver medal for the facades of house No. 19 on Konyushennaya Street, and the owner of house No. 61 on Kamennoostrovsky Prospekt, also built by Lidval, received an honorary diploma. In 1909, F.I. Lidval was awarded the honorary title of Academician of Architecture (14, p. 76).

In 1908, Lidvall married Margaret Frederica Eilers (30). She was born in 1885 in St. Petersburg (19, p. 72). And she lived with her family on Kamennoostrovsky Prospekt. Her father Herman Friedrich Eilers (born in 1837 in East Frisia, now Holland) was a gardener in the princely St. Petersburg Yusupov family, and then started his own business and became a flower supplier to His Majesty's court. He died in August 1917 in Petrograd (19, p. 72).

To his children: Sven (12/31/1909), Anders (11/28/1911), and Ingrid (08/01/1913). Margaret gave Swedish names, since, having married, she took Swedish citizenship (19, p. 72). In the house of F.I. Lidval they spoke Swedish, only when alone with his wife did he speak Russian, considering our language romantic. Lidval was a member of the Russian Imperial Academy of Arts and received an invitation to become a court architect, but refused, as this involved taking Russian citizenship.

From 1904 to 1917, F.I. Lidval and his family lived in a house on Kamennoostrovsky Prospekt at house number 1/3, but after the February Revolution, envoy Brendstrem advised him to send his family to Sweden in the hope that the situation would stabilize. Therefore, Lidval's wife and children spent the summer in the Stockholm archipelago. In August 1917, Mrs. Lidval's father died, and she went to Petrograd, where her husband was at that time. The children still remained in Sweden, where she returned in September. This visit was her last stay in the city where she was born and raised. Upon returning to Sweden, Mrs. Lidval lived with her children in a hotel at the Yurkholsky restaurant. The Lidval family spent the winter of 1917-1918 in Jurholm. F.I. Lidval survived the October Revolution of 1917 in Petrograd, and was not once subjected to violence because of his authority. He did celebrate Christmas, apparently, in Stockholm with his family. One way or another, in January 1918 he was again in Petrograd. There he remained for almost a year. At the end of November, he left for Stockholm, probably not thinking that he would never return. In his office, work continued on projects for several buildings: the Russian Bank for Foreign Trade, the Nobel Brothers JSC and the maternity hospital in Petrograd, the banking house in Samara, and the resort hotel in Kislovodsk. None of the projects was completed, but the workshop functioned as an integral structure until 1923 (it was located in his house on the first floor - Kamennoostrovsky pr.1/3). In 1919, the Lidval family bought a 3-room apartment in Stockholm, as they already understood that their stay in Sweden, which was called temporary, became permanent and stretched out for the rest of their lives (30).

In 1919, the Swedish state established the "Russian Property Commission", whose task was to protect the interests of the Swedes in Russia, both individuals and enterprises. Among those who lost the most were the Lidval families, the architect and tailors. total amount Lidval's claims to the Soviet state reached 1,792,520 kroons, which corresponds to 70-80 million kroons today. This included the cost of houses: on Zelenina Street, 20/15 (acquired in 1910), on Bezborodkinsky Prospekt, 14 (acquired in 1915), on Bolshoy Prospekt, 99-101 Vasilyevsky Island (acquired in 1916). Documents confirming the right of ownership were in cell No. 700 of the Petrograd branch of the Azov-Don Bank. Margaret's wife put forward a claim of 375,000 crowns. But nothing was returned to them (30).

On February 25, 1920, the architect Johan Frederich Lidval and his family were registered in the parish of Hedwig Eleonora in the capital of Sweden (19, p. 74) (see Appendix).

F. Lidval's first independent building was 2 residential buildings in the English style at 3-5 Gusta Gatan Street, which he built in 1922. Other notable projects he has completed in Stockholm include the building of the Shell Oil Company on Birger Jarlsgatan Street and a house on the corner of Tursgatan and St. Eriks Gatan Streets. In cases where F.I. Lidval was not the author of the project, he was often entrusted with the design of facades and other parts of the building. An example of this is the Shell House, with its cast iron railings, like in a Chinese cinema. F.I. Lidval also designed several houses in the constructivist style, but he liked the simplified architectural style of the 30s much less than the neoclassicism of the 20s. In “functionalism,” as the Swedish version of constructivism was called, he no longer found any use for his formal mastery (30).

During his work in Stockholm, F. Lidval designed 23 houses, including 16 author's ones, but, despite this, his career in Sweden cannot be called successful in comparison with what he did in pre-revolutionary Russia. His daughter Ingrid writes with pain about her father's hardships in Sweden, and not only professionally. After almost twenty years of success and the high praise he deserved as an architect of Russia, he now had to be content with the work of an employee. Sometimes he received four independent buildings, but far from being able to provide himself with only private orders. From the memoirs of the daughter of F.I. Lidval: “Dad was not at all sentimental and did not live with memories of past successes, but his feelings nevertheless sometimes came out. He coped with a role that was personally humiliating for him, primarily because his professional honor and love for work never gave him any respite or rest. As his Russian colleagues recalled, I do not know. But here in Sweden, dad was intellectually bored and spiritually alone. Since Petersburg times, that architects and artists meet, they talk about architecture and art. The Pope never understood that Swedish architects do not feel the need for informal intellectual communication.” “My father,” writes Ingrid Lidval, “was never associated with Swedish architects to the same extent as he was associated with colleagues in St. Petersburg ... It was a great joy for him to collaborate with architects and artists in St. Petersburg ... In those days he was a happy man" (19).

Recognized and widely known in Russia and forgotten in Sweden, F.I. Lidval died as a result of a cerebral hemorrhage at his home in Stockholm on March 14, 1945. Margaret Frederike died on April 12, 1962. They are buried in the same grave at the Jurekholm cemetery (a suburb of northern Stockholm) (19, p. 78).

Fedor Ivanovich Lidval earned high prestige not only as an architect-artist, a fine connoisseur of architectural form, a man of great taste, but also as a builder personally leading the implementation of his projects in kind, demanding on the quality of construction and finishing works, delving into all the details of construction. Many of Lidval's students A.A. Ol, R.I. Kitner and others) became prominent Soviet architects and always remembered their teacher and older friend.

Chapter 3 Northern Art Nouveau Masterpiece

3.1. Architectural portrait of the house.

The house on Kamennoostrovsky Prospekt is one of early works F. Lidval. This is an outstanding example of a complex urban planning and artistic solution for a large area. The building consists of several multi-storey buildings, united by a semi-open court yard (cour dhonneur - translated from French - court of honor), which makes the apartments more illuminated (15, p. 188). According to E.A. Borisova and G.Yu. Sternin, this new method of composition with a large front yard opened onto the street, replacing the “yard-wells” typical of St. Petersburg tenement houses of the 19th century, was used here for the first time (4, p. 246 ).

In the construction of the building overlooking Malaya Posadskaya Street, the architect tried to overcome the usual flatness and symmetry. The middle gable of the curvilinear outline and the wide windows below them are displaced from the central axis. The lower floor is separated not by a horizontal rod, but by a wavy line. Bay windows do not repeat each other: the left one is rounded, the right one is trihedral. Lateral trapezoidal tongs with arched ends fit to complete the corner of I.E. Riting's house on Kronversky Prospekt (1899, V.V. Schaub). The wall is covered with textured stucco. This technique would then be a favorite in the work of Lidval.

The plan of the central building is also not symmetrical, but the main link of its main facade has a symmetrical three-axis structure. The vertical axes of the body are underlined by three bay windows and gables. The middle gable of a complex curved contour rises above the side bay windows. The trihedral glass bay window in the center is sandwiched between the blades of greater height, inscribed with vertical rods. Metal beams and other parts of its structure are artistically processed. The basement of the house along the entire perimeter is made of smoothly processed red granite slabs. The cladding of the lower floor and architectural details are made of talc-chlorite (talc-chlorite schist) or, as it is also called, "pot stone", first used in St. Petersburg by Lidval (14, p. 31).

The building is separated from Kamennoostrovsky Prospekt by a beautiful forged lattice, mounted on pillars of red Finnish granite, and renewed in the summer of 1995. In the lattice there are two gates with granite pylons - lanterns. The house was designed as a single organism, where the form corresponds to the content New trends appear not only in the layout of the building, but also in the methods of decorative decoration characteristic of the architect. In the design of the facades of the buildings, the architect widely used modern decorative motifs; The decoration above the central portal attracts attention. In the center of the relief decoration is a cartouche with the date of completion of the main part of the complex "1902". To the right of the date is a pine branch with cones. Nearby is a forest bird, similar to a magpie, striving to peck at a hare sitting next to it. Behind him is another hare running out of the thicket. To the left of the date - the head of a lynx with an open mouth. Nearby, on a branch, sits an owl with open wings. A high-relief eagle owl with outstretched wings, for which the top of the middle tong is specially widened, is located under the very roof (23, p. 25). There are balconies on the second floor on both sides of the building. On the lattices of which large forged spiders "sit". To the right and left of them, as if supporting a web, metal sunflowers “bloom”. The fences created by the architect’s fantasy are remarkable in two respects: the filigree blacksmith work makes them a work of art, and the plot he has chosen carries a multi-valued image: the spider is a symbol of needlework, crafts, weaving, and even more broadly, fate. lattices with spiders of the Lidval house serve as a kind of illustration to the words of the French art historian Ch. It is curious that the other balconies of the building (and there are about ten of them in total) have a completely different style. Some of them are made in the floral version of the rhythmic modern, others in the neoclassical style (2, p. 187).

The construction of the house by I.B. Lidval became an event in the architectural life of St. Petersburg. And it is natural that in the buildings of other architects of that time one can find echoes of the architectural techniques first used in the house on Kamennoostrovsky Prospekt. So the composition of the Lidvalevsky balcony with spiders can be seen in the lattices of the house of P.T.Badaev (Vosstaniya St., 19), designed by architects V.I. and G.A. Kosyakov. Only instead of sunflowers, the spider is surrounded by mighty stems of blooming thistles (2, p. 188).

Above the front door of the left building are images of fantastic large-headed fish resembling dolphins, with bulging eyes and open mouths. A nimble lizard is carved on the protruding part of the wing, above - the head of a lynx. Amanitas and morels grow under the fern leaf. Near tulips, wild berries. All this is organically fused into the diversified surfaces of the walls. These animals and birds are a tribute to the fashionable at that time northern architecture. What about fantastic fish and lion masks? Such a mixture of northern and southern, night and day, real and fictional birds and animals in the design of the building is one of the features of Art Nouveau (23, p. 23).

The image of the Lidval house is polyphonic. Numerous and varied bay windows and balconies, straight and polygonal window openings, some of them with endings in the form of arches with platbands of different patterns. The cladding of the facade of the building, resting on a red granite plinth, used a light greenish-gray potted stone supplied by a Finnish company from the Nunnanlahti deposit (Finnish Karelia) or Kaplivo-Murananvara.
Approaching the house, you immediately pay attention to the forged railings of the first floor balcony. They are made in the form of the Latin letter "L" - the first in the names of the owners - Lidvall.

The building was awarded at the first city competition for the "best facades" (1907). As an example of a residential building in the Art Nouveau style, this house was included in the curriculum of the history of architecture (10, p. 186).

3.2. The device and life of the old St. Petersburg house

Replacing, they rustled around the generation,
They rose at home, like your crops ...
V. Bryusov (11, p. 74)

House of I.B. Lidval refers to the type of tenement houses, which were designed exclusively for tenants with large funds, requiring apartments with all amenities. Here the apartments were all equally well-appointed, differing only in size and location of windows - to the west, to the east, to the south - and by floor. The task of the architect is to combine the traditions of the city - "a strict, slender appearance" - with the requirements of a new, business life, which they quite succeeded in doing.
In the course of the research, I learned with interest about the life of an apartment building at the turn of the 19th and 20th centuries.

Let's stop our attention to start with the workers at home - the janitors. The older ones selected from relatives or fellow countrymen their henchmen - junior janitors, healthy, middle-aged peasants, whom the village threw into the city to work. Most of them were illiterate or semi-literate people, they were required to have great strength, diligence, cleanliness and honesty. They lived like janitors, usually without families, in a kind of artel. The elders received 40 rubles, the younger 18-20 rubles. The elders were the authorities - they did not work, but ordered and observed the work of others. Janitors from morning to evening cleaned the streets, yards, stairs, carried firewood to apartments. These workers were especially hard hit in the winter during snowfalls: it was necessary to clean all the panels with scrapers, sprinkle them with sand, shovel the snow into heaps and take them to the snow melter on horseback. In addition to their salary, they received tips for services to residents: they knocked out carpets, tied and carried out things when residents left for summer cottages, and carried baskets of linen to the attic. They knew who was having a birthday and went around the residents living on the stairs assigned to each. For such congratulations, they were not only given a tip, but also treated to vodka and snacks. Many of them tried to dress in a city style, to get chrome boots, a jacket, a vest, a scarf (11, p. 16).

The apartment entrances were serviced by porters. They were recruited from those janitors who were more accommodating, grew old and could no longer do hard work. Good looks and courtesy were also required. They were cleaning front staircase, rubbed mosaic platforms for shine with vegetable oil, cleaned copper door handles; in general, the work was not hard, but hectic - at night, at the call of a belated tenant, it was necessary to unlock the door, especially on holidays when guests came. The owner gave them all uniforms - a livery, a cap with a gold braid. The porters enjoyed the well-deserved trust of the owners of the apartments, often leaving the keys to the apartments when leaving for the dachas, instructing them to water the flowers. As a rule, in addition to a salary from the owner, they also received from the landlords.

The duty janitors at the gate, with a badge and a whistle, in winter in a sheepskin coat, felt boots and a warm hat, also carried out the observation of order. They watched who entered the yard, asked a stranger where he was going, did not let organ grinders, peddlers, watched that they did not take out things without tenants. At night, the gates were locked, there was a wooden bench in the doorway, on which they sat or lay until they were disturbed by the call of a belated tenant who thrust a coin into their hand (11, p. 61).

Since stables were built in the courtyard, it can be noted that there were also coachmen who lived in separate rooms. At that time, not everyone had cars, and we do not know whether the Lidvals had them.

Chapter 4 People who glorified the house of I.B. Lidval

4.1. At the beginning of the twentieth century

The house of I. B. Lidval is not only an architectural monument, but also a house in which famous personalities lived and worked for a century. At the beginning of the 20th century, entrepreneurs, actors, scientists, singers, artists and architects rented apartments here.

With the help of the reference book "All Petersburg", encyclopedias (3, p. 21) and materials from the Central State Archive of St. Petersburg, I managed to find some of them.

B.A. Kaminka lived in this house from 1903 to 1917 (12, p. 93). He was a representative of the Russian financial oligarchy, a major figure in the Cadet Party, managing director, chairman of the board of the Azov-Don Commercial Bank. This building is located on Bolshaya Morskaya Street, in house 3/5, which was erected according to the project of F. Lidval. B.A. Kaminka played a prominent role in public life, engaged charitable activities. In 1920 he left for Paris (12, p. 94). B.A. Kaminka lived in this house with his wife Anastasia, sons Alexander, Mikhail, George, Ippolit, daughters Daria and Vitalia.

His eldest son Alexander Borisovich Kaminka, born in 1887, a St. Petersburg banker, graduated from St. Petersburg University, worked as an actor, then opened an acting school. After 1917 he emigrated from the country. Lived in Paris, engaged in banking activities. He was a film producer, in 1920 he founded and headed the Albatross studio, which initially produced films by Russian émigré directors. In 1920-1959 he organized the shooting of a number of films, including Y. Protazanov, I. Mozzhukhin, V. Turzhansky, A. Volkov.

The second son of B.A. Kaminka - George, born in 1893, studied at the Tenishevsky College, then entered the Economics Department of the Polytechnic Institute. In the autumn of 1912, he took a leave of absence from the institute and entered the Volodymyr Lancers Regiment as a volunteer. A year later he returned to the institute, graduated with the title of candidate of economic sciences (1917). He was sent to Norway and Sweden on the Red Cross. Until 1919 he lived in Scandinavia, then moved to Paris (12, p. 94).

In 1904, the architect A.R. Gaveman1 lived in the Lidval house, by this time he was already the author of the mansion of K.A. Gorchakov on B. Monetnaya Street (house No. 19, next to Kamennoostrovsky) (1, p. 82).

In 1905-1907. the architect Andrey Petrovich Vaytens2 lived in this house. In 1904 he graduated from the Academy of Arts. He taught at the Leningrad Art and Technical Institute. In 1908-1910. he built his own dacha in Lakhta (Lesnaya st., 21). In 1910-1914, he finished the lobby and living room of the Yusupov Palace. In 1914, he built the production facilities of the Gas Society for street lighting. Profitable house F.F. Niedernmeyer on Kamennoostrovsky Prospekt No. 39. In Soviet times, he built residential buildings and track structures of the October Railway, government dachas and other buildings on the Black Sea coast of the Caucasus (1, p. 66).

In 1907-1979, Sylvia Solomonovna Kofman, a theater artist, lived in apartment No. 33. She was born in Odessa on May 31, 1907 in the family of a doctor. After graduating from school and a theater college, in 1925 she entered the Odessa Polytechnic fine arts. After finishing the 1st year in 1926, Sylvia Kofman entered the Higher Art Institute in Leningrad at the department of theatrical scenery of the Faculty of Painting and graduated after 4 years. At first she took part in the design of the May and October holidays, worked in publishing houses. Later she worked in the theaters of the country on the design of performances. In 1934-1936, she already main artist West Siberian Regional Theater for Young Spectators. Throughout all the years creative activity participated in exhibitions and wrote dramatizations.

From 1908 to 1914, Professor A.I. Gorbov, a chemist, student of A.M. Butlerov, rented an apartment in house 1/3. Together with VF Mitkevich, in 1907-1910, at the Polytechnic Institute, for the first time in Russia, he designed an installation for obtaining nitric acid from air by the arc method. Gorbov is one of the organizers of the Institute of Applied Chemistry (23, p. 24).

From the reference book "All Petersburg" I managed to find out that in 1909 the famous painter K.S. Petrov-Vodkin lived on Kamennoostrovsky 1/3. It should be noted that this address was not indicated in the book dedicated to the artist "Petrov-Vodkin in St. Petersburg - Petrograd - Leningrad" (24). He studied from 1897 to 1905. in the Moscow School of Painting with a wonderful master and teacher V.A. Serov, in 1901 in the studio of A. Azhbe in Munich, in 1905-1908 in private academies in Paris. Petrov-Vodkin also acted as a writer. He wrote stories, novels, essays, theoretical articles (29, p. 340) (see Appendix).
From 1909 to 1995, the architect Yakov Mikhailovich Lukin, a master of avant-garde, neoclassical and functional architecture, lived in apartment No. 294. In 1955-1960, together with P.A.Ashastin, N.V.Baranov and engineer I.A.Rybin, a new building of the Finland Station was built (15, p.231).

The house is associated with the name of the People's Artist of the USSR, actor Alexandrinsky Theater(now it is called the Drama Theater named after A.S. Pushkin) Yu.M. Yuryev (5). He settled here in 1915 and lived until 1930 (23, p.24).

The fame of the actor brought the role of the classical repertoire: Romeo, Faust, Uriel Acosta, Don Juan. He created magnificent images of Arbenin, Krechinsky, Chatsky. It is known that Yuryev held rehearsals of the tragedies "Oedipus Rex" and "Macbeth" in his apartment. Actress O.P. Beyul left memories of these classes: “We rehearsed at his house. It was with great pleasure that we entered his beautiful apartment, always, of course, before the appointed time, so as not to be late. It even happened that they appeared when Yuryev was not yet at home. His nanny and housekeeper opened the door for us, a little old woman, Praskovya Ivanovna, and immediately called us to her kitchen. Yuri Mikhalych punished: My girls will come, give them tea, they probably want to eat.

I well remember the large room in which we studied, obviously his study. It was furnished with antique mahogany furniture. (Now this furniture is placed in the living room of the House of Stage Veterans). Above the sofa hung a large copy of I.E. Repin's painting "The Resurrection of the Daughter of Jairus." On the desk is a photograph of MN Ermolova. We rehearsed a lot and for a long time. He studied with us separately, he read for all the other characters. Characteristic images he explained and showed admirably. My role is tiny, but how interesting it was for me to live! With what joy I walked across the Trinity Bridge, to house number 1 along Kamennoostrovsky Prospekt, went up to the fourth floor and each time pressed the bell button with constant excitement ... "6.

In 1943, Yu.M. Yuryev became a laureate of the Stalin Prize. For his teaching activities, he was awarded the degree of Doctor of Arts in 1947 (see Appendix).

Before the revolution, K.K. Rakusa-Sushchevsky, director of the board of a number of large enterprises, including the Russian-Baltic shipbuilding and mechanical joint-stock companies, lived in the Lidval house.

GA Bunge - Chairman of the Board of the Russian-Belgian Metallurgical Society.

E.K. Grube - Chairman of the Board of the Siberian Trade Bank and E.E. Ferro - Director of the Board of the Bryansk Metallurgical Plant (12, pp. 151-154).

The financier and industrialist Heinrich Genrikhovich Raupert lived in the same house - a member of the board of the Azov-Don Bank, director of the St. Petersburg Insurance Society (12, p. 152).

Kamennoostrovsky pr., 1-3
Malaya Posadskaya st., 5
Kronverksky pr., 15

1899-1904 - arch. Fedor Ivanovich Lidval

Profitable house of the architect F.I. Lidval is a new type tenement house with an open landscaped court-court d'honneur. Three buildings - a whole complex of multi-storey buildings, characterized by picturesque asymmetry, a variety of window shapes, combinations of natural stone with plaster of different textures. The facades of all three buildings are decorated sculptural reliefs with images of birds, animals and stylized plants. The northern three-story wing was the Lidval family mansion with apartments. Majolica stoves, faience washbasins, marble fireplaces were installed in this building. The ceilings and walls in the rooms were wooden, trimmed with oak and birch. At different times, the architect M.E. Messmacher, the artist K.S. Petrov-Vodkin, the actor Yu.M. Yuryev lived in this house.

Lidval Fedor Ivanovich (1870-1945) - Russian-Swedish architect, academician of architecture. The main works of the architect were tenement houses, which he designed in the Art Nouveau style, which was new for that time. According to the projects of F. Lidval, buildings were built not only in St. Petersburg, but also in Moscow, Kyiv, Astrakhan, Kharkov. In 1910-1912 he was engaged in the construction of the Astoria Hotel building. In 1918 the architect left for Stockholm. In Sweden, the architect built several residential and public buildings.

Modern apartment buildings, Stalinist skyscrapers, communal houses and high-rise buildings of the 1970s are not just residential buildings, but real city symbols. In the heading "" The Village talks about the most famous and unusual houses of the two capitals and their inhabitants. In the new issue, we learned from Petr Lobanov and Dasha Sinyavskaya, the heads of the bar-burger "Bureau", how life works in the profitable house of Ida Lidval on Kamennoostrovsky Prospekt. And the architect Ilya Filimonov told why the hypothetical city defenders of the early 20th century would not have allowed the construction of such a scandalous building at that time.

Photos

Dima Tsyrenshchikov

ILYA FILIMONOV

member of the Union of Architects of Russia, organizer and vice-president of the architectural festival "Arteria"

“I LIKE AESTHETICS OF MODERN, but the arguments of its opponents are understandable: they are not satisfied with the inconsistency of the architecture of this direction. If I'm not mistaken, Ivan Fomin (a well-known Russian and Soviet architect, he started with Art Nouveau, but at the beginning of the 20th century he switched to the neoclassical genre. - Approx. ed.) for this inconsistency and scolded modernity. In my opinion, the aesthetics of northern modernity - the aesthetics of granite - are close and pleasant to our city, it makes us related to the Finns.

For its time, Art Nouveau was an advanced trend. In this sense, the Lidval house is a good urban example. He violates the canons to which the inhabitant of the late XIX - early XX century is accustomed. For example, do not stand on the “red line”: there was a misconception that houses should stand clearly along the line, forming a smooth front of the street. In most cases, this was the case, but the Lidval house is one of the exceptions: it seems to go deep into Kamennoostrovsky Prospekt, and the building itself is preceded by an open spacious courtyard. To some extent, the Lidval house maintains the image of the Petrograd side as a close suburb of St. Petersburg at the end of the 19th century.

Modern teaches us that the city must change and develop. The hypothetical city defenders of the early 20th century would not have allowed the construction of such a building as the Lidval house. City guards would be outraged by the asymmetry, the oddly shaped windows. If you look at the house from the side of the Trinity Bridge, on the top floor you can see some strange balcony at all. Plus the active use of animal and plant ornaments - "obscurantism"! All this went against the established architectural canons. At that time it was an advanced architecture that many did not understand, but over time it became part of history.

Our contemporaries could learn from the architects of the late XIX - early XX century, among other things, the accuracy of handling details and the principles of selecting proportions. Of the current architects working in the Art Nouveau style, first of all it is worth mentioning Mikhail Aleksandrovich Mamoshin and his projects, of the last - the house on Chernyshevsky, 4 (meaning the elite complex " Tauride", commissioned in 2011. - Approx. ed.). Moreover, Mamoshin does not copy modernity: he rethinks and develops it.”

Four-room apartment

150 m2

Six-room apartment

180 m2

Eight-room apartment

203 m2

Petr Lobanov

co-founder of the bars "Bureau"

Dasha Sinyavskaya

bar marketer "Bureau"

PETER: Our family moved into the Lidval house in the early 1990s when I was two years old. Before that, we lived in Avtov, and then we exchanged apartments favorably, settling a four-room communal apartment that was here before us.

The apartment has gone through three renovations. Initially, there was a beautiful white piano - it was inherited from the previous tenants and stood in the bedroom. Thanks to the grand piano, the apartment was reminiscent of the imperial style. At the turn of the 2000s, the parents made repairs with partial redevelopment, and in 2010 - another one. But over time, the apartment was shabby, in addition, it was very dark here - an oppressive atmosphere, like a castle from The Hound of the Baskervilles. Parents left to live outside the city, and Dasha and I stayed here. There were too many rooms for the two of us. In general, a year ago we took Peeb's plan, looked at what walls could be demolished. And they made an open space, thanks to which the apartment became an order of magnitude lighter.

The Lidval house is an architectural monument, but the security restrictions mainly concern the elements of the facade, which, of course, we did not touch during the renovation. Moreover, when changing windows, we left the old deglazing, and the color of the frame is the same as in the whole house: we specially made them wooden, not plastic. As for the internal arrangement, the stove remained in the bedroom - it is working, albeit pre-revolutionary. The stove is well preserved: when repairs were made, chimney sweeps were called - so there is draft, you can heat it. But this is not necessary. But we often heat a fireplace in a large room, especially when guests come - it turns out very cozy. By the way, unlike the stove, there was no fireplace: apparently, it was dismantled in Soviet times, so only the canal remained. His parents found him, cleaned and made a new fireplace.

Another unusual thing: in the apartment - for 150 square meters of area - there are three exits. One, however, behind the closet. In principle, it is not bad to have access to two staircases.

DASHA: This is a common story in the old fund, for example, on Vasilyevsky Island. The fact is that unusual people lived in such houses, with servants. And so that the servants did not go through the main passage, they made another one, black. We live on the first floor, so the third entrance, I suspect, is the janitor's. But it's not known for sure.

The house is very quiet. Noise isolation here due to the court-court d'honneur. Even if we open the windows now, it won't be noisy. The yard seems to absorb sounds.

Ceiling height

3.5 meters

Separate bathroom

kitchen area

23 m2

PETER: During construction, acoustic aspects were considered. And this is what distinguishes the old fund from new buildings: the architects approached the matter wisely. They built not only for the sake of money. The house itself also has excellent sound insulation: we almost stood on our heads here when we were younger - and nothing, none of the neighbors ever came. Probably, the closet must fall in order to hear something in the next apartment.

The form of house management is a homeowners association (HOA). But it is nominal. We do not have meetings and practically do not carry out any work to improve the territory. We could turn on the fountain in the summer, and pave the yard with paving stones instead of asphalt. Yes, a million things could be done, but there is no initiative. Homeowners' associations made it possible to use the no-man's rooms of attics and basements - so they did not leave KUGI (Committee for City Property Management - Ed.) and remained with the residents. There, however, there is nothing special: sometimes someone just stores something.

There is no neighborhood community in the Lidval house. However, there are not so many tenants here: for each front door (there are three of them on the front side) - eight to ten apartments. And all the people are very wealthy, multimillionaires. With statuses: owners of steamboat factories. But at the same time, they do not want to invest anything in common property and thus make their own life better. A bunch of oligarchs who don't care where they live. We are the poorest family here and, it turns out, we want to change something more than anyone else. Another specificity is that neighbors spend a lot of time abroad. Plus, we have a big difference in age, there are no common interests. But in general, everyone here is polite, everyone greets each other.

The building consists of several buildings, part of which faces Malaya Posadskaya Street - but there, unlike the front building, there is nothing remarkable. It can be said that the Lidval house, which everyone knows, is only the front part with the court d'honneur. There are non-residential premises in the left and right wings of our part of the house. On the left is a state kindergarten, I went there as a child. On the right was the office of Rosgosstrakh, but now it has moved out. In each of our three "facial" front doors there are guards, moreover, from the Main Directorate of the Ministry of Internal Affairs. This is probably such a show off from the gangster 1990s: you are guarded by a real cop.

The advantage of the house is the location. Center, opposite the metro. Plus there is green Zone which is unique for the center. Dasha and I are running around Petropavlovka. There are also high ceilings and general ventilation. It is not modern: they just made ventilation ducts during construction, which give air circulation in the house. And finally, from the pluses - a geyser: we do not depend on summer water cuts. Of the minuses: old communications. During the last repair, a lot of things had to be redone, millions of rubles were spent on it. We even thought about whether to sell the apartment: repairs cost as much as new housing in the north of the city. But now we are glad that we stayed, we love the apartment and we will not move anywhere.

From local legends (this, however, is pure truth): in the 1990s, the well-known crime boss Kostya Mogila lived in the Lidval house on the fifth floor. He was the number one gangster in the city at that time. I remember that time very well. I would come home from school with a huge briefcase on my back, but they wouldn't let me into the yard, because Kostya Mogila and his thousand guards were leaving from there. And when Kostya Mogila left the house, everyone had to sit in their apartments; he descends - and the lights are turned off in the whole front room so that it can be seen whether they are aiming at him. In the early 2000s, Kostya Mogila was still shot, but already in Moscow.

In St. Petersburg, between Kamennoostrovsky Prospekt and Malaya Posadskaya Street, opposite the exit of the Gorkovskaya metro station, there is Lidval's house.

The land for the construction of this building was purchased by Ida Lidval, who, left a widow with eight children, took the advice of her third son Fyodor and invested in a relatively inexpensive land plot. Ida Lidval did not lose. After the construction of the Trinity Bridge began in 1897, the price of plots and houses in that area increased greatly. Since the place was considered promising, Ida Lidval decided to build a large tenement house here. With a request to develop his project, she turned to her son Fyodor Ivanovich Lidval, a graduate of the architectural department of the St. Petersburg Academy of Arts. In 1898, the young architect Fyodor Lidval began his first major architectural project.

In developing the concept of the future building, Fedor Lidval used the style of the northern modern, which was very fashionable at that time. In plan, the Lidval house is an irregular polygon facing Kamennoostrovsky Prospekt with a large open courtyard. In the main part of the architectural ensemble there are three buildings of different heights that visually connect the central five-story building with the avenue. Asymmetric side buildings - four-storey on the right and three-storey on the left - form a cozy courtyard with front gardens and flower beds. The multi-storey buildings are connected with the peculiarities of the internal layout of the apartments, all the premises of which are functional, spacious and comfortable.

The decoration of the building is rather strict. The first floor is completely decorated with crushed rubble stone. The composition of the facade is strictly symmetrical. However, the decoration contains unobtrusive light decor elements that give the Lidval tenement house a poetic look: reliefs of animals, plants, birds, forged and cast metal elements, colored plaster, slight curvilinearity in the endings of windows and cornices. According to some reports, glasses with a facet were originally inserted into the windows of the house, which created a wonderful effect - under the rays of the glass, they shimmered with all the colors of the rainbow. The arches and portals of the entrances are decorated with carved reliefs made of talc-chlorite with images of forest animals, plants and wild birds. One of the plots is connected with the eagle owl, which is an invariable attribute of buildings built in the northern modern style. Portals are decorated with reliefs with intertwined tree roots in which lizards lurk, a wolf watching hares, forest ferns, mushrooms, and insects from ambush. These motifs resonate with the ornaments of the balcony railings, which have spiders in their webs, flowers, and leaves.

The Lidval House was completed in 1904. The Lidval family was given the northern wing of the building. Ida Amalia Lidval lived here until her death in 1915. For a long time, the design bureau of Fyodor Ivanovich Lidval was located on the first floor.

After the revolution in the summer of 1918, Fedor Ivanovich Lidval left Russia forever for Sweden to live with his family, who had emigrated earlier. During the years of revolutionary terror, his life was out of danger only due to the fact that he, being a native Petersburger, had Swedish citizenship, which was the same for all his family members. Reunited with his family, he lived in Stockholm. Participated in the design of 60 buildings. However, not all of the architect's creations bear at least some comparison with his first brainchild - a house on Kamennoostrovsky Prospekt. The architect died in 1945.

The famous Russian painter K.S. Petrov-Vodkin, Lieutenant General A.N. Kuropatkin, People's Artist of the USSR Yu. Yuriev.

The history of the site on which the Lidval house is now located begins in 1849. That year, between Malaya Posadskaya and Kronverksky Prospekt, there was a two-story wooden house the headquarters of the physician N. A. Brown and the two-story stone house of the mechanic E. I. Glennie. In 1857, part of the plot passed to the wife of the merchant A. A. Kumberg. The new owner built one residential building and four non-residential buildings. In 1851, her husband, a German businessman, a merchant of the 2nd guild, Ivan Kumberg, founded a lamp and bronze factory on this site. At an industrial exhibition in 1861, he received one of the awards. By this time, the factory employed 50 people. Its annual turnover was about 110 thousand rubles. Soon the factory expanded and in 1875 became a factory of bronze products. I. A. Kumberg remained its owners. The plant managers were Johann Kox and Richard Koordt. The family heirloom is a kerosene lamp with the inscription “I. A. Kumberg" is now in the museum of the art gallery "Petersburg Mansard".

In the years 1863-1889, this large plot was acquired by Meklotlin, who erected two wooden non-residential buildings. In 1896, the entire site was divided into two: S. V. Felkel (under No. 1) and A. A. Kumberg (under No. 3). After 2 years, they passed to J.P. Koks, a Prussian citizen who was engaged in metal manufactory.
But already on September 28, 1898, the site was bought by the mother of the architect F. Lidval. The land was bought on credit. Ida Baltzarovna Lidval asked the Credit Society to give her, secured by the aforementioned property, a loan of 42% in bonds, which, according to the rules of the Society's Charter, is due for a period of 37 ½ years.
On March 23, 1899, Ida Lidval wrote a petition to the St. Petersburg Council, wanting to build on her land. Permission was given on April 14, 1899, and on April 24, F.I. Lidval already asked to put up a temporary fence, which meant the start of construction.
Due to the fact that there were stone and wooden residential outbuildings near the avenue, the construction of the entire complex began in 1899 from Malaya Posadskaya Street. In 1900, a four-story building was erected and occupied 130.25 square fathoms. It included mainly five-room apartments, which, in addition to rooms, included people's rooms, bathrooms, pantry, front rooms, kitchens, and closets.

The architectural design of the Lidval house on Kamennoostrovsky Prospekt

House for one of the early works of F. Lidval. This is an outstanding example of a complex urban planning and artistic solution for a large area. The building consists of several multi-storey buildings, united by a semi-open court yard (cour d "honneur - translated from French - courtyard of honor), which makes the apartments more illuminated. According to E. A. Borisova and G. Yu. Sternin, this new method of composition with a large front yard, opened onto the street, which replaced the “yard-wells” typical of St. Petersburg tenement houses of the 19th century, was used here for the first time.

In the construction of the building overlooking Malaya Posadskaya Street, the architect tried to overcome the usual flatness and symmetry. The middle gable of the curvilinear outline and the wide windows below them are displaced from the central axis. The lower floor is separated not by a horizontal rod, but by a wavy line. Bay windows do not repeat each other: the left one is rounded, the right one is trihedral. Lateral trapezoid tongs with arched ends are suitable for completing the corner of the house of I. E. Riting on Kronversky Prospekt (1899, V. V. Schaub). The wall is covered with textured stucco. This technique would then be a favorite in the work of Lidval.

The plan of the central building is also not symmetrical, but the main link of its main facade has a symmetrical three-axis structure. The vertical axes of the body are underlined by three bay windows and gables. The middle gable of a complex curved contour rises above the side bay windows. The trihedral glass bay window in the center is sandwiched between the blades of greater height, inscribed with vertical rods. Metal beams and other parts of its structure are artistically processed. The basement of the house along the entire perimeter is made of smoothly processed red granite slabs. The cladding of the lower floor and the architectural details are made of talc-chlorite (talc-chlorite schist) or, as it is also called, “pot stone”, which was first used in St. Petersburg by Lidval.

Courdonner and lattice of the Lidval house

The building is separated from the building by a beautiful wrought-iron lattice, mounted on pillars of red Finnish granite, and renewed in the summer of 1995. There are two gates with granite pylons-lanterns in the lattice. The house was designed as a single organism, where the form corresponds to the content New trends appear not only in the layout of the building, but also in the methods of decorative decoration characteristic of the architect. In the design of the facades of the buildings, the architect widely used modern decorative motifs; attention is drawn to the design above the central portal. In the center of the relief decoration is a cartouche with the date of completion of the main part of the complex "1902". To the right of the date is a pine branch with cones. Nearby is a forest bird, similar to a magpie, striving to peck at a hare sitting next to it. Behind him is another hare running out of the thicket. To the left of the date is the head of a lynx with an open mouth. Nearby, on a branch, sits an owl with open wings.
A high-relief owl with outstretched wings, for which the top of the middle tong was specially widened, is located under the very roof. There are balconies on the second floor on both sides of the building. On the lattices of which large forged spiders "sit". To the right and left of them, as if supporting a web, metal sunflowers “bloom”. The fences created by the architect’s fantasy are remarkable in two respects: the filigree blacksmith work makes them a work of art, and the plot he has chosen carries a multi-valued image: the spider is a symbol of needlework, crafts, weaving, and even more broadly, fate. lattices with spiders of the Lidval house serve as a kind of illustration to the words of the French art critic Ch. Blanc, who noted that “... architecture in its highest sense is not a structure that is decorated, but an ornament that is being built.” It is curious that the other balconies of the building (and there are about ten of them in total) have a completely different style. Some of them are made in the vegetal version of the rhythmic modern, others in the neoclassical style.

The Lidval House is a bright representative of the Northern Art Nouveau in St. Petersburg

The construction of the house by I. B. Lidval became an event in the architectural life of St. Petersburg. And it is natural that in the buildings of other architects of that time one can find echoes of the architectural techniques first used in the house on Kamennoostrovsky Prospekt. So the composition of the Lidvalevsky balcony with spiders can be seen in the lattices of the house of P. T. Badaev (Vosstaniya St., 19), designed by architects V. I. and G. A. Kosyakov. Only instead of sunflowers, the spider is surrounded by mighty stems of blooming thistles.

Decorative decoration of Lidval's house, as a representative of the northern Art Nouveau

Above the front door of the left building are images of fantastic large-headed fish resembling dolphins, with bulging eyes and open mouths. A nimble lizard is carved on the protruding part of the wing, above - the head of a lynx. Amanitas and morels grow under the fern leaf. Near tulips, wild berries. All this is organically fused into the diversified surfaces of the walls. These animals and birds are a tribute to the fashionable at that time northern architecture. A mixture of northern and southern, night and day, real and fictional birds and animals in the design of the building is one of the features of Art Nouveau.

Particularly expressive in terms of plasticity is the corner part of the southern building. Volumes and planes are softly cut into each other. The corner itself is as if incised, and a faceted prism is built into the recess, which is supported by a powerful beam and thick columns of blocks of torn stone. Wreaths and a garland were added to the elements of Art Nouveau.
The image of the Lidval house is polyphonic. Numerous and varied bay windows and balconies, straight and polygonal window openings, some of them with endings in the form of arches with platbands of different patterns. The cladding of the facade of the building, resting on a red granite plinth, used a light greenish-gray potted stone supplied by a Finnish company from the Nunnanlahti deposit (Finnish Karelia) or Kaplivo-Murananvara. Approaching the house, you immediately pay attention to the forged railings of the first floor balcony. They are made in the form of the Latin letter "L" - the first in the names of the owners - Lidvall.

The first inhabitants of the Lidval house

After the construction, he immediately settled in this building: Prince Ukhtomsky, a Belgian citizen Tenshan, a teacher at the Zhelobovsky gymnasium. The payment for living in such an apartment during the year ranged from 1200 to 1400 rubles, depending on the floor and windows. At that time, the artist and architect F. F. Postels lived in apartment No. 6.
In 1901-1902, a five-story transverse building was built, enclosing the oblique courtyard. It occupied 203.36 square fathoms. In this building, the number of rooms in the apartments is different. For example, the following lived in two-room apartments: the merchant Sapozhnikova O. S., Bylinsky V. G., Lessner R. G. The six-room apartment No. 16 on the 1st floor was occupied by the architect A. G. Gaveman, a graduate of the Academy of Arts (1898).

The nine-room apartment No. 18 on the 3rd floor was occupied until 1915 by the owner herself - Ida Lidval. Her sons Eduard Lidval and Fedor Lidval lived in neighboring apartments No. 21 and No. 23 on the same floor. At the end of 1903, a left 3-storey, partly 4-storey wing was erected. Its area was 169.61 square fathoms. There were only 5 apartments here. Collegiate adviser A.D. Pokotilov lived in apartment No. 26. And in the neighboring 27th lived the namesake Maria Konstantinovna. Before the death of her husband, architect D.V. Pokotilov, she still lived in the Lidval house, but soon moved to her own mansion on Kamennoostrovsky Prospekt at No. 48. The remaining apartments were still empty at the time of the inventory in 1904. The architect's technical office was located on the ground floor. The employees of the bureau in January-March 1915 issued a monthly magazine of the commonwealth "Posadskaya 5".

Finally, in 1904, the last building in this complex was built - the right wing. There were 9 apartments here. British subjects lived in apartments No. 30 and No. 34 - Elizaveta Ivanovna Goth and J. Ward Yakovlevich. The family of His Serene Highness Prince Radziwill lived in the combined apartments No. 31 and No. 36 on the 3rd floor. One floor above, in apartments No. 33 and No. 38, the family of Adjutant General Kuropatkin lived.
The apartments of Radziwill and Kuropatkin cost 9,000 rubles each. in year. This price is very high for that time. If we assume that, for example, a gymnasium teacher Zhelobovsky, living in a 4-room apartment, paid 75 rubles for it. per month, with a salary of 150-190 rubles. But the price was worth it. Indeed, in the planning of the apartments, Lidval paid great attention to the location of the premises, issues of comfort, hygiene and lighting.

Finishing the Lidval house

Despite the fact that the general plan of the house has an irregular shape, the architect managed to do without rooms with sharp and obtuse corners. Inconvenient rooms were used as storage rooms or auxiliary rooms. This house belongs to the type of profitable, because. was designed for residents of any stratum, as we were able to verify. All the apartments were equally well-appointed, differing only in size, floors and windows facing south, east or west.
Also, with the help of documents of those years, we can imagine the interior decoration of the house. The floors in the apartments were mosaic and parquet, partly with patterns and friezes. In the rooms of the right and left wings, the walls and ceilings are wooden - oak and birch finishes. Dutch, Amov, Russian and majolica stoves were installed - Dutch and marble fireplaces. The bathrooms of the last building had French kitchen hearths and faience wash basins. The house had solid and lattice windows, into which glass with a diamond edge was inserted. These glasses played in the sun with all the colors of the rainbow. There are marble and tiled fireplaces in the front rooms, marble staircases have beautiful curves. A mosaic picture has been preserved on the wall of the stairs of the left wing. Each building had rooms for porters, janitors and machinists, reception rooms, latrines, laundries, and ironing rooms. But the most important innovation of this time is the elevator.

F. I. Lidval and his family

From 1904 to 1917, F. I. Lidval and his family lived in a house on Kamennoostrovsky Prospekt at house number 1/3, but after the February Revolution, the envoy Brendstrem advised him to send his family to Sweden in the hope that the situation would stabilize. Therefore, Lidval's wife and children spent the summer in the Stockholm archipelago. In August 1917, Mrs. Lidval's father died, and she went to Petrograd, where her husband was at that time. The children still remained in Sweden, where she returned in September. This visit was her last stay in the city where she was born and raised.

Upon returning to Sweden, Mrs. Lidval lived with her children in a hotel at the Yurkholsky restaurant. The Lidval family spent the winter of 1917-1918 in Jurholm. F. I. Lidval survived the October Revolution of 1917 in Petrograd, and was not once subjected to violence because of his authority. He did celebrate Christmas, apparently, in Stockholm with his family. One way or another, in January 1918 he was again in Petrograd. There he remained for almost a year. At the end of November, he left for Stockholm, probably not thinking that he would never return. In his office, work continued on projects for several buildings: the Russian Bank for Foreign Trade, the Nobel Brothers JSC and the maternity hospital in Petrograd, the banking house in Samara, and the resort hotel in Kislovodsk. None of the projects was completed, but the workshop functioned as an integral structure until 1923 (it was located in his house on the first floor - Kamennoostrovsky pr.1/3). In 1919, the Lidval family bought a 3-room apartment in Stockholm, as they already understood that their stay in Sweden, which was called temporary, became permanent and stretched out for the rest of their lives.
In 1919, the Swedish state established the "Russian Property Commission", whose task was to protect the interests of the Swedes in Russia, both individuals and enterprises. Among those who lost the most were the Lidval families, the architect and tailors. The total amount of Lidval's claims to the Soviet state reached 1,792,520 kroons, which corresponds to 70-80 million kroons today. This included the cost of houses: on Zelenina Street, 20/15 (acquired in 1910), on Bezborodkinsky Prospekt, 14 (acquired in 1915), on Bolshoy Prospekt, 99-101 Vasilyevsky Island (acquired in 1916). Documents confirming the right of ownership were in cell No. 700 of the Petrograd branch of the Azov-Don Bank. Margaret's wife put forward a claim of 375,000 crowns. But they didn't get anything back.
On February 25, 1920, the architect Johan Frederich Lidval and his family were registered in the parish of Hedwig Eleonora in the capital of Sweden.

F. I. Lidval's career in Sweden

 
Lidval was one of the most respected architects in Russia and the founder of a new style in St. Petersburg architecture in the first decades of the 20th century. But in Sweden he was almost unknown, and even if he was known, then in the bad market conditions that developed in the 1920s, they looked at him as a dangerous competitor. Emmanuel Nobel at first tried to help Lidval, partly with cash, partly by offering a commission for the design of the Nobel Foundation building in Stockholm. This order F.I. Lidval did not get it, but after a few years spent in the humiliating rambling around the rapids, he got a job in Stockholm in the architectural office "Estlin and Stark".
F. Lidval during his work in Stockholm designed 23 houses, including 16 author's, but, despite this, his career in Sweden cannot be called successful in comparison with what he did in pre-revolutionary Russia. His daughter Ingrid writes with pain about her father's hardships in Sweden, and not only professionally. After almost twenty years of success and the high praise he deserved as an architect of Russia, he now had to be content with the work of an employee. Sometimes he received four independent buildings, but far from being able to provide himself with only private orders.

Fedor Ivanovich Lidval, great Russian architect

Recognized and widely known in Russia and forgotten in Sweden, F. I. Lidval died as a result of a cerebral hemorrhage at his home in Stockholm on March 14, 1945. He is buried in the Jurekholm cemetery (a suburb of northern Stockholm).
Fedor Ivanovich Lidval earned high prestige not only as an architect-artist, a fine connoisseur of architectural form, a man of great taste, but also as a builder personally leading the implementation of his projects in kind, demanding on the quality of construction and finishing works, delving into all the details of construction. Many of Lidval's students (A. A. Ol', R. I. Kitner, and others) became prominent Soviet architects and always remembered their teacher and older friend.