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Статья опубликована в рамках: Научного журнала «Студенческий» № 42(86)

Рубрика журнала: Технические науки

Секция: Архитектура, Строительство

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Библиографическое описание:
Vladislav V. THE HERITAGE OF WOODEN ARCHITECTURE OF XVIII-XIX CENTURIES IN EASTERN SIBERIA // Студенческий: электрон. научн. журн. 2019. № 42(86). URL: https://sibac.info/journal/student/86/164741 (дата обращения: 29.03.2024).

THE HERITAGE OF WOODEN ARCHITECTURE OF XVIII-XIX CENTURIES IN EASTERN SIBERIA

Vladislav Vlasov

student, Institute of Architecture and Construction,

Russia, Irkutsk

ABSTRACT

The article considers the issue of the historical heritage of wooden architecture and its historical features. Particular attention is paid to the emergence of residential buildings and their development. The concept of Russian wooden architecture and its appearance in Siberia are also considered. A research was carried out, as a result of it, features of the abutment in the life of Siberian villages and their space-planning transformation in the time period were revealed. This article will be useful to all people associated with history and architecture.

 

Keywords: history, features, wooden, heritage, architecture.

 

Wooden architecture obeyed the basic historical laws, sensitively reacted to all major and significant changes in the economic, political, ideological and aesthetic life of society and the state. For Russian architecture, it was like a gigantic creative laboratory where people created, tested, changed and varied new architectural forms and techniques. All this architecture is characterized by local features of individual regions of the country.

Russia is a large, multinational country. Tens of thousands of villages are spread across the vast expanses of large Russia. And there are no two identical among them, just as there are none unlike one another. All of them are marked by a certain unity, expressing their nationality and stylistic community, but they all differ in their local originality, characteristic only of one region of the country. It follows that the climatic conditions in the regions are different and require a different approach. It also follows that certain regions of the country had their own history and their indigenous people, who also left a mark on history.

Each region is its own unique appearance of the village and the special features of its architecture, the special types of buildings and structures that make up the manor-yard. This is a special system of their location and connection with the environment, special building materials, structurally technical methods. And, of course, each region reflects its ideas about the beauty of architecture, expressed in the local originality of the forms of buildings, their proportional structure and decoration, in the traditionality of the various structures that make up the development of the village.

There is a character in the northern regions of the Irkutsk region. Due to the harsh conditions of Siberia and the great distance from large settlements, here the villages were usually small: five to seven yards, sometimes two or three. Of course, to this day the villages did not exist in its original form, and specifically in the volumetric planning representation and its harmony with nature. These villages grew, the construction began to condense over time, in some places it was completely oppressed by modern buildings. Some old buildings could not withstand such pressure and disappeared into thin air, were demolished by the new owners in consequence of the loss of their functional purpose and complete unsuitability. If there are more than a dozen yards and a church stands nearby, then this is a village. Small villages usually huddle not far from the big village and unite with it in a relatively isolated group of settlements forming a volost.

To understand the architecture of wooden buildings, it is impossible to study only design features. To get the big picture, you need to think globally. To study the characteristic historical factors of settlements, their mode of life, foundations - which were specific from others under the harsh conditions of Siberia.

This article discusses the wooden heritage of eastern Siberia. Based on the above judgments, it needs a separate detailed study and comparison of facts that reflect the philosophy of the villages life of eastern Siberia. The village Gryaznushka of Osa district of Irkutsk region will be specifically considered. But Gryaznushka will be considered with several villages in connection with their common history of origin.

As is known from history, people came to Siberia for various numerous reasons. But for the most part, people went to Siberia, knowing the harsh conditions, a kind of freedom. As a rule, a husband and wife came. Arriving in these parts it was necessary to live somewhere and they chopped a small blockhouse of about 5 meters by 5 meters. This was enough, since there were no children yet. Over time, outbuildings with their own character were built: buildings seemed to go around and protect the hearth - the house from the external environment. The family expanded and places became smaller. It pushed for the construction of additional living space. The expansion of living space is characteristic of the Siberian villages, and each has its own character of development, but while maintaining the fundamental principles of existence.

Each building of the Siberian village has its own appearance and characteristic silhouette, its own stable architecturally constructive forms. And each of them is first of all - a log cabin, powerful, plastic, saturated with chiaroscuro, playing with many halftones and shades of the natural color of the tree.

As in the southern regions of Russia, folk architects were able to see beauty in an unadorned wall, made of simple wild stone. Similarly, by Siberian architects, an open log cabin was perceived as beautiful in itself, as a matter of course, beautiful in its nature.

It is this - plastic, picturesque, diverse in the details of the structure, in color and chiaroscuro - that the log cabin appears in every work of truly folk wooden architecture.

Moreover, it is easy to see on each of them a careful and even loving attitude to the open surface of a log cabin, it like a cult of technical aesthetics that amazes with the thoroughness of the artistic processing of a wall, corner, opening or any other detail associated with the log house.

Thus, the log house serves not only the structural and technical basis of each building, designed for a particular utilitarian and practical function. A log house also serves as the basis for architectural, artistic, tectonic expressiveness, common and uniform for the most diverse structures of the northern village. And in this role, a log house carries a high unifying potential, organizing disparate buildings and giving it features of architectural and artistic integrity and compositional clarity.

The organic unity of different buildings is also contributed by the fact that the logs in their log house have their own, well-defined and optimal sizes. This is due, on the one hand, to the physical dimensions of the tree trunk, and, on the other hand, to the practical possibilities of their most appropriate use and application.

Therefore, a log laid in a log house receives, as it were, average dimensions and, repeating itself in these stable sizes many times, acquires the quality of an architectural module. This module is common for buildings of various compositions and forms.

When you enter such a house, you feel calm, no inner fuss and fear. You even feel inspired. No TV, no other annoying broadcasts. At some point, you sit down on a bench of impressive size, turn off the phone and debug it from yourself. The Russian stove is heated, gently warming it with its pleasant heat, and lulling it with a pleasant crackle of burning firewood. Gleams of flames spread through the slots of the furnace door. There are many windows, but they are small in size. Nevertheless, there is no lack of light, but there is a complete sense of security in the monumental, cut down from the logs of the log house. Complete harmony with the environment. There is nothing superfluous, but there is everything necessary.

Each part of it has been verified by time and is correlated with it, reflected in the space of life: the sources of human thinking are one. Everything here is convenient, smart, simple, and from that - beautiful. The wonderful beauty and grandeur of material and spiritual culture can be traced to our ancestors.

The people of this area consider these villages as one whole: Gryaznushka, Markovka, Chuprovka. They come from an ancient family, and are closely interconnected. This region is located in a taiga area with high and steep ridges, with glens originating from the underbelly. A small river flows in the lower reaches of the relief. It is winding, and from this very picturesque, its name is Osinka.

Also Parfyonovka and Lyubavka are worth mentioning to this area. Their places of existence were literally plowed with a loud watchword to the people «virgin land raising». There was only one house left from Lyubavka, transported to Gryaznushka as a single historical reminder for the locals that such a village existed and bore fruit in the now growing and prosperous village.

Lubavka: today, the village has completely disappeared, but there remains a house transported to Gryaznushka in its original form. And now this village exists only according to stories.

Parfenоvka: today it has completely disappeared, and there is only one reminder of it - this is Markovka, since these villages are closely connected. The pioneers here were two brothers who founded here and continued their kind. One was called Mark, and the second was Parfen. They built houses on opposite sides of one small stream. As a result, they began to call one village Markovka and another Parfenovka.

Parfenovka completely disappeared, leaving only memories in adults and people who grew up in these places. The new generation has even been heard of the existence of such a village in our area. It has the same roots of origin with Markovka. As far back as the 17th century, a Cossack passed along these deserted lands, with high overgrown pine ridges and a large number of wild animals. And at the behest of his soul, he decided to settle here.

On the north side there is a high ridge with a young pine tree, providing a kind of protection from through winds. On the south side there is a pine forest with a slight elevation of relief. Between, on a plain a stream flows.

He had two sons, Mark and Parfen. They grew up and built houses on opposite sides of one stream, and they began to call Parfenovka on one side and Markovka on the other. In the recent 1950s, Markovka consisted of more than 100 houses. Today, only one of them has remained and 6 new ones have been built. The almost dead village was given a new life by the returning, once-gone families who grew up in this only preserved house.

The village of Chuprovka was not large compared to Markovka, it contained about 15 houses located along the glen and a stream flowing along this glen. Today, three houses have been preserved. One of them was transported to Gryaznushka, and it is directly related to me, the author of this article. In this separate house, five generations of my family grew up, including me.

The village of Gryaznushka itself has formally existed since the 50s of the last century. But it is worth noting that it has existed formally since these years. In fact, families lived here in the XVIII - XIX centuries, and these houses are standing today. There was no single village because the buildings here were substantially scattered.

Buildings existed as khutors - two, three houses. This was mainly because - in those days the terrain was swampy and in the spring these buildings were even flooded into the mud. This is evidenced by the characteristic technical changes in the groundsills. They changed, as evidenced by their external more recent structure, or completely decrepit, almost rotted compared to the upper joisting. Such a natural character of the territory has been preserved literally to this day. Only in the last 10 years the climate has become dry, the swamps have dried up and no flooding occurs. This characteristic development of khutors can be explained by the fact that they were organized by two brothers. Brothers were built next to each other, helped each other in the construction of houses from older to younger, since the construction was not easy and it did not happen quickly.

The nature of its picturesqueness is unique and relatively different from the surrounding villages. On the one hand, a relatively birch grove stretches along a relatively flat relief, into which it now enters, then exits, the Osinka River curls through. Immediately beyond the river there is a steep climb with a pine forest on top. On the other hand, a birch grove is also spread by a steep slope, on which long fields stretch along glens to high ridges.

With the advent of the only school in the village to the whole area and the founding of the collective farm, people began to move to the village from the neighboring villages mentioned above. Families began to move to the village, the village grew. The inhabitants had a question about the name of the village. It was quickly decided, because the people had long been named, based on the climatic features of the area. As a result, almost all families from neighboring villages moved to one.

Thus, we found out the characteristic features of a particular region and, based on its example, we can conclude: Russian outbacks (villages) lose their loyalty over time for good reason, and their architectural features will slowly disappear into thin air.

This begs the question. Does this heritage need to be preserved? Yes, no doubt needs to be preserved. One more question begs. Is it necessary to reproduce this architecture, meeting all modern trends? Otherwise, it will not be in demand and will result in isolated cases? The answer is twofold and difficult to answer. There will be people who encourage such an idea, and vice versa - critics of this direction. Since any incorrect perception, and subsequently not successful and incorrect reproduction, in modern architecture will be perceived by its features as a murder of historical roots. On the other hand, from ancient times in our harsh lands they say – «Without moving, you will freeze in place». Maybe this happened to the wooden heritage. It did not stand the test of time, and you need to think about how you can reproduce all the best that is available in them.

 

References:

  1. Lisovsky V. G. Architecture of Russia XVIII-early XIX century. The search for national style/ / "Publishing house White city" Moscow. 2009. 558s
  2. Opolovnikov A.V., opolovnikova E. A. Irkutsk wooden Land... / / Moscow. 2004.536 s
  3. Aschepkov E. Russian folk art in Western Siberia/ / "Publishing house Academy of architecture of the USSR" Moscow. 1950. 126c
  4. Opolovnikov A.V. Russian wooden architecture/ / "publishing house Art" Moscow. 1986. 312c
  5. Opolovnikov A.V. Russian wooden architecture/ / "publishing house Art" Moscow. 1983. 288s

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