The Path to Renewal: How the Narkomfin Building Came Back to Life

Contents:

• Creators of the Narkomfin Building: Architects and Their Ideas
• What Makes the Building Unique
• History of the Narkomfin Building: Trials and Transformations
• The Period 2016–2020: Restoration and Renovation

Creators of the Narkomfin House: architects and Their Ideas

The Narkomfin Building was built at the turn of the 1920s and 1930s and became a reflection of the most progressive architectural ideas of the time. The idea for this unique structure belongs to People's Commissar of Finance Nikolai Milyutin and architect Moisei Ginzburg, who were both fascinated by avant-garde architecture and strove to create new forms of urban development in the spirit of socialism. On Milyutin's initiative, Ginzburg, together with architect Ignatius Milinis and engineer Sergei Prokhorov, developed the design for this experimental house.

What makes the House unique?

In his work "Housing," Moisei Ginzburg describes the house as "a smooth transition to more developed forms of social organization and economy."

Innovative architects sought to develop a concept for public housing that would bring the daily lives of the House's residents as close as possible to the principles of communist ideals. The project for employees of the People's Commissariat of Finance was conceived as a transitional stage between residential premises in apartment buildings and communal houses, where the amenities of individual apartments would be harmoniously combined with public services and ample common spaces. The result was the creation of an architectural complex consisting of three parts.

The residential complex featured comfortable "cell" apartments of various formats, suitable for both single people and families. When designing the interiors, architect Ginzburg sought to optimally utilize both horizontal and vertical spaces. Communal services were intended to take over cooking, laundry, and childcare, reducing the size of kitchens, bathrooms, and utility rooms.

These apartments lacked servants' quarters, which remained a common feature of upper-class housing at the time. The building's wide corridors and rooftop terrace, designed for relaxation, were intended to encourage meetings and interactions between neighbors.

The communal building was designed to integrate various functions located outside the living spaces. It housed a dining room, a kindergarten, areas for active recreation and sports, and a rooftop terrace. For the convenience of residents, the residential building was connected to the communal building by an overpass. A utility building, containing a laundry, dryer, and other utility rooms, was located nearby.

The elongated white house, supported by thin black columns, created the feeling among residents that it was floating in The building was a striking example of functionalism—every detail of its exterior was carefully considered and had a practical purpose. The use of load-bearing columns reduced the load on the exterior walls, which in turn allowed for the implementation of ribbon glazing. Thanks to panoramic windows, the space always had ample natural light and fresh air.

Against the white facades, the interior utilized original color combinations that contributed to the illusion of a more spacious space. These schemes were developed by Bauhaus professor Hinnerk Scheper and his student Erich Borchert, who arrived specifically for this task. One interesting technique was to paint the walls a single color, but with increasing saturation. Depending on the location of the windows and the level of natural light, the walls were painted yellow or blue.

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Bauhaus and VKHUTEMAS: Stages of Design Development in the 1920s and 1930s

In the 1920s and 1930s, the design world was undergoing significant changes, and two institutions, the Bauhaus in Germany and VKHUTEMAS in the Soviet Union, became central to this process. key figures. Both of these educational institutions sought to rethink approaches to design and art, emphasizing functionality and the integration of various disciplines. Founded in 1919 in Weimar, the Bauhaus became a symbol of the modernist movement. Its founders, including Walter Gropius, insisted on the need to unite art and craft, which opened up new horizons in design and architecture. At the Bauhaus, students were trained not only in traditional techniques but also in modern technologies, which contributed to the creation of innovative and practical solutions. Meanwhile, VKHUTEMAS, founded in 1920 in Moscow, also emphasized practical training and research. This institution, which grew out of VKHUTEMIS, sought to integrate art and industry to respond to the challenges of the time. VKHUTEMAS became known for its experiments in architecture and design, focusing not only on aesthetics but also on the social function of art.

Both institutions made significant contributions to the development of modern design, shaping new approaches and ideas that continue to influence artistic practices today. The interaction between the Bauhaus and VKHUTEMAS demonstrated how different cultural and historical contexts could lead to similar design innovations, despite differences in political and social environments.

Engineer Sergei Prokhorov created unique concrete blocks with two large openings. These blocks were manufactured directly on the construction site, and their design features made it possible to conceal various utility lines within.

Innovative materials such as reeds and straw were used for thermal insulation and finishing, made from plant materials. To create interior partitions, fiberboard obtained from pressed sawdust was used, and xylolite tiles created from sawdust and magnesite were used for floor coverings.

The history of the Narkomfin building: testing and

The architects' original idea soon underwent significant modifications. The highest echelons of power were not eager to create a unified communal structure, and increasing repression hindered the formation of a cohesive community. For example, the rooftop terrace, originally intended as a meeting place, soon became an undesirable gathering place, as gathering in public became risky.

During the first ten years of the House's operation, construction began on additional apartments between its "legs." Over time, many influential residents left their living spaces, resulting in the spacious apartments being divided into separate rooms for several families. In the 1960s, an elevator was added to the House.

From the early 1940s, the system of social and cultural services began to disappear. The canteen was closed, and in its place, a communal kitchen was organized in the residential building, where rows of stoves and sinks were installed. The activities of the kindergarten and laundry also ceased. The first floor of the communal block was redeveloped: instead of a single stained-glass window, two low floors with six windows on the façade appeared, and the terrace was built up.

In 1979, the process of resettling the building’s inhabitants began, but it dragged on, and people continued to live in some apartments. Some of them occupied the premises without the owners’ consent. For a long time, the unclear ownership structure of the building hindered its restoration.

Period 2016–2020: Restoration and Renovation

The restoration was designed by an architectural firm headed by Alexey Ginzburg, who is the grandson of the famous Moisei Ginzburg. Before starting the work, the architects conducted a detailed study of the building to ensure the most accurate restoration.

All later superstructures, with the exception of the elevator shaft, were dismantled. The original layout of the apartments was restored, and the utility systems and waterproofing were revised. The outdated reed insulation was removed, while the original xylolite floors were preserved, and some tiles were recreated.

All original elements of the building were preserved as much as possible, and missing parts were restored using samples and photographic documentation. As a result, the glazing system was restored, as were interior elements, including radiators, staircases, and window and door handles.

The hallways, stairwells, and some apartments were returned to their original color schemes. Open areas with layers of paint were preserved on the stairwell walls to demonstrate the authenticity of the restoration and reflect the building's history. However, according to current building codes and regulations, in effect since 2003, apartment buildings with five to eight floors must have at least one elevator, so its installation was necessary. Some residents expressed a desire to paint the walls white and install wooden parquet flooring.

Currently, the Narkomfin Building residential complex is home to residents, as well as a café and a bookstore owned by the Garage Museum. This museum organizes excursions and various events.

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• Constructivism in design is a movement that emphasizes functionality and practicality. This movement emerged at the beginning of the 20th century and is associated with the idea that form should follow function. Designers working in this style strive to create simple and concise solutions that still possess aesthetic value.

  The main goal of constructivism is the integration of art and technology, which allows for the creation of objects that can not only fulfill their purpose but also be visually appealing. Such works are often characterized by the use of modern materials and technologies, which emphasizes their innovative approach.

  Constructivists believed in the possibility of transforming society through design, and therefore their works were often utilitarian in nature, aimed at improving people's lives. This movement had a significant impact on architecture, graphics, and other arts, leaving a significant mark on the history of design.

  Constructivism emphasized geometric forms, symmetry, and rational solutions, allowing for the creation of harmonious and appropriate objects within the context of their surroundings. This approach continues to influence modern design, inspiring new professionals to seek optimal solutions that combine functionality and aesthetic appeal.

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