The Crystal Dedal
Vladimir Belegolovsky
Zodchestvo is a Russian word for architecture. But it is a word of spiritual connotations as well. Architecture could describe any structure, but zodchestvo is an art form defined by great rigor and beauty. It is also the name of the annual architectural festival in Moscow.
This year’s Zodchestvo, lasting from October 20th through the 23rd, will be held at Manezh, the premier exhibition hall of Russia. This broad gabled-roof neoclassical building built in 1817 is located in the heart of Moscow, right across from Kremlin. In March 2004, the day after presidential elections, this stately edifice became an unfortunate victim in a fire, the cause of which remains unknown. The flames destroyed the building’s original roof–a unique system of intricate 150-foot long wooden trusses that were designed to provide column-less space for Tzar Alexander I’s grandiose cavalry parade. Rebuilt after a painstakingly yearlong restoration, Manezh is ready to host Zodchestvo-2005.
No one is expected to know more about Zodchestvo than Feliks Novikov, a distinguished 79-year-old architect, author and educator who originated the idea of organizing the festival that is now a great new tradition and one of the central events in modern Russian culture. I asked Novikov, who since 1993 lives with his wife Galina in Rochester, New York, to share his insights on how Zodchestvo became a reality.
Vladimir Belogolovsky: How did the idea of organizing an architectural festival come about?
Feliks Novikov: Before I tell you about the idea of the Festival I have to briefly venture into particularities of the Soviet architecture scene that was very different from the way the things are today. You know, all architects working in the USSR were called Soviet architects and naturally were members of the Union of Architects (UA) of the USSR. The UA was founded in 1934 and was summoned to transmit the state politics into professional milieu. This mission had been successfully accomplished and the state was generous in its support for a variety of professional activities ñ organizing summits, conferences, exhibits and disputes, as well as paying for the UA members’ trips not only all over the huge country, but sometimes abroad. The government sponsored learning programs, building clubhouses and sanatoriums for architects and much more. The UA membership dues were practically negligible–so one could say that all of these privileges for Soviet architects were almost free, and taken for granted. All of these things could appear strange to American colleagues, but we lived in a country where the state was the only client. Our labor was not valued as much as in other parts of the free world so the privileges provided by the UA could be considered as a form of compensation.
VB: And then in 1991 the USSR came to an end. What happened to the UA?
FN: Yes. That caused the end of Soviet architecture. In January 1992 I was first to proclaim its death in a weekly magazine Moscow News. The article, called "In Memory of Soviet Architecture" was concluded with the following statement: "Be that as it may, I hereby propose to build a tombstone in the necropolis of the 20th century culture with the following epitaph: Soviet Architecture, 1917 – 1991. With the end of the USSR died the Union of Architects. It was replaced by the UA of Russia. But despite the fact that the president of the new country became Boris Yeltsin, a professional builder, there was no longer any kind of assistance offered to support the UA financially. It was the beginning of a very different era. The architects had to pay for everything from their own pocket. Also the construction industry slowed down dramatically and there were very few building commissions. There were hardly any professional activities going on at all. It was at that time that the idea of organizing an architectural festival came to mind. The festival was meant to replace all the different creative activities that used to be held by the UA of the USSR.
VB: In the last few years the number of new architecture festivals mushroomed throughout the world. The profession is enjoying the upswing in popularity. But in Russia this process seems to be reversed–fewer and bigger events replaced a great variety of smaller and local activities.
FN: Absolutely. In the Soviet times there were many smaller events held throughout the year, all over the USSR. Zodchestvo was meant to be an annual event and held in one place during one week. To host one big event instead of many small ones, was a very attractive idea because it would be much more affordable strategy for both the UA of Russia and individual members who could see so much in just one trip. Also, one major celebration can attract much greater attention of the general public, which is greatly beneficial for the profession. In 1992 I presented my idea of the festival to the governing body of the UA. I suggested having the first All-Russia festival in fall 1993. There was no opposition, so the first, Zodchestvo-93, came about according to the original plan.
VB: And now Zodchestvo is international!
FN: Any healthy idea has a potential for development. Every year brought more and more participants from many regions of Russia. The building industry started to pick up and very soon the country started to experience a real construction boom. Now the architects had a lot to show. Colleagues from former Soviet republics started to come to show their work as well. And the exposition halls now feature new projects from all over the world. The guests are coming from many countries. The jury members are formed out of world-renowned architects and critics. Manufacturing and building companies from different continents advertise their products. The festival became truly international. Every year the festival awards a national architectural prize, called Crystal Dedal [Named after a great architect and inventor who according to Greek mythology made wings from feather, rope and wax to escape captivity from Crete together with his son Icarus — V.B.]. This prestigious award is given to the best-built projects, as well as individuals or firms to recognize their achievements.
VB: What is going to be the program for this year?
FN: This year the festival will open on October 20th for the 13th consecutive year. There will be a showcase of recent projects and buildings that won competitions throughout the year. There will be prizes for the best building, the best architectural book, the best article devoted to architecture, the best film etc. There will be a separate competition for the best project among students. There is also a tradition to showcase creative projects by children from all over the country. Also, this year for the first time there will be one more prize. I suggested honoring a professional debut, for the best first built work. And it will not necessarily be given to a young architect. For example, it is known that Philip Johnson had his first building built in his late thirties, Louis Kahn ñ in his late forties and there is one colleague of mine from Moscow who taught architecture for many years, but finished his first building in his late sixties.
Novikov’s architectural creations–office, residential and cultural complexes–stand all over Russia. In the late 1970s he built a large palatial Soviet embassy in tiny Islamic Republic of Mauritania in Western Africa. He occasionally designs houses for clients in the US. Many of his students are now well known architects reshaping the look of Moscow on a scale never seen before in its history. He is a prolific writer and a contributor to many professional and popular publications in Russia and the US. His books on architecture are written with such enthusiasm and clarity that they are equally read by both professionals and the general public. But the biggest and most visible of his many accomplishments is the creation of Zodchestvo. In 2002 Novikov was given an honorary Crystal Dedal for life achievement as well as the idea of organizing the festival.
Zodchestvo has become a new popular tradition. It stimulates the development of Russian architecture. And if in the first few years the exhibits were dominated by projects and buildings of suspicious merit and sometimes could even pass for kitsch, now there are a lot more works that represent good imaginative contemporary architecture of the highest level anywhere. Novikov assures us: "Russian architecture is well on its way to becoming a distinct and valid voice in the context of the best examples of progressive architecture around the world." Zodchestvo is a great living proof of that.
