A Long Road to Restoration: How the Narkomfin Building Got a New Life

Contents:

• Who built the Narkomfin Building
• What makes the Building unique
• What the Narkomfin Building has experienced
• 2016–2020: restoration

Who built the Narkomfin Building?

The Narkomfin Building was built between the 1920s and 1930s and became a symbol of the architectural innovations of its time. The idea for this unique building belongs to People's Commissar of Finance Nikolai Milyutin and architect Moisei Ginzburg, who shared a passion for avant-garde architecture and a desire for new forms of socialist urban development. On Milyutin's initiative, Ginzburg, together with the architect Ignatius Milinis and the engineer Sergei Prokhorov, developed a design for an experimental house, which became a model for further architectural experiments in Soviet architecture. The Narkomfin Building not only reflects the ideas of its time, but also continues to inspire modern architects with its unique style and concept.

What makes the House unique?

In his book "Housing," Moisei Ginzburg describes the house as "a painless transition to higher social forms of economy." This approach emphasizes the importance of housing as an integral part of social progress. Ginzburg emphasizes that the house is not just a physical space, but also an important element contributing to the development of society and the improvement of living conditions. His views help to deeper understand the role of architecture and design in shaping the social structure and interactions of people.

Visionary architects sought to develop a model of socialized living that would bring the daily lives of the House's residents closer to the ideals of communism. The house for officials of the People's Commissariat of Finance was conceived as an intermediate stage between a traditional apartment in a tenement house and a communal house. Here, the comfort of individual apartments was harmoniously combined with public services and a variety of shared spaces. The result was an architectural complex consisting of three parts that reflected the principles of communal living and social integration.

The residential block features ergonomic "cell" apartments of various types, suitable for both singles and families. Architect Ginzburg focused on the optimal use of horizontal and vertical space in the layouts. Community services take on functions such as cooking, laundry, and childcare, allowing for a reduction in the size of the kitchen, bathroom, and utility rooms. This solution creates compact and functional living spaces that meet the requirements of modern urban living.

These apartments lacked servants' quarters, a common feature of upper-class housing at the time. The building's spacious corridors and rooftop terrace created an environment for socializing and gatherings among neighbors. These architectural solutions fostered a friendly atmosphere and strengthened neighborhood bonds.

The communal building was designed to integrate various social activities beyond the residential spaces. This building houses a dining room, a kindergarten, recreation areas, sports facilities, and a rooftop terrace. An overpass provides connection between the residential and communal buildings. In the immediate vicinity there is a utility building, which houses a laundry, a dryer, and technical rooms.

The elongated white house, supported by slender black columns, reminded its residents of a ship hovering above the earth. This architectural structure became the embodiment of functionalism, where every external element was carefully considered and served a utilitarian purpose. The columns supporting the structure significantly reduced the load on the external walls, which made it possible to use ribbon glazing. Panoramic windows provide excellent natural light and ensure high-quality ventilation, making the interior more comfortable and cozy.

In contrast to the white façade, the interior utilized unconventional color schemes aimed at visually expanding the space. These concepts were developed by Bauhaus professor Hinnerk Scheper and his student Erich Borchert. One effective technique involved painting the walls the same color, but with gradually increasing intensity. Depending on the direction of the windows and the level of natural light, the walls could be painted in yellow or blue shades, which created interesting visual effects and emphasized the uniqueness of the interior.

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Bauhaus and VKHUTEMAS: The History of Design in the 1920s and 1930s

Bauhaus and VKHUTEMAS became key institutions in the history of design, having a significant influence on architecture and art education in the 20th century. The Bauhaus, founded in Germany in 1919, sought to unite art, craft, and technology. Its founders, including Walter Gropius, promoted ideas of functionalism and simplicity of form, which influenced many movements in design and architecture. VKHUTEMAS, founded in Russia in 1920, was a response to the social and cultural changes occurring after the Revolution. This institute sought to integrate art and industry, training students in modern design and production methods. VKHUTEMAS also emphasized the functionality and practical applicability of design. Both institutes actively experimented with forms and materials, which contributed to the emergence of new design approaches. The Bauhaus and VKHUTEMAS became centers of attraction for artists and architects, creating a unique environment for the exchange of ideas and creative interaction.

The influence of these schools is still felt today, and their principles continue to shape contemporary design, architecture, and art. Studying their history allows for a deeper understanding of the evolution of design concepts and their relevance in the modern world.

Engineer Sergei Prokhorov created unique bentonite blocks equipped with two large openings. These blocks were manufactured directly on the construction site, significantly enhancing their functionality. The design of the blocks allows for the concealment of important utility lines, making them an ideal solution for modern construction. This approach not only improves the aesthetic appearance of buildings, but also simplifies access to engineering systems in the future.

For Innovative materials were used for insulation and finishing. Reed and straw, produced from plant-based materials, provide effective thermal insulation. Fiberboard, made from pressed sawdust, proved an ideal solution for creating interior partitions. Xylolite tiles, composed of sawdust and magnesite, are ideal for flooring, providing not only warmth but also environmental friendliness. These materials help create a comfortable and healthy indoor climate.

What the Narkomfin Building Survived

The architects' original plan soon began to change. The nomenklatura elite showed no interest in creating communal living conditions, and increasing repression hindered the formation of a cohesive community. For example, the rooftop terrace lost its status as a meeting place, as gathering in public became risky. This led to the isolation of residents and a decline in social activity, which negatively impacted the atmosphere of unity and mutual support.

During the first decade of the building's operation, apartments were added to its lower section. Over time, high-profile residents abandoned their spacious apartments, and larger apartments began to be divided into rooms for several families. In the 1960s, an elevator was added to the building, significantly improving its functionality and living conditions.

From the 1940s onward, the system of social and cultural services began to disappear. The dining room was closed, and in its place, a communal kitchen, equipped with rows of stoves and sinks, was established in the residential building. The kindergarten and laundry ceased operations. The first floor of the communal block was redesigned: instead of a continuous stained-glass window, two low floors and six windows along the façade appeared, and a terrace was built up. This process negatively impacted the quality of life of residents, as important infrastructure elements and services that provided comfort and convenience in everyday life disappeared.

In 1979, the process of resettling the house began, but it was delayed, and people continued to live in some apartments. Some premises were squatted. For many years, confusion over the ownership of the house hindered its restoration.

2016–2020: restoration

The restoration project was developed by the bureau of the architect Alexei Ginzburg, who is the grandson of the famous architect Moisei Ginzburg. Before starting restoration work, a team of architects conducted a detailed study of the building, which allowed for a high degree of accuracy and historical authenticity during the restoration process.

All later additions, with the exception of the elevator shaft, were dismantled. The original apartment layout, utility system layout, and waterproofing were restored. The deteriorated reed insulation was removed, but the original xylolite floors were preserved, with some tiles recreated. This preserved the historical value of the buildings and increased their appeal to future residents.

All original elements of the building were preserved as much as possible, and lost details were restored based on samples and photographs. During the restoration, the glazing was recreated, as well as important interior elements, including radiators, staircases, window and door handles. This restored the building's authenticity and unique style, making it a valuable cultural heritage site.

The hallways, stairwells, and some apartments were returned to their original color schemes, emphasizing the building's historical value. Exposed layers of paint were preserved on the stairwell walls, demonstrating the authenticity of the restoration and the history of the building. According to modern building codes introduced in 2003, mid-rise residential buildings (5 to 8 stories) must have at least one elevator, which was taken into account in the design. Some residents also expressed a desire for white walls and wooden parquet flooring, which would add a modern, cozy feel and style to their apartments.

The Narkomfin Building residential block is actively populated by residents, and also houses a café and a bookstore owned by the Garage Museum. The museum organizes excursions and various events, which makes this place attractive for visitors and residents of the capital.

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