Строение центрального зала станции воспроизводит вариант Бокового фойе грандиозного здания. Ритмичное оформление пилонов «Бауманской» скульптурами, сопоставимо с ярусом памятников революционерам. Проект интерьеров вестибюля сопоставим с проектом интерьеров кольцевых кулуаров. Сходство читается и в решении мелких деталей.
Парадоксальным оказалось соседство «Бауманской» и «Электрозаводской», выполненной в мастерской В. Гельфрейха и В. Щуко. На примере двух станций создаётся дополнительное измерение творческого конфликта соавторов Дворца Советов.
О станции можно говорить не просто как об одной из построек, а как о запечатлённом творческом методе и подлинном отражении значительного этапа в творчестве Б. М. Иофана.
A Place of the ‘Baumanskaya’ Station in the Boris Iofan’s Legacy
Usually, in discussions about the B. M. Iofan legacy, a special attention is paid to ‘grand’ and ‘representative’ design projects; thus, the Moscow metro station ‘Baumanskaya’ always remains aside. The Iofan’s attitude to the station was similar – it was an ‘unloved child’. Nevertheless, today, it is an example, the most famous, and the most available for citizens, of the creative method of Iofan, which had been really built.
In fact, here is shown an architectural composition unusual for a metro station. It presents in all its vividness (more than anywhere else in the Moscow underground) a contrast and confluence of the passengers’ way through the ‘enfilade of halls’ along with the transverse dynamics of the décor.
Moreover, due to its ‘secondary’ position, the station imprinted a kind of legacy of Iofan's work on more significant structures. Its final design was developed in 1943, concurrently with the ‘Sverdlovsk’ edition of the Palace of Soviets. Artists and sculptors of the main project were involved in the work on the station. The ideas developed for the Palace were applied to the station and turned it to a kind of tester. Presumably (comparing design graphics), ‘Baumanskaya’ became a reflection of the Palace of Soviets, potentially its Renaissance-like model.
The ‘Baumanskaya’ central underground hall reproduces the version of the Side foyer of the Palace. The rhythm of its pylons with sculptures is comparable with the monumental tier for revolutionaries. The entrance hall is comparable to the interior design of the circular couloirs. The similarity can be found even in small details.
Additionally, paradoxical was the neighborhood of ‘Baumanskaya’ and ‘Elektrozavodskaya’ (by V. Gelfreich and V. Shchuko): at the example of two stations, we can try to discover an additional dimension of the creative conflict of the Palace of Soviets co-authors. It could be concluded, that ‘Baumanskaya’ can be described not just as one of the Iofan’s buildings, but as a captured creative method and a true reflection of a significant stage in his work.
06 Сентября 2021
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