Initially, the museum and the curator of the exhibition, Anastasia Firsova, had the task of organizing an anniversary exposition. However, the reporting event "by the date" seemed to MuArou a genre too dry and formal, especially on the eve of the New Year, so the stake was made on the brightest and most ambitious works of the institute. And although "Mosproekt-1" for all 80 years has been and remains the leading design organization of the country ("Mosproekt" is always alone, "as Viktor Logvinov joked at the opening of the president of the SMA), no doubt, it was in the 1930s with their monumentalism and pathos of ideals. socialism, projects were developed in it that most radically changed the appearance of Moscow.
Actually, it was they - wide avenues, large squares, metro stations that look more like palaces, and beautiful residential buildings - that gave the city its capital splendor. There are many competition projects at the exhibition, demonstrating the scope of the architectural thought of the young socialist state. Among them are Ilya Golosov's MOSPS theater, Alexey Shchusev's Meyerhold theater and, of course, variants of the Narkomtyazhprom building complex. The works of Fomin and Fridman may not be as famous as, say, the projects of Ivan Leonidov and the Vesnin brothers, who participated in the same competition, but no less impressive with their complex monumentalism.
Almost a third of the exposition is devoted to the stations of the Moscow metro - both the solutions of the platforms themselves and the projects of the entrance lobbies. Luxurious multicolor washings showcase the architectural virtues of "palaces for the people" in all their glory. Columns and vaults, drawing cornices and rods, turning to sculpture and painting - the exhibition shows how various variants of classical architecture found in the architecture of the first metro stations in the capital.
The exhibition is located in the Anfilade of the main building, and its compositional solution is intended to restore the feeling of public viewing of architectural projects that was practiced in the 1930s. Then, in the windows of the first floors of buildings on Tverskaya Street, huge perspectives and drawings of projected buildings or highways were displayed for general, popular consideration and making comments and suggestions. 80 years later, Academician Yuri Platonov is trying to restore this tradition, exhibiting works of modern architecture on pedestrian bridges, and in MuAre it is recreated figuratively - in each room of the Enfilade, black and white photographs of the very houses on Tverskaya are placed printed on a translucent fabric. No, their facades are no longer used as showcases, but they bring a romantic flair of memories to the atmosphere of the exhibition … This painfully tender mood is opposed by the architecture of high achievements, captured on large sheets with colorful perspectives and a rich gouache sky - and such a contrast is perhaps best illustrated the hopes and aspirations of the architecture of the 1930s, which became the first page in the history of the empire under the name "Mosproekt".
The jubilee exposition “We created the capital from Moscow” chronologically continues the cycle on the history of Soviet architecture, which began with the demonstration of the creative searches of architects of the 1920s at the exhibition “VKHUTEMAS. Thought is material”, which is also based on the rich collection of architectural graphics of the Museum of Architecture. A. V. Shchuseva.
