Fedor Lidval works in Sweden. Fyodor Ivanovich Lidval: biography. Russian and Swedish architect of Swedish citizenship and origin

23.06.2020

Representatives of Russian Art Nouveau

Fedor Osipovich Shekhtel(1859, St. Petersburg - 1926, Moscow) - Russian architect, painter, graphic artist, set designer. One of the most prominent representatives of the Art Nouveau style in Russian and European architecture.

Main known buildings:

Morozov's mansion on Spiridonovka , 17 (1893-1896)

In the style of "English Gothic". The expressiveness of Morozova’s mansion is determined mainly by the logic of the combination of the main volumes. The restrained use of decor entails an increase in the significance of an individual detail and allows you to focus on the main thing and achieve emotional expressiveness. The picturesque plan of the building is logical and carefully thought out. It is driven by concern for convenience and comfort. However, in full agreement with the aesthetics of modernity, they are not an end in themselves. The goal of the architect is to force everyone to forget about this by all means available to him, to forget in the name of the beauty and spirituality of the whole.

Ryabushinsky's mansion (1900-1902 )

on Malaya Nikitskaya Street is a classic example of an early modern mansion. In contrast to the “facade” architecture, the cubic volume triumphs here, emphasized by the horizontals of the cornice slabs that are strongly set forward and the whimsically asymmetrical projections of the walls, massive porches, balconies, each time individually unique and therefore asserting the equivalence of all facades. The cladding with light glazed bricks and the wide mosaic frieze with images of irises covering the top of the building reveal the aesthetic expressiveness of the surface of the walls, cut through by squares of large windows.

Mansion A.I. Derozhinskaya (1901-1902 )

Architect Shekhtel concentrates structural elements and volumes around the central axis of the building, resorting to decorative means. The main window, rising to the very cornice of the two-story building, defines the entire system of proportions, and at the same time serves as a kind of image of a triumphal arch. The culmination of this dominant structure is the attic with two concrete cylinders symbolizing the “machine age”.

Yaroslavsky railway station (1902-1904)

In 1901, the project for the reconstruction of the passenger building, drawn up by L.N. Kekushev, was approved. Shekhtel was invited to adjust the construction plan. Taking advantage of the principle of combining buildings of various shapes and scales into one whole, characteristic of ancient Russian architecture, the architect highlighted the volume of the main passenger hall, connected to the vestibule and antechamber and providing direct access to the platforms.

The exterior design of the lobby uses plastically accentuated forms of a giant entrance arch, a keel-shaped canopy above it, semicircular pylons with stylized fortress turrets framing it, a high “terem roof” with a valance and a crowning ridge, making the appearance of the building uniquely bizarre.

The vertical silhouette of the lobby is echoed by the high left tower with a hipped roof. The upper part of the walls is decorated with ceramic decorative panels with stylized floral patterns in muted tones, corresponding to the general dim color scheme of the facades, which was supposed to create associative connections with the image of the Russian North.

Fyodor Ivanovich Lidval(1870-1945) - Russian and Swedish architect of Swedish citizenship and origin.

Lidval's works began to play a significant role in the architecture of St. Petersburg in the 1900s. At the beginning of his work, he was a typical follower of the Art Nouveau style that was dominant at that time. Apartment house, also known as "Lidval House" ,

built by the architect commissioned by his mother, Ida-Amalia Lidval, at 1-3 Kamennoostrovsky Prospekt (1899-1904), one of his early works, is usually cited as an example of a residential building in this style: “Gothic” windows, varying in texture and color finishing, an abundance of decorative elements.

In a buiding Azov-Don Bank
(1907-1913) at Bolshaya Morskaya, 3-5, the restraint characteristic of Lidval and the use of classicism elements are already visible (the center of the building is designed as a portico with columns).

The beginning of the 1910s was the time of the greatest creative flowering of the architect. During these years he creates Nobel's house on Lesnoy Prospekt , hotel " Astoria»
on Isaac's Square And Tolstoy House
on Troitskaya street in the style of "northern modern".

Lev Nikolaevich Kekushev(1859 -1914) - Russian architect and teacher. The first in time and one of the largest masters of the Art Nouveau style in Moscow. He practiced the early, Franco-Belgian version of Art Nouveau. Professional handwriting - the highest quality of interior design, signature in the form of a statue or bas-relief of a lion in the vault lock.

In 1896, Kekushev designed and built the first Moscow building in the Art Nouveau style - apartment building in Varsonofevsky Lane. In contrast to the later Art Nouveau of F. O. Shekhtelya and V. F. Valkot, Kekushev’s style is closest to the early Franco-Belgian Art Nouveau of Victor Horta.

mansion by Glazovsky Lane, House 8

He supervised the construction of the Metropol Hotel according to the Valkot project. Kekushev the entrepreneur quickly made a fortune and built his own apartment buildings in Khamovniki (Olsufyevsky Lane) and on Ostozhenka.

The heyday of Kekushev’s creativity and Moscow Art Nouveau in general occurred in 1900-1903. He builds such different buildings as Nosov's mansion on Elektrozavodskoy
, building railway station in Tsaritsyno and mansion I. A. Mindovsky on Povarskaya.

3.1 Fedor Ivanovich Lidval

northern modern architecture style

The most famous representative of northern modernism in St. Petersburg is Fyodor Ivanovich (Fredrik) Lidval (1870-1945), born in the “northern capital” on June 1 (13), 1870 into a family of Russified Swedes. Graduated in 1882 primary school at the Swedish Church of St. Catherine, Lidval entered the Second Petersburg Real School in 1888. I studied at the School for two years technical drawing Baron Stieglitz. In 1890-1896, Fyodor Ivanovich Lidval was a student in the architectural department of the Higher art school Imperial Academy arts, where from 1894 to 1896 he studied in the workshop of L. N. Benois. After graduating from the Academy of Arts, he received the title of artist-architect, and later - academician of architecture, member of the Imperial Academy of Arts. In 1918 he was forced to go to his relatives in Stockholm, Sweden, devastated by the revolution. Built a number of buildings in Stockholm. But the most fruitful period of Lidval’s work is associated with St. Petersburg. He died in poverty and obscurity in 1945 and was buried in Stockholm.

In the 1900s, Lidval's works began to play a significant role in the architecture of St. Petersburg. At first, like many, he was a supporter of the Art Nouveau style that was dominant at that time. As one of the earliest famous works, often cited as an example is the “Lidval House” on Kamennoostrovsky Prospekt, 1-3, apartment building, made in the Northern Art Nouveau style, built by an architect commissioned by his mother in 1899-1904. The main features that distinguish the house from other styles are “Gothic” windows, decoration of different textures and colors, and an abundance of decorative elements. Before his forced emigration, Lidval lived in this house in 1918 (Fig. 4.1).

Let's consider distinctive features of this building.

The rhythm is felt in all the architectural details of the structure: combinations of windows with partitions, rhythmic lines of balconies and bay windows, dictated by the layout of apartments and additional rooms. Images of hiding wolves, playing hares, sneaking lizards, falcons, eagle owls, intertwined tree roots, ferns and fly agaric mushrooms reveal to us the scenes of northern forest life, which are shown in bas-relief in the stone portals of the entrances. (Fig. 2.2). The flora and fauna ornaments on the walls of the structure are made of talc chlorite. The balcony with a huge spider and an ornament of forged latticework, where metal sunflowers “bloom”, is widely known. (Fig.4.2, Fig.4.3). It is interesting that the composition has a plot and personified images, for example, a spider is a symbol of needlework, craft, and also, in a broader sense, fate.

It is noteworthy that, starting from Lidval, the courtyard-court d'honneur appears in the construction of St. Petersburg buildings.

The building with a front courtyard, with facades generously decorated with motifs of northern flora and fauna, marked the beginning of the development of Kamennoostrovsky Prospekt. Thus, the “House of Lidval” is a striking example of the synthesis of arts and architecture of the 20th century, with its asymmetry, facade rich in plasticity, with openings of different shapes and combinations of planes and shapes.

Other examples of “northern modern” by Fyodor Lidval:

· Apartment building of the Swedish Church on M. Konyushennaya St., no. 19 on B. Konyushennaya St., no. 92 on Bolshoi Ave. V.O., no. 14 on Mokhovaya St. (all - 1904-06).

· House 61 on Kamennoostrovsky Ave. (1909) is distinguished by its subtle color scheme.

· The building of a merchant hotel in Apraksin lane, 6 (1902-03).

Having received wide recognition, Lidval expanded his field of activity. In a difficult situation of struggle between various artistic movements and groups, the architect found use for his talent, turning, like many of his contemporaries, to the classics. Vivid examples The architect's appeal to the classics became the buildings of the Second Mutual Credit Society (Sadovaya St., 34; 1907-1908) and the Azov-Don Commercial Bank (B. Morskaya St., 3-5; 1908-1909, 1912).

These monumental, ceremonial, respectable-looking houses are monuments of the new Petersburg, which caused a wide resonance and influenced the architecture of similar institutions. In both buildings there is strict St. Petersburg symmetry, emphasis on the center, interpretation of the first floor as a powerful foundation, and a certain static character.

In 1915-1916 Lidval, together with his teacher L. N. Benois, began the construction of the Russian for foreign trade bank (B. Morskaya St., 18, - Moika River embankment, 63), however, due to the war, the building remained unfinished and was completed already in the 1920s. according to the modified project. Several excellent banking buildings were built according to Lidval's designs in Moscow, Astrakhan, Kyiv and Kharkov, the best of which, in Kyiv, is a decoration of Khreshchatyk.

Lidval created a number of multi-apartment comfortable apartment buildings and public buildings in the center of St. Petersburg (Petrogradskaya side, Vasilyevsky Island and etc.). Including houses on M. Posadskaya Street. (15, 17 and 19), forming a complete residential complex. One of the largest complexes of the 1910s is the apartment building of gr. Tolstoy (Fontanka, 54 - Rubinshteina St., 15-17, 1910-12) with a whole system of courtyards forming a kind of “street of the architect Lidval”

Lidval also proved himself in hotel construction. This is the internal reconstruction, decoration and superstructure of the Evropeyskaya Hotel on Mikhailovskaya Street (1908-1910) and the design and construction of the Astoria Hotel in the ensemble of St. Isaac's Square (1911-1912). Until now, assessments of this building are ambiguous.

However, neither banks nor hotels could distract the architect from his main topic- a residential building, and here he again showed great flexibility in creative thinking. Since the 1910s, Lidval has been changing the tactics of building houses, which is interpreted by the requirements of the changing times. The architect skillfully designs houses in accordance with changing demands.

The house of the Swedish industrialist Nobel on Lesnoy Prospekt is one of a number of residential and industrial buildings built for A.L. Lishnevsky Lidvalem is close in style to Scandinavian architecture. Main facade The building has a complex broken contour looking into the courtyard. The decor is not repeated. The windows are also different in size and configuration, the plaster is different in texture and combination with hewn and rough-cut stone. The side facade facing the avenue is flat, symmetrical, with a prominent glazed bay window.

At the end of 1918, he left for the homeland of his ancestors - Stockholm, where he lived the last, long, but much less productive period of his life, because Lidval was associated with the culture of St. Petersburg and Russia, continuing to consider himself a Russian architect, and his years of work in He considered St. Petersburg the happiest in his life. After October 1917, Lidval lived in St. Petersburg. He was not subjected to violence; he was needed as an architect. But due to the difficult situation in the country, nothing was built. These difficulties and longing for family were the reason that, having left for Sweden in the summer of 1918, Lidval never returned to Russia.

Conclusion: Lidval left behind many buildings not only in St. Petersburg, but also in Sweden. The buildings, which are designed in the Northern Art Nouveau style, show a skillful combination of materials, ornaments and finishes. In decoration, Lidval uses allegorical images (like a spider), revealing certain “plots” of his buildings. The buildings of Lidval and the masters of his circle determined the originality and level of St. Petersburg architecture of the 1900-1910s.

Modern apartment buildings, Stalinist high-rise buildings, communal houses and high-rise buildings of the 1970s are not just residential buildings, but real city symbols. In the “” section, The Village talks about the most famous and unusual houses of the two capitals and their inhabitants. In the new issue, we learned from the managers of the Buro burger bar, Pyotr Lobanov and Dasha Sinyavskaya, how life works in Ida Lidval’s apartment building on Kamennoostrovsky Prospekt. And the architect Ilya Filimonov told why hypothetical city defenders of the early 20th century would not have allowed the construction of such a scandalous building at that time.

Photos

Dima Tsyrenshchikov

ILYA FILIMONOV

member of the Union of Architects of Russia, organizer and vice-president of the architectural festival "Artery"

“I LIKE MODERN AESTHETICS, but the arguments of its opponents are clear: they are not satisfied with the inconsistency of the architecture of this direction. If I'm not mistaken, Ivan Fomin (famous Russian and Soviet architect, started with modernism, but at the beginning of the twentieth century moved to the genre of neoclassicism. - Ed.) Modernity was criticized for this inconsistency. In my opinion, the aesthetics of northern modernism - the aesthetics of granite - is close and pleasant to our city, it makes us closer to the Finns.

For its time, Art Nouveau was an advanced trend. In this sense, the Lidval house is a successful urban example. He violates the canons to which the average person is accustomed late XIX- beginning of the twentieth century. For example, do not stand on the “red line”: there was a misconception that houses should stand clearly along the line, forming an even front of the street. In most cases this was the case, but the Lidval house is one of the exceptions: it seems to go deep into Kamennoostrovsky Prospekt, and the building itself is preceded by an open spacious courtyard. To some extent, the Lidval house supports the image of the Petrograd side as a nearby suburb of St. Petersburg at the end of the 19th century.

Modernity teaches us that the city must change and develop. Hypothetical urban defenders of the early twentieth century would not have allowed the construction of a building like the Lidval House. City defenders would be outraged by the asymmetry and oddly shaped windows. If you look at the house from the Trinity Bridge, you can see some kind of strange balcony on the top floor. Plus the active use of the animal and floral ornaments- “obscurantism”! All this went against the established architectural canons. At that time it was advanced architecture that many did not understand, but over time it became part of history.

Our contemporaries could learn from the architects of the late 19th and early 20th centuries, among other things, the accuracy of handling details and the principles of selecting proportions. Of the current architects working in the Art Nouveau style, first of all it is worth mentioning Mikhail Aleksandrovich Mamoshin and his projects, the latest - the house on Chernyshevsky, 4 (referring to the elite complex “Tavrichesky”, commissioned in 2011. - Ed.). Moreover, Mamoshin does not copy modernity: he rethinks and develops it.”

Four-room apartment

150 m2

Six-room apartment

180 m2

Eight-room apartment

203 m 2

Pyotr Lobanov

co-founder of bars "Bureau"

Dasha Sinyavskaya

Bar marketer "Buro"

PETER: Our family moved into the Lidval house in the early 1990s, when I was two years old. Before that, we lived in Avtova, and then we profitably swapped apartments, moving into the four-room communal apartment that was here before us.

The apartment has gone through three renovations. Initially, there was a beautiful white grand piano - it was inherited from the previous residents and stood in the bedroom. Thanks to the piano, the apartment was reminiscent of the imperial style. At the turn of the 2000s, the parents made a renovation with partial redevelopment, and in 2010 they did another one. But over time, the apartment became shabby, and in addition, it was very dark here - a depressing atmosphere, similar to the castle from “The Hound of the Baskervilles.” My parents went to live outside the city, and Dasha and I stayed here. There were too many rooms here for the two of us. In general, a year ago we took Pibov’s plan and looked at which walls could be demolished. And they made an open space, which made the apartment much lighter.

The Lidval House is an architectural monument, but security restrictions concern mainly elements of the facade, which we, of course, did not touch during the renovation. Moreover, when replacing the windows, we left the old glazing, and the color of the frames was the same as in the whole house: we specially made them wooden, not plastic. As for the internal structure, the stove remains in the bedroom - it is working, although pre-revolutionary. The stove was well preserved: when they were doing repairs, they called chimney sweeps - so there is draft, it can be heated. But this is not necessary. But we often light the fireplace in the large room, especially when guests come - it turns out very cozy. By the way, there was no fireplace, unlike the stove: apparently, it was dismantled in Soviet time, so all that's left is the channel. My parents found it, cleaned it and made a new fireplace.

Another unusual thing: in an apartment - for 150 square meters area - three exits. One, however, is behind the closet. In principle, it is nice to have access to two staircases.

DASHA: This is a common story in the old foundation, for example on Vasilyevsky Island. The fact is that people lived in such houses unusual people, with servants. And so that the servants would not go through the main passage, they made another, black one. We live on the first floor, so the third entrance, I suspect, is the janitor's room. But we don't know for sure.

The house is very quiet. Sound insulation here is due to the courtyard courtyard. Even if we open the windows now, it won’t be noisy. The yard seems to absorb sounds.

Ceiling height

3.5 meters

Separate bathroom

Kitchen area

23 m2

PETER: Acoustics aspects were considered during construction. And this is what distinguishes the old foundation from new buildings: the architects approached the matter wisely. They built not only for money. The house itself also has excellent sound insulation: we almost stood on our heads here when we were younger - and nothing, none of the neighbors ever came. Probably, the closet would have to fall for someone in the next apartment to hear something.

The form of house management is a homeowners' association (HOA). But it's nominal. We do not have meetings and practically do not carry out any work to improve the territory. They could turn on the fountain in the summer and pave the yard with paving stones instead of asphalt. Yes, a million things could be done, but there is no initiative. Homeowners associations made it possible to use unoccupied spaces in attics and basements - this way they did not leave KUGI (City Property Management Committee - Ed.), but remained with the residents. However, there is nothing special there: sometimes someone just stores something.

There is no neighborhood community in the Lidval house. However, there are not so many residents here: for each front door (there are three in total on the front side) there are eight to ten apartments. And all the people are very wealthy, multimillionaires. With statuses: owners of steamship factories. But at the same time they do not want to invest anything in common property and thus make their own life better. A bunch of oligarchs who don’t care where they live. We are the poorest family here and, it turns out, we want to change something more than anyone else. Another specificity is that neighbors spend a lot of time abroad. Plus we have a big age difference and have no common interests. But in general, everyone here is polite, everyone greets each other.

The building consists of several buildings, part of which faces Malaya Posadskaya Street - but there, unlike the front building, there is nothing remarkable there. You could say that the Lidval house that everyone knows is just front part with cour d'honneur. In the left and right wings of our part of the house there is non-residential premises. On the left is a state kindergarten, I went there as a child. On the right was the office of Rosgosstrakh, but it has now moved out. In each of our three “front” front doors there are security guards, and from the Main Directorate of the Ministry of Internal Affairs. This is probably a show-off from the gangster 1990s: a real cop is guarding you.

One of the advantages of the house is its location. Center, opposite the metro. Plus there is a green area, which is unique for the center. Dasha and I are running near Petropavlovka. There are also high ceilings and general ventilation. It is not modern: during construction, they simply made ventilation ducts that allow air to circulate in the house. And finally, one of the advantages is a gas water heater: we do not depend on summer water outages. Of the minuses: old communications. During the last renovation, a lot of things had to be redone; millions of rubles were spent on it. We even thought about selling the apartment: the renovation cost the same as a new home in the north of the city. But now we’re glad we stayed, we adore the apartment and won’t move anywhere.

From local legends (this is, however, the honest truth): in the 1990s, the famous crime boss Kostya Mogila lived in the Lidval house on the fifth floor. At that time he was the number one gangster in the city. I remember that time very well. He came home from school with a huge briefcase behind his back, and they wouldn’t let me into the yard because Kostya Mogila and his thousand guards were leaving. And when Kostya Mogila left the house, everyone had to sit in their apartments; he comes down - and the lights in the entire front door are turned off so that it can be seen whether they are aiming at him. In the early 2000s, Kostya Mogila was still shot, but in Moscow.

Lidval Fedor Ivanovich- (Johan Friedrich) (18701945), architect. Born in St. Petersburg. Graduated from the Academy of Arts (1896), academician since 1909. Leading master of the Art Nouveau style and neoclassicism, author of comfortable apartment buildings and large public buildings: the Lidval house, ... ... Encyclopedic reference book "St. Petersburg"

- (Johan Friedrich) (1870 1945), architect. Born in St. Petersburg. Graduated from the Academy of Arts (1896), academician since 1909. Leading master of the Art Nouveau style and neoclassicism, author of comfortable multi-apartment residential buildings and large public buildings: Lidvalya house ... St. Petersburg (encyclopedia)

Real name Johann Friedrich (1870 1945), architect, leading St. Petersburg master of the Art Nouveau style. He combined freedom of planning and variety of decor with subtly stylized elements of Renaissance architecture and medieval Swedish architecture (house... ... encyclopedic Dictionary

- ... Wikipedia

Swede. Johann Friedrich Lidval Lidval's house on Kamennoostrovsky Prospekt ( Saint Petersburg) Years of life Citizenship of Russia ... Wikipedia

Lidval, Fedor Ivanovich Fedor Ivanovich Lidval is Swedish. Johann Friedrich Lidval House of I.A. Lidval ... Wikipedia

Lidval F.I.- LIDVAL Fedor Ivanovich (real name Johann Friedrich) (1870-1945), architect, leading St. Petersburg. master of the Art Nouveau style. The freedom of planning and variety of decor characteristic of it was combined with subtle stylizations. elements of Renaissance architecture etc.... ... Biographical Dictionary

Fedor Ivanovich Lidval is Swedish. Johann Friedrich Lidval Lidval's house on Kamennoostrovsky Prospekt (St. Petersburg) Years of life Citizenship of Russia ... Wikipedia

Lidval Fedor Ivanovich

Years of life: 1870 - 1945

Architect

Fyodor Ivanovich Lidval - one of the leading masters of St. Petersburg Art Nouveau, an architect-artist and builder - came from a Swedish-Danish family that settled in the city on the Neva in mid-19th V. and had strong ties to the Scandinavian diaspora. He was born in 1870, studied at the Baron Stieglitz School of Technical Drawing, then at the Academy of Arts - in the workshop of L. N. Benois, performing ordinary, unremarkable term papers. In 1896, having developed a graduation program (project for an exhibition building), Lidval completed his education.

For twenty years of continuous creative activity Lidval built several dozen buildings in St. Petersburg, which left a noticeable mark on architectural appearance cities. Brought up on traditional eclecticism, he quickly rose to the forefront of adherents of the new Art Nouveau style. Two periods can be distinguished in his work: 1897-1907 and 1907-1918.

At the first stage, the architect clearly showed himself to be a master of “northern modernism”; his searches in these years were close to the aspirations of Scandinavian and Finnish architects. The main theme is the apartment building, the main type of building in capitalist St. Petersburg. Lidval, like his colleagues, sought to create a memorable image, while at the same time placing in the buildings the largest possible number of apartments for different segments of the population.

In 1900 he rebuilt big house, facing the Kadetskaya Line, Kubansky and Tuchkov Lanes. The bay window and dome emphasized the responsible position of the house. In 1901, together with S.V. Belyaev, Lidval built the wooden mansion of K.K. Ekval on the territory of his own factory (Krasnogvardeisky lane, 15) - a rare monument of this kind in the Art Nouveau style. In 1903, Lidval built a hotel building at 6 Apraksin Lane, mall capital Cities. The lower floors of this austere, business building house shops.

Lidval's first largest programmatic work was the apartment house of his mother, I. B. Lidval (Kamennoostrovsky Ave., 1-3, - M. Posadskaya St., 5; 1899-1904). The Lidval House is an example of a comprehensive urban planning and artistic solution for a large plot of trapezoidal configuration.

Lidval's first major building made him immediately famous, and the house was a prime example of Northern Art Nouveau forms demonstrated with lavish inventiveness.

In 1902, 1904 and 1908-1910. in the neighborhood Lidval built houses at Malaya Posadskaya Street, 15, 17 and 19, forming a large residential complex.

In 1908-1910 In the Lidval style, if you can call it that, one of the most interesting houses in terms of urban planning was built - in a completely different landscape environment. This is a house at 14 Primorsky Prospekt, unusually impressively rising on the low bank of the Nevka, just opposite the Rossi pavilion.

Actively working on the St. Petersburg side, Lidval showed himself no less clearly in the development of the city center. On Bolshaya and Malaya Konyushennaya streets he erected simultaneously in 1904-1905. two buildings, each of which is programmatic in his work and a milestone in the development of St. Petersburg Art Nouveau. The House of the Swedish Church (M. Konyushennaya Str., 3) clearly demonstrates the author’s desire to combine Art Nouveau motifs with the classical technique of the overall composition. In the courtyard there is a very popular concert hall, which V. Mayakovsky loved.

An example of “northern modernism” is house No. 19 on Bolshaya Konyushennaya Street. There was no house of the Guards Economic Society (DLT) yet, and the Lidval building stood proudly in the space, and even today it is an important accent.

During these same years, he created another extraordinary building, the figurative characteristics of which are distinguished by greater restraint, even severity. The four-story house of the Vyborg citizen Kollan (92 V. O. Bolshoi Ave.) is one of the first-class monuments of “northern modernism,” without the extremes and grotesqueries that often discredited this movement.

The five-story Liebig house (Mokhovaya St., 14) also belongs to the same period, harmoniously integrated into a different spatial environment, with a rather neutral composition devoid of strong accents and a uniform rhythm of windows.

Lidval’s creativity at the first stage of his activity is impressive in its diversity artistic images, united, despite the variety of forms and techniques, by a special poetry and romantic emotion.

Having received wide recognition, Lidval expanded his field of activity. In the difficult environment of the struggle between various artistic movements and groups, the architect found use for his talent, turning, like many of his contemporaries, to the classics. Vivid examples of the architect's appeal to the classics were the buildings of the Second Mutual Credit Society (Sadovaya St., 34; 1907-1908) and the Azov-Don Commercial Bank (B. Morskaya St., 3-5; 1908-1909, 1912).

In 1915-1916 Lidval, together with his teacher L.N. Benoin, began the construction of the Russian Bank for Foreign Trade (B. Morskaya St., 18, - Moika River embankment, 63), however, due to the war, the building remained unfinished and was completed already in 1920. x years according to the modified project. Several excellent banking buildings were built according to Lidval's designs in Moscow, Astrakhan, Kyiv and Kharkov, the best of which, in Kyiv, is a decoration of Khreshchatyk.

However, neither banks nor hotels could distract the architect from his main theme - a residential building, and here he again showed great flexibility in creative thinking. Houses built in the 1910s have new qualities due to the demands of the time.

Apartments of varying degrees of amenities and sizes, different outlines in the plan indicate the architect’s sensitive attitude to changing requirements. And this house influenced Lidval’s contemporaries (the house at 41 Lenin Street, built by A.L. Lishnevsky, and others).

The house of the Swedish industrialist Nobel on Lesnoy Prospekt is one of a number of residential and industrial buildings built for him by Lidval. Among them is a thoroughly rebuilt house (6 Griboyedov Canal embankment; 1909),

a mansion for him opposite the apartment building in question (Lesnoy 21), rebuilt by Lidval in 1910, perhaps Vacation home in Sergiev (not preserved) and industrial buildings at Vyborg side. The house at 20 Lesnoy Prospekt is also one of the architect’s signature works.

In 1913-1914 Lidval, together with the architect D. D. Smirnov, built an excellent residential building (P. S., Bolshoy pr., 39; by the way, Smirnov actively participated in the construction of Tolstoy’s house), and together with M. M. Peretyatkovich created a reinforced concrete vault in the main hall of the Exchange.

Constructions of Lidval and the masters of his circle in to a large extent determined the originality and high level Petersburg architecture of the 1900-1910s.

At the end of 1918, he left for the homeland of his ancestors - Stockholm, where he lived the last, long, but much less productive period of his life. This is understandable - after all, Lidval was connected by all his roots with the culture of St. Petersburg, Russia, continued to consider himself a Russian architect, and the years of work in St. Petersburg were the most happy years life.