Nina Aleshina

Nina Alexandrovna Aleshina
Nina Alexandrovna Aleshina
	circa 1980
Born	17 July 1924; Moscow, Russian Soviet Federative Socialist Republic, Soviet Union
Died	17 November 2012 (aged 88); Moscow, Russia
Nationality	Russian
Other names	Nina Alexandrovna Alyoshina, Nina Alyoshina, Nina Aleshina
Occupation	architect
Years active	1950-2012
Known for	Moscow Metro

Nina Aleksandrovna Aleshina (Russian: Нина Александровна Алёшина, pronounced [ˈnʲinɐ ɐlʲɪˈksandrəvnɐ ɐˈlʲɵʂɨnə]; July 17, 1924 – November 17, 2012) was a Russian architect and head of the design department Metrogiprotrans [ru] for the Moscow Metro for a decade. Nineteen stations of the subway system were projects she participated in or led. She was honored with many awards during her career, including the designation in 1985 of Honored Architect of the Russian Soviet Federative Socialist Republic [ru]

Early life

Nina Aleksandrovna was born on 17 July 1924 in

Moscow Institute of Architecture under the tutelage of Boris Mezentsev [ru], graduating in 1950.^[4]

Career

Aleshina began her career in the workshop of Alexey Dushkin, working on drawings for the renovation of the Novoslobodskaya station, which had been completed years before.^[3] She focused on wall and pylon treatments, while her husband, the artist Nikolai Aleshin worked in their home sketching images for stained glass.^[4] She designed the vestibule of the station, which led into two lobbies.^[1] It was the first project of twenty she was involved in for the Moscow subway system.^[5]

At the end of the Khrushchev era, Aleshina almost quit working on the metro, but changed her mind.^[3] From 1981 to 1991,^[6] Aleshina served as the chief architect of the Institute of Metrogiprotrans [ru]. It was difficult, as she was serving as the head of the design department for the entire metro system, while still completing her own designs.^[4] Aleshina visited construction sites daily to keep the architects and the builders working together^[3] and she had a reputation as a perfectionist, who insisted on performance, but who was also highly respected by the engineers and foremen she worked with.^[4]

In her later career, Aleshina wrote a history, documenting design details, and the unique features of each station in the subway system for the Moscow Heritage Committee.^[4]

Death and recognition

Aleshina died in Moscow on 17 November 2012 and was buried on Vvedenskoye Cemetery next to her husband and daughter.^[1] In addition to prizes recognizing her work, she was honored as a Knight of the Order of the Badge of Honour and received the Medal "For Labour Valour".^[4]

Projects

The Moscow Metro Station project began in 1931 and the challenge was given to designers to plan spaces which overcame the feeling of being underground and instead managed to artistically provide a space which was functional and able to move trains and people efficiently, yet aesthetically pleasing. Initially, natural materials were predominant, but after 1958, Metrogiprotrans turned to concrete, paint and tile.

shallow column design, nicknamed the "centipede" because of its ribbed beam ceilings across a central hall with two rows of columns, was the typical design style of most of the stations. Though Aleshina changed the shapes of the columns and decorative treatments in the stations she designed, it was a challenge to make each station original,^[9] as upon descending the entrance to the platform the 150-meter-long ribbed ceiling was always what first caught passengers' eyes.^[3]

1950s and 1960s projects

1962, Leninsky Prospekt station, was a collaboration by Aleshina with lead architect Aleksandr Strelkov [ru] and Yury Vdovin [ru], Valentina Polikarpova (Russian: В. Г. Поликарпова), and Anna Marova (Russian: А. А. Марова). The design was simple, featuring an above ground pavilion made completely of glass, shaded by a wide eave above which was a decorative concrete lattice. Descending into the deep covered escalator, the design used an overlapping step technique rather than a curved cylindrical vault keeping with the step design of the platform area. Pillars, which widened as they ascended, flanked the hallway.^[10] The square columns were faced with light colored marble^[11] and were narrower on the sides running the length of the hall than on the wider sides facing the platforms. Underneath each pillar was a yellowish-brown "mat" of marble. The walls were tiled in a diamond shaped grid^[10] with light colored ceramic tiles.^[11] The floor was composed of gray and brown granite of intentionally irregular shape.^[10]

1962,

cornices, where the lighting fixtures were mounted. Tiled walls of black and white lined the track and the flooring was tiled with gray and red granite.^[13]

1962, Profsoyuznaya station, also known as the "Trade Union" station teamed Aleshina and Nikolai I. Demchinskii [ru] for the project.^[14] There was no above ground lobby built. Access came through descending from either Profsoyuznaya Street or Nakhimovsky Prospekt Avenue.^[15] It was a prefabricated structure built to a standard design plan. The hallway featured 40 columns faced with wavy, blue-gray marble. The platform walls along the tracks were made of white glazed ceramic tiles set on a diagonal above a black base of horizontal tiles. The floor was paved with red and gray granite.^[14]

1966,

doilies or woven work from the Ryazan region.^[16]

1966,

Taganskaya station was a joint design project by Aleshina with Yury Vdovin and sculptor Eduard M. Ladygin (Russian: Эдуард Михайлович Ладыгин).^[7] The columns in the hallway were lined with light-colored marble, bordered in red marble, with walls of black and white ceramic tiles. Lighting was hidden behind the eaves. Embossed panels on the walls, made by Ladigin represented the theme of "The Conquest of Space". The floor paving was gray and red granite.^[17]

1969, Varshavskaya station, also known as the "Warsaw" station, teamed Aleshina and Natalya K. Samoilova (Russian: Наталья Константиновна Самойлова). Construction began in 1969 and extensively utilized Gazgan marble,^[7] which naturally transitions in color gradation from cream to black,^[18] to create a polychrome expanse, which was broken by rows of columns that were wide at the header and tapered, diminishing in size toward the base.^[7]

1970s projects

1972, Oktyabrskoye Pole station, also known as the "October field" station was a collaboration by Aleshina with L. N. Zaytseva (Russian: Л. Н.Зайцева) and Latvian sculptors Džems Bodnieks and Heim M. Rysin [ru]. The underground passages were accessed from People's Militia and Marshal Birjuzova streets. The hallway featured fluted columns encased in aluminum, which were set atop a gray granite flooring strip. The rest of the floor paving was white marble. Walls along the track were black marble at the base and transitioned to a light gray marble for the main surface. Affixed to the walls were inserts sculpted in anodized aluminum by Bodniek and Rysin featuring Soviet themes.^[19]

1975, Kuznetsky Most station was another joint design project with Samoilova,^[7] as well as with the artist Mikhail N. Alekseev (Russian: Михаил Н. Алексеев).^[7]^[20] The station design utilized arcades of columns and arches, evoking supports on a viaduct, formed of blue-gray, grained marble.^[21] The walls on the accompanying track were decorated with inlays of wrought aluminum depicting blacksmithing, such as sparks flying from an anvil, the tongs and hammer of the forge, weapons and tools which a smith might use or create in his work.^[22] Soft fluorescent lighting in a ribbed rhomboid structure were placed in the ceiling arch to illuminate the walkways,^[7]^[21] The architects were awarded the Prize of the USSR by the Council of Ministers,^[22] in 1977.^[21]

1975, Lubyanka station was a renovation of a project originally completed in 1935 by Nikolai Ladovsky. Aleshina and Strelkov were hired to reconstruct "Dzerzhinskaya" station, connecting it to the new Kuznetsky Most station and creating an actual station with a central hall.^[23] Because of the degraded conditions of the original site, the two circular concrete cylinders which had been built for the trains, were replaced with steel tubing. The soil surrounding the site was a type of quicksand which required the engineers to freeze it to a depth of thirty meters before construction could begin. Though criticized for not remaining true to the original design, Aleshina explained that the original barrel shape of the station was impractical and the tunnel diameters were too small to join with the more modern stations. She also explained that the style of it would not have worked well with the addition of a central hall. The grey marble, which had originally lined the cylinders was replaced with white tiling, though a fragment of the former tunnel was retained.^[24] The pillars of the station were lined in white marble and the flooring was paved with black and red granite.^[25]

1975,

fluted columns of yellowish Gazgan marble in which the vertical grooves were filled with an anodized aluminum and bronze alloy.^[26]^[7] The floor detailing featured a gray granite in an open chain traveling the length of the hallway and the walls were lined with red Ukrainian marmor.^[26] Affixed to the walls were corrugated aluminum panels of the same anodized aluminum and bronze. It was the first time the material had been used on such a large scale,^[7] as previously, it was used to prohibit corrosion on helicopter blades.^[26]

1978, Medvedkovo station was another collaboration of Aleshina and Natalya K. Samoilova and with participation by V. S. Volovich (Russian: В. С. Волович) and again featured artworks by M. N. Alekseev.^[27] The prefabricated structure featured rows of 26 columns, lined in yellow and pink grained marble which had stainless steel inserts. Track walls were lined with red marble and featured anodized aluminum and bronze panels with pyramid-shaped forms to signify ice.^[28] The theme of the station was northern nature and decorative inserts in the metal panels depicted scenes of the environment.^[27] Alekseev's sculpted inserts showed various images including geese in flight, a hunter taking aim at geese and another hunting bear, a polar bear on an ice floe, a sled pulled by reindeer, and other images.^[28] The flooring was gray and black granite paving.^[27]

1979,

chandeliers were made of optical glass which had to be reduced in thickness because of the weight of the spiral fixtures.^[3]

1979,

vaulted ceiling,^[31] featuring arts and crafts as a theme. On the walls, white marble slabs alternated with carved stone compositions, united by floral motifs, adorning the walls.^[7] The carved stones feature mythological creatures including a gamayun, a phoenix, a winged horse, other birds and both a happy and sad sun.^[32] The floors were made of black and brown granite.^[31] The lighting was inset into the ceiling in a pointed zig-zag design feature.^[32] Along the length, the middle of the station featured five marble clustered pillars surrounded by bench seating. In 1980, the design was awarded a certificate from the Union of Architects.^[7]

1980s and 1990s projects

1983,

fiber optic lighting on a message board. The platform lighting was traditional fluorescent bulbs. Walls on the track were faced with white marble. The station was decorated in themes based on ancient cities near Moscow by the painter Lyubov A. Novikova (Russian: Л. A. Новиковa) and the sculptor T. B. Taborovskaya.^[33]

1983, Chertanovskaya station was a solo shallow column project designed by Aleshina. It was constructed of precast, reinforced concrete for which Aleshina personally oversaw the concrete and finishing work. The 26 star-shaped columns on each side of the central hallway were joined by arches. Pyramid-shaped crystal chandeliers provided the lighting. Both the columns and track walls were faced with white marble. Walls featured metal inlays designed by Alekseev and Novikova, who also created mosaics on the southern entrance lobby based on the theme "Constructing a new Moscow". The floor was paved with a geometric pattern of red and black granite.^[34]

1985, Domodedovskaya station was another collaborative design between Aleshina and Samoilova, with the artist Mikhail Alekseev. The theme of the station was aviation and it was built on the standard plan of two tracks flanking a column-lined central hallway. Columns and walls were faced with white and gray grained marble and copper insets depicting aircraft adorned the walls. The floor featured a geometric pattern of alternating gray and black granite. The lighting mimicked that found in the passenger cabin of an airplane.^[20]

1988, Mendeleyevskaya station was a joint design project of Aleshina and Samoilova using columns connected by arches to form an arcade in a traditional Russian style. Columns were faced in white marble and the walls along the track were made of grey marble with reddish veining. The theme of the station was Dmitri Mendeleev's scientific works and at one end of the central hall was a portrait of Mendeleev and his periodic table. Inserted into the walls were decorations created by L. Kremnevoy (Russian: Л.Кремневой) of stylized depictions of atoms and molecular structures. The lighting utilized balls of varying sizes fixed inside a structure resembling a molecular lattice. The floor was paved with gray granite.^[35]

1990, Podbelskogo Street station returned to the team of Aleshina, Samoilova

Bulvar Rokossovskogo station, as the street on which its primary entrance was located had been renamed in 1994.^[38]

1995, Chkalovskaya station was a collaborative effort between Aleshina, Leonid L. Borzenkov (Russian: Л. Л. Борзенков), and Aleksandr L. Vigdorov [ru] with assistance by T. V. Chistyakova (Russian: Т. В. Чистякова).^[39] The station was dedicated to the pilot Valery Chkalov and based on an aviation theme. The lobby featured stylized welded metal elements resembling aircraft. The ceiling arches and pylon designs were created to resemble the shape of an airplane wing and fuselage. Station columns were made of a blue-gray veined marble reminiscent of the sky with decorative shiny metallic elements. At the ends of the hall ceramic panels designed by Mikhail Alekseev and L. A. Novikova depicted clouds swirling around the globe.^[40] The walls of the tracks were faced with light colored marble at the top and a dark marble at the bottom, while the floor was paved with black and gray granite.^[39]

References

Citations

^ ^a ^b ^c Гончарук & November 2012.
^ 6th Deanery of the Diocese of Kaluga 2016.
^ ^a ^b ^c ^d ^e ^f ^g Гончарук & May 2012.
^ ^a ^b ^c ^d ^e ^f Бухарина 2010.
^ Stroi 2012.
^ Метро Строевец 2009, p. 3.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ARH Plan 2016.
^ Есаков & Ромодин 2016.
^ Гладкова 2014.
^ ^a ^b ^c Злыгостев 2006.
^ ^a ^b Mosmetro 2010.
^ Иванов 2008.
^ Mosmetro 2012.
^ ^a ^b Mosmetro & October 2016.
^ Gorod 2012.
^ Metrowalks 2016.
^ Гридчина & April 2006.
^ Uzsanoateksport 2016.
^ Гридчина & November 2007.
^ ^a ^b Усольцева 2016.
^ ^a ^b ^c Татарова & January 2014, p. 4.
^ ^a ^b Shchusev State Museum of Architecture 2015.
^ Свириденкова 2016.
^ Смирнов 2008.
^ Mosmetro 2011.
^ ^a ^b ^c Гридчина 2004.
^ ^a ^b ^c Mosmetro 2013.
^ ^a ^b Рогачёв 2016.
^ ^a ^b ^c Гридчина & May 2006.
^ Гараненко 2004.
^ ^a ^b Гридчина 2005.
^ ^a ^b Perovo-24 2015.
^ Mosmetro 2014.
^ Татарова & March 2014, p. 4.
^ Гридчина & October 2007.
^ Mosmetro 2015.
^ недвижимость Москвы 2008.
^ Moscow 24 2014.
^ ^a ^b Mosmetro & March 2016.
^ Васильев 2014.

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