Споруда, відома як Будинок Городецького, зведена у 1901-1903 роках. Дім є пам'яткою архітектури. Будинок по вул. Банковій, 10 - офіційна резиденція Президента України Віктора Ющенка. Цей статус він отримав навесні 2005 року згідно з постановою українського уряду.

Будівля спроектована київським архітектором Владиславом Городецьким у стилі раннього декоративного модерну, що не є характерним для початку XX століття на території України. Але майстер будував його фактично для себе - з 1903 по 1913 рр. він жив та працював на Банковій, 10. Владиславу Городецькому вдалося на цьому місці майже за безцінь придбати землю. Ділянка вважалась непридатною для забудови через надто крутий схил, однак це не засмутило професіонала будівничої справи.

Коли Городецький оголосив про свій намір будуватися на цьому місці, то побився об заклад, що через два роки він зведе тут власне житло. Тоді відомий київський архітектор Олександр Скобелєв приклав руку до чола зодчого і з пафосом виголосив: «Ви, добродію, божевільний. Тільки божевільному може спасти на думку така ідея».

Однак парі Городецький виграв.

Владислав Городецький так спроектував свій будинок, що зміг раціонально використати невеликий земельний майданчик та обійти складні грунтові умови. Зокрема, для зміцнення стійкості схилу було вбито майже 50 бетонних паль на глибину 5 метрів. Сам будинок спроектовано у формі куба: з боку вулиці Банкової він має три, а з боку площі Івана Франка - шість поверхів. Фасади оздоблені з характерним для модерну використанням різних стилів. «Будинок з химерами» отримав у народі таку назву за скульптурні прикраси на міфологічну та мисливську тематику на фронтоні. Цікавим є використання високого парапету на даху, що дозволило практично сховати покрівлю. Кажуть, будівля архітектора Городецького на Банковій, 10 є першою «бездаховою» в українській столиці.

Зовнішньому вигляду будинку повністю відповідають його інтер'єри з художніми розписами, мармуром, ліпним декором, дерев'яним різьбленням, інкрустацією.

Як приклад наводяться деякі матеріали і вироби, застосовані при зведенні будинку, взяті з власноручних описів Городецького, які і досі зберігаються в архівній справі: «...обшивка стін - вільха, 4 живописні плафони роботи Eugenio Sala, парадні мармурові сходи (з білого караського мармуру в чорну жилку)... всі роботи по окуттю дверей та вікон і всі декоративно-металеві вироби - бельгійське товариство металевих виробів, паркети - Здолбунівська паркетна фабрика«Тайкург», керамічна плитка для підлоги, ванн і клозетів - завод Бергенгейма в Харкові, облицювання стін у ванних - фаянсовими плитками Веллера, бронза та електричне освітлення - фабрика бронзи Сековського у Варшаві за спеціальними малюнками...». Також велику художню цінність становили каміни відомої німецької фірми Мейсона.

У будинку було сім квартир: дво- та трикімнатні на першому поверсі, шестикімнатна - на другому, восьмикімнатні - на третьому та шостому, дев'ятикімнатна - на п'ятому та десятикімнатна - на четвертому.

Після революції 1917 року будівлю було націоналізовано і деякий час дім використовувався як житло. У 1944 році його передали ЦК КПУ, а чиновники влаштували тут медичний заклад.

У 1998 році було розроблено проект реконструкції «Будинку з химерами». Відновлення інтер'єрів здійснювали за старими кресленнями, що збереглися. Після капітального ремонту, який тривав до 2004 року, три поверхи (третій, четвертий та п'ятий) переобладнали під приміщення для проведення заходів за участю Президента України. На першому та другому поверхах резиденції Глави держави розташовані службові кабінети працівників Державного Протоколу та Церемоніалу президентського Секретаріату.
У будинку на Банковій, 10 є зала для вручення вірчих грамот, урядова зала для підписання документів та мала зала для переговорів. Також є зала «тет-а-тет», де Президент України проводить зустрічі віч-на-віч. Тут є приміщення для брифінгів та кімната для проведення урочистих святкових прийомів.

_________________________________________________________________
AUF ENGLISCH

The House with Chimeras, also known as Horodetsky House, was built in 1903. Located on 10 Bankova Street, it has been President Victor Yushchenko's official residence since 2005.

Being the most notable example of Art Nouveau in Ukraine and the Ukrainian capital's first "roofless" house, it was designed by architect Vladyslav Horodetsky, often called Kyiv's Gaudí. He lived and worked in it for ten years, between 1903 and 1913. Horodetsky bought a cheap plot on a steep slope and made a bet with architect Oleksandr Skobelyev he would build a house on it. Skobelyev exclaimed, "You are insane, my friend. Only an insane person could have such an idea!" Horodetsky, however, won the bet. He used the relatively small site rationally and bolstered the abrupt incline with fifty concrete piles. The cubic building has three floors on Bankova Street and six on the side of the Ivan Franko Theatre. Its facades are very eclectic and contain various hunting scenes depicting exotic animals, as Horodetsky was an avid hunter.

The Italian sculptor Emilio Salya made both the internal and external sculptural decorations, such as mermaids, dolphins and frogs on the roof, sinking ships and hunting trophies on the exterior walls, and exuberant interior ornaments.

There were two stables, two rooms for coachmen, a laundry and two apartments on the lowest level of the building, which is located deep into the hill. Each of the two apartments consisted of a foyer, a kitchen, a bathroom and a larder. Each floor above the lowest level was designed for one apartment only.

The building was nationalized after the 1917 October Revolution. There was a clinic for the Communist elite in it for many years after World War II.

The Horodetsky House was restored between 1998 and 2004. Some of its floors are used for ceremonial purposes by President Yushchenko and some as offices for his protocol service. The restored building has a room where ambassadors present their credentials to the president, a room to sign official documents, a small room for negotiations, a room for tête-à-tête talks, a pressroom, and a room for receptions.


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:cheers:

Красивое здание,и обстановка.

Впечатляет! Достойная резиденция.

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нічне фото http://fotki.yandex.ru/users/bukvar1/view/29986/
http://img-fotki.yandex.ru/get/14/bukvar1.11/0_7522_187fae1a_orig

А може нам створити в укр. секцї щось типу Rate Our Buildings, там можна буде створювати треди, як цей. Такі розділи є вже в багатьох секціях. Памятаю колись була така пропозиція, вроді всі були за, але до чогось конкретного так і не дійшло. Але тепер ми маєм модератора, так що процес можна пришвидшити.

@ Rudnicki:
chciałeś po angielsku, to masz (enjoy :) )

Władysław Horodecki (Vladislav Gorodetsky)
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Vladislav Gorodetsky
Władysław Horodecki
Владислав Городецький


Personal information
Name Vladislav Horodecki
Владислав Городецький
Nationality Polish
Birth date May 23, 1863(1863-05-23)
Birth place Sholudky, Podillia, Russian Empire
Date of death January 3, 1930 (aged 66)
Place of death Tehran, Iran
Work
Significant buildings House with Chimaeras (Kiev),
St. Nicholas Cathedral (Kiev),
National Art Museum (Kiev)
Vladislav Horodecki or full name Leshek Vladislav Dezidery Horodecki (Ukrainian: Лєшек Дезидерій Владислав Городецький, Vladyslav Horodets’kyi; Polish: Leszek Władysław Horodecki) (June 4 [O.S. May 23] 1863 in Sholudky, Podillia — January 3, 1930 in Tehran, Iran) was an architect and big-game hunter, best known for his Art Nouveau-style buildings, namely the House with Chimaeras, the St. Nicholas Roman Catholic Cathedral, the National Art Museum of Ukraine, and many others in Kiev, the capital of Ukraine.

Horodecki was born in a noble Polish szlachta family in the Podillia region (now Nemyrivskyi Raion, Vinnytsia Oblast, Ukraine). He graduated from the Imperial Academy of Arts in St. Petersburg in 1890, and moved to Kiev, where he lived for almost 30 years. In 1920 he emigrated to Warsaw, and in 1928 he moved to Tehran where he died in 1930.

One of Kiev streets, designed by Horodecki[1], (between Maidan Nezalezhnosti and House with Chimaeras) was named after him in 1996. Historically, the street was named as Mykolaivska, and in Soviet times it was known as Karl Marx street.


[edit] References
^ Photoalbum (Ukrainian). Official web-portal. Kyiv municipal authority. Retrieved on 2007-07-15.

[edit] External links
Ivanenko, Anna (2004). "Gorodetsky. Lord of Chimaeras" (in Russian). "МТ – Mir turizma" magazine 1-2. ISSN 1811-3583. Retrieved on 2006-09-17. Essay about Gorodetsky
Architect of the century (Ukrainian). Vinnytsia oblast' universal science library named after K.A.Timiryazev (2003-05-20). Retrieved on 2007-07-14. Biography of Gorodetsky
This Ukrainian biographical article is a stub. You can help by expanding it.


This article about an architect is a stub. You can help Wikipedia by expanding it.
Retrieved from "http://en.wikipedia.org/wiki/Vladislav_Gorodetsky"
Categories: Ukrainian architects | Polish architects | Art Nouveau | Hunters | 1863 births | 1930 deaths | Ukrainian people stubs | Architect stubs
edit:
i jeszcze to ze strony:
www.wumag.kiev.ua




Architect Horodecki, inspirer of folk legends




I liked fairy tales when I was a kid, and there was a house not far from where my family and I lived in, which looked like an embodiment of fairy-tale fantasies. It was years later that I, not without some reluctance, learned facts about the house and about the architect who designed it. I was relieved to find out that the facts did not spoil fiction — they rather enhanced it.



“The House with Chimeras” is the usual way to refer to it in Kyiv. It sits in a quiet street with little traffic, opposite an ugly office building which in the Soviet times was the communist party headquarters and now houses the president’s and presidential administration offices.

The building is of a very unusual shape, and depending on an angle you look at, it gives you a different impression: a fancy mansion; a Renaissance palace; a Medieval castle; a place whose designer had gone amok. There are all kinds of exotic and fantastic animals crawling on the walls, sitting at the edges of the roof, flanking the entrances, fighting or moodily staring at the passers-by. A place, in short, to make your imagination run riot.



I began to be taken for walks to and around the Chimeras when I was still a toddler. I felt uneasy around the spooky place and felt relieved when from there we walked down the winding path to the tranquillity of two small parks hugging the Franko Ukrainian Drama Theatre on two sides.

I rediscovered the bizarre attraction of the House with Chimeras when I started school. Though I could pass by it or, in fact, almost through it (there was an asphalted path that passed right underneath the house and emerged on the other side, joining the path that led down to the parks) on my way to school, I chose not to because it was a very special place for me, not to be soiled with daily routine.

In my imagination it was a castle where a wicked magician lived. The magician was a thousand years old, and in his advanced age, he stopped being wicked and acquired wisdom not to interfere with the world around him. He was a recluse but looking at the curtained windows I always hoped I might get a glimpse of his sad bearded face peering at me through the crack between the heavy curtains. But I was never lucky. Then I thought he must have passed away and his daughter, a not so wicked witch, was the principal inhabitant. However, she did not reveal herself to me either, and for some reason I did not want to discuss the matter of the late reclusive magician and his lone daughter with my parents. I felt that they would tell me something that I really did not care to hear.

When I began reading historical books and learned about chivalrous knights, and fair damsels and crusades and precious stones, I began to imagine myself a golden-haired (the natural colour of my hair was never golden) princess in distress, locked in the attic room with a tiny window in the roof through which I could see only one star on a clear night. On a trip to the Chimeras I’d sit on a step of a wide staircase that ran on one side of the building, and give myself to the flights of fancy — I’d hear the click-clacking of the hooves of the white steed on which my Prince Charming rode to do battle with the evil ogre that kept me under lock and key; the ensuing combat was too frightening to behold, and I kept my lowered face hidden in my trembling hands. When, judging by the cessation of the imaginary noise, the battle was over, I’d peep out from behind my fingers, and ascertaining that the Prince was victorious and the ogre had been slain and dragged out of sight, I’d allow myself to be lifted by the Prince’s powerful and yet gentle arm and hand, onto the steed and… then some silly adult passing by would tell me sternly, ruining the magic, “You mustn’t be sitting on a cold step, little girl. You’ll catch a cold!” … Later, I watched the Crusaders storming the enchanted castle, opening the chests full of shining jewels and gold dust, and then the Saracens recapturing the castle of the Infidels, climbing the steep walls and uttering piercing cries and brandishing their curved swords.

And still later, on one of my trips to the Chimeras, I suddenly discovered, to my great dismay, that the house and the chimeras were in advanced state of decay and in a bad need of repair. The paint was peeling, the plaster decorations were crumbling; there was a general aura of gloom and abandonment about the place. I was no longer a golden-haired princess, or a fairy damsel — I was just a gawky teenager.




Years later, I began bringing my children to the Chimeras, telling them fancy stories. I kept inventing all kinds of stories about the former owner of the weird house and about why he chose to decorate his house in such a wacky manner. There was a rich store of local lore tales to dig into but I never really liked any of the popular stories: the owner was a man of fabulous wealth who had a daughter of striking beauty and on one of the overseas travels the daughter was drowned; the disconsolate father had all the monsters on the exterior of the building designed and made to reflect his grief; the owner was a concrete manufacturer and he wanted to promote and advertise the then new material in this extravagant fashion; the owner was just a freak — and so on. None of these tales seemed romantic enough for me and I told my children my own stories woven out of my childhood fancies. They liked the stories, but as they grew up they asked a sobering question: Is it actually known why the guy who used to own the place wanted all those creepy-crawlers, and toads, and mermaids and rhinos and heads of elephants and other fancy creatures beyond descriptions on the walls of his house? The interiors must be even spookier!

I have never been inside the house so I could not say anything about what the interiors looked like, but I realized I did want to learn some facts which, I hoped, would not disappoint me too much. Not so long ago I discovered a book, Arkhitektor Horodetsky (“Architect Horodecki”) by D. Malakov, which told me a lot about the man who designed the House with Chimeras and who owned it.



It turned out that the designer had a name, and a fancy one at that: Wladislaw Leszek Horodecki, evidently of Polish descent. His forebears are said to have been of the Polish aristocratic stock, much impoverished by the time Wladislaw was born. And his mother was delivered of the future architect in the Horodecki’s estate of Zhabokrychi, in the Ukrainian land of Podillya, on May 23 1863. Zhabokrychi (incidentally, this Ukrainian word can be translated as “The place where toads croak; among the monsters on the walls of House with Chimeras we do find immense bloated concrete toads; despite their somewhat frightening naturalism they are all silent) was a scenic place of much charm. It must have fired the young lad’s lively and artistic imagination. Fired to such an extent that the teachers of a secondary school he went to, were impressed and suggested that the boy be sent to an art school to study art and develop his talent. Luckily for him, his parents managed to procure enough means to send the boy to the best art teaching institution in the Russian Empire at that time, St Petersburg’s Academy of Art.


Wladislaw did not seem to have been taken much with what he was being taught — the Academy was a seat of a very conservative, “academic” approach to art with little or no innovatory ideas being permitted. After three years of tedious studies, he dropped out and moved back to Ukraine where he settled down in the town of Uman, which, in spite of its small size and provincialism, supported a thriving cultural life. The dashing young artist with aristocratic manners, predilection for high living, and an assortment of talents made a big splash in the local society but the place was too small and quiet and conservative for his liking — and he moved to Kyiv.

He arrived in Kyiv in the early nineteen-nineties, when the city was living through a construction boom of a sweeping scope. Hundreds of fancy buildings in a variety of styles were going up in many parts of the city. As a newcomer, he could hardly hope for a plethora of commissions coming his way, but as luck would have it, he met a number of people who could be helpful in obtaining commissions at the exclusive Hunters’ Club of which he had promptly become a member. It did not take him long to convince his clubmates that his artistic talents were in no way inferior to his hunting skills.

And the commissions were not slow to come. Consequently, the royalties rocketed and Horodecki could afford not only to purchase objets d’art for his homes which became ever more sumptuous, but also to go on hunting trips which took him to distant and exotic places, Africa included. He was rumoured to have brought extraordinary pets from his expeditions, a young giraffe and a baby elephant among them.

The famous architect’s life style was the envy of many in Kyiv. He drove around town in a Landaulet automobile (not only automobiles were a rarity then, but the one he owned was the top chic), sparkling with shiny metal parts, adorned with silver and red wood; the dandy driver wore a fashionable cap, a leather coat, a six-feet long scarf, and had a funny-faced monkey perched on his shoulder. Many a woman’s heart palpitated at the sight.

Enjoying life, Horodecki at the same time never stopped working hard and producing excellent and impressive designs. Among Horodecki’s landmarks that still grace the streets of Kyiv is the Mykolayivsky (St Nicholas’) Church, a new-Gothic imposing architectural creation whose two soaring towers can be seen from afar (Welcome to Ukraine featured an article about the church in its previous issue — tr.). Elia Sala, an Italian sculptor and architect who came from Milan to live and work in Kyiv in the early 1890s, was commissioned to provide sculpture and decorations for several of Horodecki’s creations, the National Art Museum, the Mykolayivsky Church and the Karaite House of Prayer among them. And the chimeras and fable and exotic animals adorning the House with Chimeras are also Sala’s ingenious and inspired oeuvre.

One of the many tales that circulated in town about Horodecki, had it that during the construction of the church his beautiful wife died and the grief-stricken architect introduced some of his anguish into the design. I never believed this story simply because no matter how hard I looked at the intricate shape of the church and its sculptural decorations I could not detect anything that would suggest grief. My rejection of the story was confirmed by my discovery that Horodecki’s wife, Cornelia Marr, the daughter of a wealthy industrialist, had outlived him by many years. He did love his wife dearly and was fascinated with her beauty which he sang in poems devoted to her and in the designs for dresses and footwear and jewellery that he made for her.


The story of the House with Chimeras was a bit of a let-down. Horodecki wanted a house that would meet his very specific requirements in size and decoration, and he bought a plot of land on the top of one Kyiv hills, and in 1901 he had a house built there, the House with Chimeras. The extraordinary appearance of the house gave rise to a multitude of rumours and stories one of which had his daughter die during a hunting expedition — hence the representations of tropical animals and monsters which were to reflect the architect’s pangs of conscience. In fact, Horodecki had an interest in a concrete making factory, and it may partially explain the concrete extravagancies in the building’s decorations but I’d rather accept the view that all Horodecki’s most important architectural creations in Kyiv were his declarations of love. As far as I am concerned he seems to be telling the woman he loved: Look, my darling, these fine and extraordinary buildings I dedicate to you, oh my darling, whom I love so much, and my love for you will never die. Which other creations of the human spirit are as enduring as architectural marvels? Some crumble into dust, some are destroyed by vandals, but others persevere through wars and revolutions. Horodecki’s creations are of this latter kind.

Horodecki quite correctly felt that the Bolsheviks who seized power in 1917 would not distinguish themselves as great patrons of art and he prudently left the country with his wife and two daughters. The Soviets for a reason which is not clear to me — they destroyed so many other architectural landmarks of the past! — spared the buildings that Horodecki had designed, and it feels so nice to go to the Museum of Ukrainian Art and know that it was Horodecki’s talent and love that created it.

After staying in Poland for eight years from 1920n to 1928, Horodecki went to Iran on the invitation that came from an American company. The shah liked his architectural ideas and commissioned a palace. The architect obliged. Many other commissions followed — a railroad station, a theatre, a museum and a hotel. In two years that he was to live, Horodecki proved his mettle by being as prolific as in his younger years. He died on January 7 1930 and was buried in Teheran, Persia. A Ukrainian architect of Polish extraction, a Christian, lies buried in the dry soil of a Muslim land.

Cultures meet and overlap and intertwine, and love endures. I find it was the essence of Horodecki’s message to me — and to my children, and to many others who care to look and see.

А може нам створити в укр. секцї щось типу Rate Our Buildings, там можна буде створювати треди, як цей. Такі розділи є вже в багатьох секціях. Памятаю колись була така пропозиція, вроді всі були за, але до чогось конкретного так і не дійшло. Але тепер ми маєм модератора, так що процес можна пришвидшити.

Цікава пропозиція. Думаю варто обговорити з іншими користувачами форума.

Кто бы в 1903 г. мог подумать, что архитектор Городецкий строит резиденцию для Виктора Ющенко! Жаль, что никому не пришло в голову заключить аналогичное пари о том, кому достанется этот дом...

Я так розумію що це буде наш "Білий дім" де будуть мешкати всі наступні Президенти.

не думаю, що той будинок відповідає статусу глави держави

резиденицією президента має бути маріїнський палац з місцем його проживання там як єлисейський палац в парижі

дім городецького підійшов би під резиденцію прем"єр-міністра і для зустрічей кабінету. виглядало б дуже по республікансько-міщанськи

Навіщо Президенту палац, він не Гетьман й не Король. Як раз дуже нагадує Булий дім, маленький, уютний, гарний, історичний будиночек у центрі міста.

http://www.carteretcountyschools.org/aes/dc/images/Day5/WashingtonMonument/WhiteHousePres.jpg

Бачите який маленький Білий дім, а не палац якийсь.
http://courses.cit.cornell.edu/lanar525/images/Washington/WashMonumentWhiteHouse.jpg

Палаци повинні використовуватись для церемоній та у якості музеїв для людей, а не як місце проживання президентів!

дім городецького підійшов би під резиденцію прем"єр-міністра і для зустрічей кабінету.

В нас прем"єр-міністри змінюються кожного року, а інколи і того швидше. Що їм кожного року виїжджати заїжджати? Нехай у власній квартирі живуть.

США не Європа в них кодишніх королівських палаців нема

прем"єри мають мінятися раз в 5 років

сподіваюсь до того дійде

Не треба нам тут франції кацапії розводити, в нас громадське суспільство а не монархія, Президент є звичайним громадянином тому й не живе у палаці.

Британiя хороший приклад, там резиденцiя це просто будиночoк на вулицi (Downing street), помiж iнших, мaйже таких самих будинкiв.

а причому тут кацапія. президенти в більшості європейських країн є фігурами виведеними за рамки щоденої політики, ну крім франції. і просто уососблюють відповідну республіку.

а мешкають вони в колишніх королівських хоромах, щоб підкреслити "Würde des Amtes"

австрія є громадським суспідьстовм ще більше ніж ми, але президенту ніхто не мішає мешкати в колишній резиденції габсбургів.

президент - не звичайний громадяни, він в європейському розумінні є ерзац-монархом з обмеженим часом перебування на посаді і великими символічними функціями

а перм"єр є уособленням республіканського парламентського ладу. главою легітьимованого парламентом уряду і має відповідно мешкати тобто як звичайний міщанин

в випадку з даунінґ стріт - прем"єр в Британії не є главою держави, а всього главою уряду. глава держави мешкає в Букінгемському палаці

Ну офіційна резиденція то Маріїнський палац - це і є наш Версаль. А для кожнодневних справ - президент має дім з химерами.

http://www.globalsecurity.org/military/world/ukraine/images/mariinsky-2.jpg

Kрасивая резиденция:cheers: