Nikolai Nikolaevich Nikitin

Nikitin Nikolai Nikolaevich - prose writer.

Born into the family of an employee.

In 1915 he began studying at Petrograd University at the faculties of philology and law.

In 1918, he volunteered to join the Red Army, was a cultural worker, a lecturer, served first in military units, then moved to the political department of the headquarters of the Petrograd fortified area and was demobilized in 1922.

In 1920 he visited the studio of the House of Arts in Petrograd.

In 1921 he joined the literary group “Serapion Brothers”, the inner meaning of which, as M. Slonimsky recalled, was “mainly in the romantic idea of ​​​​friendship” (Life of Art. 1929. No. 11. P.5). The “Serapion Brothers” gathered at the House of Arts and introduced each other to their works before their publication. “Unselfishness reigned there, there was no hatred or envy. These were the “Sparrow Hills,” if we recall the oath of Herzen and Ogarev” (Nikitin N. “Memories of Young Days.” Personal archive of N. Nikitin).

Published in Petrogradskaya Pravda, Krasnaya Gazeta, Pravda, Krasnaya Niva, etc. One of Nikitin’s first stories was approved by M. Gorky. Nikitin, like the other “Serapion Brothers,” was “attacked” by criticism in the 1920s. His story “The Vomit Fort” (1922) was especially harshly criticized. But the experienced writer A. Voronsky expressed a very definite assessment: “Nikitin has a great gift, and a lot has been given to him” (Krasnaya Nov. 1922. No. 3. P. 266). I. Oksenov wrote: “The best thing in the book is “Vomit Fort”” (Book and Revolution. 1923. No. 1. P. 54).

Nikitin's prose of the 1920s was distinguished by its musicality and subtle play of melodies. The writer heard the music of life and tried to correlate the music of the revolution with it. There were no bravura marches or blissful chants here. In the collection “Vomit Fort” (1922), “Riot” (1923), “Flight” (1925), notes of alarm for the fate of national life were repeatedly heard. Tired of eternal need, Nikitin’s village was worriedly wary of the decisive authority of “today’s people, young and tough.” In the story “Tosca” (1924), Nikitin wrote on behalf of the hero-narrator: “I’m going into the forest - and along the way I dream: what if an electric light bulb is hung on every tree - will life become brighter? Or a person carries a light bulb inside him... I know that in a big city people will advise me to read Karl Marx. And let Karl Marx himself come here, where Baba Anfimya walks silently, like a cat, in soft bearskin stockings” (Polet. L., 1925. P.53).

Nikitin is looking for his way in depicting controversial modernity.

In 1923 he writes in a personal letter: “Yesterday I just returned from Volkhov, from the construction of a hydroelectric station. This is why we need to sing sonnets and poems” (RO IRLI. F.385). Nikitin turns to the life of modern youth; his novel on this topic, “The Crime of Kirik Rudenko” (1927), becomes famous. Nikitin energetically masters various prose genres - he publishes a collection of short stories “American Happiness” (1922), “Stones” (1923), “Night Fire” (1924), “Ekaterinburg Stories” (1927), a collection of essays and stories “With a Pencil in Hand” "(1926), "Lyrical Land" (1927), etc. Turning to large forms, he writes the story "Dog Box" (1928), the novel "Spy" (1930), and later the story "Let's Talk about the Stars" (1934), " The Lost Rembrandt (1935), Double Fault (1936).

Turns to the stage. In 1924 he published the play “The Crown and the Cloak” (a reworking of G. Bergsted’s novel “The Feast of St. Jorgen”).

In 1927, in collaboration with A. Piotrovsky, he created the play “Sir John Falstaff” (a literary adaptation of William Shakespeare’s historical chronicle “Henry IV”), which was then staged at the Bolshoi Drama Theater in Leningrad. Also active in public life; in 1924, together with A. Tolstoy, O. Forsh, M. Zoshchenko and others, he signed a letter of protest to the Central Committee of the RCP (b), which said: “... we protest against indiscriminate attacks on us” (On the issue of the policy of the RCP (b) in fiction. M., 1924. P.79).

The trend towards a realistic depiction of life was continued by the play “Firing Line” (1931). Dedicated to the collisions of socialist construction, it took place on the stages of Leningrad and Moscow.

In 1931, the play “Crown and Cloak” under the name “Saint” was revived by the Theater. M. Gorky in Leningrad.

In 1933 Nikitin wrote a “comedy in events” - “Competition of Cunning Persons”, in the same year it was staged by two theaters. A theatrical and social event was Nikitin’s play about the establishment of Soviet power in Azerbaijan - “Baku” (another name is “Absheron Night”), in 1937 it was staged in Leningrad and Moscow.

The writer traveled a lot. Collection “Now in the West. Berlin - Ruhr - London" (1924) - a reflection of his trip to Western Europe. During the years of the first five-year plans, Nikitin visited many construction sites in the USSR. Hang out with participants in the Civil War in Uzbekistan, incl. with M. Frunze. For several years Nikitin worked on a novel about Uzbekistan, studied newspapers, books, memoirs, reference books, archival files, fell in love with Uzbekistan and cordially described it in the novel “It Was in Kokand” (1939, original title - “It Started in Kokand”). The novel contributed to the development of historical themes and to the strengthening of friendship between peoples. And this time it was not without unfair criticism; Nikitin was defended by the “Serapion brothers” - N. Tikhonov, M. Zoshchenko, M. Slonimsky, who protested in the press against the “boundless disregard” attitude towards the work of the famous writer, “who gave 5 years hard work for your work” (Zvezda. 1940. No. 7. P. 218).

From the first days of the Great Patriotic War, Nikitin carried out tasks from the political department of the Leningrad Military District. Then, for health reasons, he was evacuated from Leningrad.

In 1942 he became a permanent correspondent in Moscow for the Sovinformburo, the newspapers “Komsomolskaya Pravda”, “Gudok”, etc. He published propaganda brochures for the general reader “Who is the German occupier”, “How the King of Saxony escaped from Warsaw”, “Brusilov’s Impact”, “How we fought with the Germans”, “The Myth of Invincible Germany”, etc. During the war he also worked for the stage - the theatrical story “How Chapaev fought with the Germans”, etc.

In 1950, Nikitin published a new novel, “Northern Aurora,” dedicated to the Civil War in the North. As when working on a novel about Uzbekistan, the author deeply got used to the material and visited the places where the plot unfolded. A special role was played by the writer’s personal acquaintance with the leading character of “Northern Aurora” - Pavlin Vinogradov, whose name was given to the central street in Arkhangelsk. The novel attracted wide public attention and caused many responses in the press.

Based on his novel, Nikitin wrote the play “Northern Dawns”, which was staged by many theaters. Composer Y. Meitus, based on “Northern Aurora,” wrote the opera “Dawn over the Dvina” (script by Vs. Rozhdestvensky), the opera was staged in Kyiv in 1955.

For a number of years, Nikitin worked as a member of the editorial board of the Zvezda magazine and was elected as a member of the boards of the Leningrad Writers' Organization and the Writers' Union of the USSR. He was also a deputy of the Leningrad City Council and a member of the Leningrad Peace Committee. He regularly appeared in print on issues of literature and art. He wrote memoirs about S. Yesenin, A. Tolstoy, articles about M. Gorky, O. Forsh, E. Toller. The novel “The Third Alley” remained unfinished.

V.A.Shoshin

Materials used from the book: Russian literature of the 20th century. Prose writers, poets, playwrights. Biobibliographical dictionary. Volume 2. Z - O. p. 636-638.

Read further:

Russian writers and poets(biographical reference book).

Essays:

Selected works: in 2 vols. P., 1968;

Favorites: in 2 vols. M., 1959;

Crime of Kirik Rudenko;

Let's talk about the stars: stories. L., 1966;

It was in Kokand: a novel. Tashkent, 1982, and other editions;

Lost Rembrandt: a story // Under the clear stars. M., 1983. P.235-265;

North Aurora: a novel. M., 1986, and other editions;

Memories // Life of Yesenin. M., 1988. P.475, etc.;

Answer to the questionnaire. 1929 // How we write. M., 1989. P.92-105;

Rising of the Dead: a story // Inspired by time. M., 1990. P.524-537.

Literature:

Plotkin L. Nikolai Nikitin // Nikitin N. Let's talk about the stars. L., 1959. P.3-14;

Plotkin L. For the main theme // Star. 1963. No. 12;

Lugovtsov N. Seeker and hard worker // Neva. 1966. No. 2;

Tikhonov N. Writer and era. M., 1974. P.563-572;

Dymshits A. Selected works. M., 1983. T.2. P.100-112;

Slonimsky M. Tomorrow: Prose. Memories. L., 1987. P.428-433;

Frezinsky B. The fate of the “Serapions”: To the 75th anniversary of the Brotherhood // Neva. 1996. No. 11;

From speeches at the conference dedicated to the “Serapion Brothers” // Russian literature. 1997. No. 4;

Kaznina O. Russians in England. M., 1997. P.337-343;

Serapion's brothers: Manifestos, declarations, articles, selected prose, memoirs. M., 1998;

“Serapion’s brothers” in the collections of the Pushkin House: Materials. Research. Publications St. Petersburg, 1998.

Nikolai Nikitin was born on December 15, 1907 in the city of Tobolsk, Tyumen region. After graduating from school, he entered the construction department of the Tomsk Institute of Technology, where he first became acquainted with a course of lectures on reinforced concrete technology.

After graduating from the institute in 1930, Nikitin was assigned to Novosibirsk, where he was appointed architect of the regional committee. In subsequent years, he developed unique designs for residential and public buildings in the city. Even then, a creative approach to solving many engineering problems was distinguished by the unconventional thinking of the young scientist.

In 1932, Nikolai Vasilyevich created his first “high-rise” tower-type structure. He developed the original project of the Crimean wind power plant. Although for a number of reasons things did not come to the actual construction of a wind farm then, the theoretical features of the calculation and practical developments of this project were subsequently applied in the construction of other structures.

Since 1937, Nikitin lived and worked in Moscow, devoting himself to engineering creativity. He was especially strong in the field of construction of foundations for unique high-rise buildings and structures. His debut in this direction was his participation in the design of the Palace of Soviets in Moscow.

During the Great Patriotic War, Nikolai Vasilyevich worked a lot in creating projects for the restoration of factories and factories evacuated to the east. And in the post-war years, he took an active part in the construction of residential and industrial areas, using new methods using prefabricated reinforced concrete elements.

Nikitin was directly involved in the design of structures that had not previously been encountered in world construction practice. During the construction of a new building for Moscow State University on the Lenin Hills, Nikolai Vasilyevich proposed a non-standard foundation design, thereby increasing the strength and durability of the entire structure.

Subsequently, most of the “high-rise buildings” of Moscow in the 1940s-1950s, as well as the building of the Palace of Culture and Science in Warsaw, were erected on the foundations of the engineer’s design. His ideas and developments were also used in the creation of a number of other unique buildings: the Central Stadium named after. V.I. Lenin in Luzhniki in Moscow, the V.I. Lenin Memorial in Ulyanovsk, the grandiose Motherland monument on Mamayev Kurgan in Volgograd and a number of other objects.

But Nikitin’s main creation was the Ostankino television tower in Moscow, the project of which he was the author of. In 1957, he was appointed chief designer of Mosproject and began working on this project, which was adopted in 1958. After 10 years of hard work, construction was completed. At that time it was the tallest tower in the world.

Being a talented designer, Nikolai Vasilyevich generously shared his knowledge with specialists working in the field of construction of high-rise structures. Groups from Japan, Canada, and specialists from different countries came to him for consultations. Nikitin himself took an active part in the work of foreign conferences and congresses, worthily representing and defending the priority of Soviet science and construction technology of that time.

Nikolai Nikitin - Professor, Doctor of Technical Sciences, Honored Builder of the RSFSR, Corresponding Member of the Academy of Construction and Architecture of the USSR. He was awarded State and Lenin prizes, orders, medals and other government awards. He is the author of the book "Some Considerations on the Construction of Concrete Structures."

Nikolai Vasilyevich Nikitin died on March 3, 1973 in Moscow and was buried at the Novodevichy Cemetery.

Nikolai Vasilievich Nikitin-

Chief designer of the Ostankino TV tower

N.V. Nikitin was born in the city of Tobolsk. He lived a difficult working life, filled with frequent and drastic changes. When Nikolai was only 17 years old (in 1924), shortly before graduating from school, he was bitten by a snake in the taiga on the leg below the shin. This misfortune left its sad mark for the rest of his life.

After successfully graduating from school with a good “recommendation”, young Nikitin was accepted into the Tomsk Technological Institute. There he first became acquainted with a course of lectures on “Reinforced Concrete Technology”. It should be noted that the artificial material “reinforced concrete” in the modern concept differs in many respects from the building material, the likeness of which was widely known back in Ancient Rome and even earlier. It was repeatedly forgotten in the past by ancient civilizations and this universal material was “discovered” many times. again, each time improving its quality.

While still a student, N.V. Nikitin took an active part in the calculations of reinforced structures of supports, beams and slabs. He was involved in the development of methods for calculating frame structures of civil and industrial facilities. After graduating from the architectural department of the construction faculty of the Tomsk Technological Institute in 1930. His working life began on the construction of a number of objects in Siberia. Already in those early years, his creative approach to solving many engineering problems was distinguished by non-standard thinking and a critical assessment of design solutions.

In the early 30s N.V. Nikitin met Yuri Vasilyevich Kondratyuk, a very unusual, gifted man of that time, who in the outback was engaged in the development of projects, calculations and the invention of mechanisms, ranging from elevators, mine headframes and to calculating the trajectories of spacecraft for interplanetary flights.

In 1932 After the People's Commissariat of Heavy Industry and Energy announced an open competition for the project of a powerful wind power plant in Crimea, which was planned to be built on the top of Mount Ai-Petri, at the invitation of Yuri Vasilyevich Kondratyuk, Nikolai Vasilyevich came to Moscow. Soon the entire project team of specialists went to Crimea to develop and implement the project at the construction site.

The architectural image of the Crimean Wind Power Plant (WPP) created with the participation of N.V. Nikitina was very laconic, original and looked very modern. He received first prize. The wind farm resembled a mighty twin-engine plane hovering above the ground, as if turned from a horizontal to a vertical plane. By rotating its two powerful screws installed at different levels, the power plant created a large (at that time) amount of electricity, so necessary to illuminate cities and the azure coast of Crimea.

Sketch of the Crimean wind power plant (WPP) with a design height of 165 m. Drawing by N. V. Nikitin.

At this site N.V. Nikitin first began to develop a number of fundamental theories and structural calculations for tower-type structures, including the study of the static and dynamic effects of wind loads on a high-rise flexible structure. Issues of practical application of highly reinforced concrete structures, the main load-bearing elements of units, including the basics of their construction in sliding formwork, were thought through.

For a number of reasons, the actual wind farm project was not implemented at that time, however, theoretical prerequisites, some features of the theory of calculating high-rise tower structures under the influence of static and dynamic loads, the need to take into account harmonic vibrations and a number of other problems, subsequently formed the basis for the calculation of the Ostankino television station towers, significantly higher than the Crimean wind farm project.

Nikolai Vasilyevich worked a lot and persistently during the Patriotic War, participating in the development of projects for the restoration of factories and plants moved to the east, the products of which were so necessary for the front.

And the post-war years were also not easy. It was necessary to restore cities, factories and industrial facilities, and quickly build millions of square meters of residential and industrial space. And this could only be done on an industrial basis using new construction methods and using factory reinforced concrete elements - slabs, beams and trusses of various standard spans and sizes. Nikolai Vasilyevich takes an active part in this very important matter and for the development of a project for monolithic “shed” structures for industrial buildings he received a high state award - the title of Laureate of the Stalin (State) Prize. He also received government awards.

In subsequent years, N.V. Nikitin was directly involved in the design and development of structural schemes of structures that had not previously been encountered in the world practice of constructing unique objects.

In 1945, construction began on the Moscow State University building on the Lenin Hills. As the chief designer of the Promstroyproekt, Nikitin took part in its construction. Moreover, Nikitin box foundations were installed for all six high-rise buildings in Moscow. But later, when developing the tower structure of the Palace of Science and Culture in Warsaw, instead of a box foundation, Nikitin already used a powerful, prestressed reinforced concrete slab on which the square frame of the tower was mounted.

In this project, Nikitin managed to increase the permissible limits of rigid connections and connect the center of rigidity of the entire palace structure with loads organically distributed across all nodal points of the building. The palace-tower resembles a staircase, with its ledges, like steps, directed towards the “celestial world”. A fundamentally new box-shaped system of connections with a square base in the lower part, supported by four corner pylons, was also considered as the initial version of the base of the television tower in Ostankino.

For active participation in the introduction of new construction methods using prefabricated reinforced concrete elements - slabs, beams, trusses of various standard spans and for the development of a project for monolithic "shed" structures for industrial N.V. Nikitin, as part of the creative team, was awarded the title of laureate of the Stalin (later State) Prize. He also received numerous government awards.

In 1957, Nikolai Vasilyevich Nikitin became the chief designer of Mosproekt and a corresponding member of the Academy of Construction and Architecture. In subsequent years, N.V. Nikitin was directly involved in the design and development of structural schemes of structures that had not previously been encountered in the world practice of constructing unique objects. His ideas and design developments were used in the construction of the grandiose Motherland monument on Mamayev Kurgan in Volgograd and a number of other objects.

It should be noted the unusually wide range of his creative interests in all areas of construction science and technology. But mainly, the name of Nikolai Vasilyevich Nikitin is inextricably linked with the creation of the Ostankino television tower, which received high praise and worldwide recognition. For the first time in the USSR, in 1967, a tower was built, which in its height was almost twice as high as the world famous Eiffel Tower in Paris. An article was written about this project, which was enthusiastically received by many specialists at the regular session of the International Federation for Prestressed Concrete (FIP) in 1966. The team of authors led by N.V. Nikitin, which included B.A. Zlobin, M.A. Shkud, D.I. Burdin and L.N. Shchipakin for the project of a reinforced concrete prestressed television tower in Ostankino was awarded the Lenin Prize in the field of construction for 1990.

The Ostankino TV Tower is the main center of radio and television broadcasting in Moscow and Russia, which is the largest multidisciplinary enterprise with powerful technological equipment that ensures the broadcast of 9 radio programs and 11 television channels via extensive radio relay lines and space communication systems. The Ostankino TV Tower is very popular among specialists, Muscovites and numerous tourists coming to the capital from all over the world.

To mark the 30th anniversary of the successful operation of the Ostankino TV tower, dozens of articles have been written and published, a book has been written about it - “The Tallest TV Tower in Europe”, which can be bought at the TV tower at the address: Moscow, st. Academician Koroleva, 15. (Tel. for inquiries 283-43-90 or 282-43-40).

Being a brilliant and talented designer, N.V. Nikitin generously and widely shared his knowledge with many specialists working in the field of construction of high-rise buildings. Numerous groups from Japan came to him for consultations, who intended to build a tower city 4 km high. At N.V. Nikitin were specialist designers from Canada who developed a design for a reinforced concrete television tower with a height of 350 m, and in fact, after a meeting with Nikolai Vasilyevich, they increased its height to 553 m, only 13 m higher than our Ostankino television tower. During the construction of the television tower in Ostankino N.V. Nikitin hosted numerous groups of specialists from near and far abroad, generously sharing with them his wealth of construction experience.

Specialists from the State Specialized Design Institute (GSPI-RT), who designed dozens of different radio and television towers throughout our country, noted that reinforced concrete towers in the city. Tallinn, Vilnius, Baku, Novorossiysk and others are, as it were, the second generation of towers. They were designed and built taking into account theoretical theoretical prerequisites and design developments, which at one time were carried out under the leadership of N.V. Nikitin and successfully implemented during the construction of the Ostankino TV tower with a height of 540 meters.

N.V. Nikitin took an active part in a number of foreign symposiums, conferences and congresses dedicated to high-rise buildings, worthily representing and defending the priority of Soviet science and construction technology of that time.

He was awarded a number of government awards, awarded the State and Lenin Prizes, had the title of professor, doctor of technical sciences, Honored Builder of the RSFSR. His followers successfully work at JSC TsNIIEP named after architect B.S. Mezentsev, where he worked for many years, and where they remember him with gratitude.

Less known are other unique projects of N.V. Nikitin in the field of building structures: all the “Stalinist” high-rise buildings, the Memorial in Ulyanovsk, the Palace of Culture and Science in Warsaw, the building of the Council of Ministers in Tashkent, the unrealized Palace of the Soviets in Moscow and many others.

Ideas N.V. Nikitin in the field of construction equipment, industrialization of industrial and civil construction, new methods for calculating building structures, research on structural diagrams of structures and the search for rational structural forms previously unknown in world practice, work on the theory of reinforced concrete and the dynamics of structures are stages in the development of domestic construction science and technology. Involvement in solving the most important construction problems and the work of N.V. Nikitin had a great influence on the formation of the national engineering school.

Works by N.V. Nikitin’s work in high-rise construction in Moscow is continued by his students. They are creating the City Center and many other high-rise buildings that have decorated the capital in recent years. N.V. himself Nikitin managed to calculate the possibility of building a skyscraper a thousand meters high (this is exactly the height that new skyscrapers in the United States are planning to raise on the site of the World Trade Organization towers).

Design engineer N.V. Nikitin was far ahead of his time, not only in what was planned, but also in what was implemented. However, the name of the great creator, who amazed the world in the sixties and seventies of the last century, is today undeservedly forgotten. Even in Moscow, where he worked selflessly for most of his life, not a single street is named after him, there are no memorial places associated with his name... There is not even a memorial plaque on the house in which he lived. Over the years, comrades-in-arms raised the question of naming (according to tradition) the Ostankino Tower the name of its author, but this proposal also remained unfulfilled.

ARTICLE AND INTERVIEW WITH N.V. NIKITIN

Random high altitude climber

Somehow it happened that I met Nikitin just a year before his death, when he was already a laureate of the Lenin and State Prizes, an order bearer and the author of the project for the Ostankino TV tower, which was then built at that time, the tallest building in the world. Many enthusiastic words have already been written about him, or rather, about the most important project of his life, about this very tower, and about other construction projects in which he took part: the House of Culture and Science in Warsaw, Moscow State University on the Lenin Hills, the monument to the Mother of God. The Motherland on Mamayev Kurgan in Volgograd and many other projects that had already been commissioned or only existed in sketches, but were never implemented, which were no less grandiose in size and significance.

Therefore, he himself seemed to match these projects, if not so impressive in size, then at least in his significant appearance and demeanor. After all, very often you involuntarily transfer a person’s affairs onto himself. Although this does not always coincide.

The reality turned out to be somewhat different from what the imagination depicted. It’s not that she didn’t completely correspond to my ideas - she was just different. Even the appearance of the institution where he then worked did not correspond to its sonorous name: the Moscow Department of Construction of Sports and Entertainment Facilities. In fact, it was a dull, squat, unprepossessing building of one or two floors (I don’t even remember exactly now), which stood along Kirov Street between Kiselny Lane and Sretensky Boulevard, just opposite the Main Post Office. Soon after our meeting, it was demolished and a green wooden fence was erected for many years, which was supposed to show passers-by that something was being built behind it, although in fact nothing was being built, but that was the custom.

Nikitin’s office resembled a foreman’s office at some ordinary construction site, where people come to current meetings, where they sign orders and get good percentages. A medium-sized room with simple filing cabinets, a simple desk and chairs. No frills, no ostentatious wealth - everything is designed for business communication, exchange of opinions and a quick meeting on current issues. We talked about daily matters and got to work.

The owner behaved naturally. To say that he expressed joy in connection with my visit would be an exaggeration, although he greeted me quite favorably, ready to answer all my questions. One might say, with the understanding that a journalist has such a job and that he needs help, so he helped.

Outwardly, Nikitin did not look so harsh, but rather a serious man. But this applied not only to the visitor, but, as I later realized, to myself as well.

Naturally, my first question concerned his “high-rise” orientation, his commitment to high-rise design.

“It just happened by chance,” Nikolai Vasilyevich corrected me. - All my life I was really only interested in reinforced concrete. Its behavior under different construction conditions. And in all these high-rise buildings, reinforced concrete was used. So I was invited to take part in projects as a specialist in this material. Well, and also as a specialist in wind loads - a very difficult problem in such construction.

- But somehow it turned out that first of all they turned to you, and not to some other “reinforced concrete worker” or “high-altitude worker.” So the Japanese, when they got ready to build a super-high-rise television tower, they asked you to work on such a project. And the building is three hundred floors!..

And yet, I was always only interested in concrete in life, and everything else was a derivative of it. This is very interesting material. There are still so many unknowns hidden in it for me, although I devoted forty-five years of my life to designing structures from it.

In general, I must say that in life a lot happens by chance. This is also a building of three hundred floors. One day a correspondent came and let’s just pull the veins, saying that they’ve come up with something new. I persisted and persisted and, in the end, told about this building of three hundred floors. By the way, there is nothing sensational or supernatural in it. Everything is simple and understandable: everyone wants to live in the center of cities, closer to work, shops, entertainment venues, and so on. Today's megacities have grown in width, reached incredible sizes and no longer meet many of the requirements of residents. But in such a tower, or rather, a tower house, you can immediately place offices, residential apartments, restaurants, shops, gyms, garages for personal cars - everything. You don’t have to go far to work, or relax, or go shopping - everything is at hand, everything is nearby. Very comfortably. Moreover, modern materials allow the construction of such structures...

- Will this be your favorite concrete?

No. In any case, concrete will be used in very small quantities, where it cannot be avoided. And basically this building will be constructed from light metal panels, glass and plastics, composite materials. Everything should be durable and light. In short, it is not at all difficult to prove that such construction is necessary and possible. There is no fantasy in it - pure pragmatism. And if journalists see something special, sensational in such a structure, then builders and designers are only a continuation of the search for their predecessors. On a new level, of course.

By the way, if you look closely at various kinds of new products, it is easy to see continuity, development of the idea, an analogy to what was used earlier. In the old, pre-revolutionary times, houses were built according to a very reasonable and simple scheme: two walls outside, two walls inside, and partitions between them. From time to time, these transverse partitions could be rebuilt and moved, turning the premises into a business establishment, a hotel, or a living space. During their lives, they changed functionally many times, but always remained within the same walls. The filling changed, but the house itself remained outwardly untouched.

So a huge building with three hundred floors can be reshaped for a variety of functions, leaving it all the same. So it is in vain that we strive for originality for the sake of originality itself. An analogy can be very helpful.

- Did you design the Ostankino TV tower by analogy or did you come up with it from start to finish? - I couldn’t resist asking.

You could say there was both. Shortly before I got to the discussion of projects for the construction of a television tower, I was on a business trip to the German city of Stuttgart and saw the television tower there. It was built from reinforced concrete, which, in fact, attracted my attention. Everything was clear in it: how each element works, how the loads are distributed, etc. I figured right there, in the cafe, that a similar one could be built at a higher height. Not like the Stuttgart one - only 210 meters, but five hundred meters and even more. So, when the discussion was going on and the most fantastic options were proposed, even to the point that they were planning to build the tower inclined from steel, I spoke in favor of a reinforced concrete vertical option...

- Could an inclined one be built?

Of course, it was possible to build one, but it would occupy a huge area, and additional difficulties would arise during operation. So my option seemed preferable to everyone, and I was immediately offered to submit a more or less substantiated project within a week. I presented it, and they began to work on it. Journalists squeezed a sensation out of this detail. For some reason they did not take into account that this tower - or rather, how it could look, how it should be built - I had long been in my thoughts and sketches. Just like that, for the soul. All that remained was to transfer these thoughts onto whatman paper...

- But the difference in height - 210 and 535 meters - still imposed its own characteristics. I don’t think it was a direct analogy, a simple increase of two and a half times...

Of course, this was not a repetition, only on a slightly different scale. I had to make new calculations. But I'm talking about the principle of construction. Here we are talking about analogy not as a blind repetition, but as a use of what has already been found, based on which one could go further.

By the way, as an example, we can cite the story of the radio tower, which was built according to the design of engineer Shukhov on Shabolovka in Moscow. At that time, a project for radio broadcasting antennas was also discussed.

New baskets for papers woven from willow twigs were brought to the institution where Shukhov worked. In the evening, when all the employees had gone home, and he himself was late at work, he saw how the cleaning lady, while wiping the floors, put a heavy pot of flowers on an overturned basket, and it stood under such a load. Then Shukhov sat down on the basket - it withstood this weight, although it was adapted for something completely different. It would seem that such fragile-looking willow twigs should break, but woven according to the formula of a hyperboloid of rotation turned out to be surprisingly strong. So the tower, built according to this principle, has been standing for many decades.

So the analogy is quite a worthy thing.

About the benefits of doubt

I don’t know how to define this, but Nikitin contradicted himself in some ways and was not always consistent. At least that's how it seemed to me. His older comrade (the age difference is ten years) Yuri Kondratyuk admired Nikolai Vasilyevich precisely because he always tried to look at every thing or situation “on the contrary.” They met when Nikitin graduated from the Tomsk Polytechnic Institute, and as a couple they traveled around the country, participating in the design and construction of various industrial facilities. They built elevators in Altai, and factory buildings in Siberia and the Urals. Kondratyuk (real name and surname - Alexander Ignatievich Shargei), who did not have an officially issued diploma, came to a new place of work and reported that he was an engineer, and what kind of engineer his work would show. Nikitin was usually responsible for calculating wind loads and the behavior of reinforced concrete.

Perhaps the most fantastic project they worked on together was the construction of a giant wind power plant on Mount Ai Petri in Crimea. So, true to himself, Kondratyuk proposed an original layout of the rotor and stator.

I don’t remember how everything was arranged there, I only know that everything that usually stands still was spinning, and all the rotating parts were tightly attached. Yuri Vasilyevich proved that this will provide certain advantages.

Kondratyuk’s project was accepted, but all others were rejected because they could not compete with his proposal. Sergo Ordzhonikidze, who at that time oversaw all heavy industry, took patronage of the construction. When Ordzhonikidze died, repressions began that affected many specialists who were under his patronage. For Nikitin and Kondratyuk, the trouble was over, but the construction of the wind farm was stopped. Soon the war began, and everything died out completely. The wind farm project was not returned to. And Kondratyuk, who joined the people’s militia in the first months of the war, died, where and how exactly is still unknown.

Nikitin liked Kondratyuk’s habit of looking at things from a different perspective, although he was not against doing things by analogy.

Uncooperative opportunist

The main passion of his life, as I said, was reinforced concrete. He carried his loyalty to it, so to speak, throughout his life, and it was strange to hear how he spoke so enthusiastically about this, in general, boring subject. It is surprising that with all his experience, he did not impose his opinion on this material as mandatory, the only correct one. He seemed to admit other judgments, he was ready to listen to them, but... His book, which he wrote at the very end of his life, was called: “Some considerations regarding the construction of concrete structures.” She seemed to invite him to argue, to express a different point of view, as if he was not sure that he was right, and admitted the existence of another point of view, other thoughts. I couldn't resist and told him about it.

You see,” Nikitin replied, “I am absolutely confident that I am right and can prove any of my statements with calculations.” But let people express their reasons, if any.

- It turns out that you are not particularly confident in your calculations? That's how the title of your book reads, anyway.

No, I am absolutely confident in my opinion. But we must give the other side the opportunity to express their opinion... For this attention to the views of my opponents, I am sometimes called an opportunist...

- What if other people’s arguments still aren’t convincing? What then?

Well, if someone’s arguments turned out to be less convincing, then I’ll fight to the end...

Nikitin has always been a workaholic in everything. True, at the time when we met, this term was not as widely used as it is now. But if we make allowances for the time, now they would say about him exactly like that. He was always busy with something, his hands, his head were constantly working.

He tried to talk less about himself, and if he said something, it was of an informational nature, without the desire to stick out his figure. Every day he got up at six o'clock in the morning so that before work he had time to think about something for his soul. This “for the soul” could be of a very serious nature, although it did not relate to his main business, his official position. Oddly enough, most often it was the same reinforced concrete.

He received his State Prize for this extracurricular work: the introduction of movable formwork into industrial construction. It seems that you couldn’t get more boring, but Nikitin was not bored. By his example, he once again proved that you can find application for your strengths and abilities everywhere - if only you have the desire.

And other people, as I understand it, he assessed everything according to the same criterion: how they related to work. We talked about his school teachers, institute teachers, work comrades, and if, from his point of view, they were faithful to their work, he, giving them a description, always added: “A very worthy person” or “A person of the most worthy qualities.” And when I asked about the details, it turned out that the most important quality of these people was the ability to work.

I think this respect for work came from my parents. They were poorly educated people. My father was a clerk in the judicial chamber all his life. He was illiterate, but had beautiful handwriting, so his family traveled with him around Western Siberia, surviving on his modest earnings. Mother remained a housewife all her life, and the entire well-being of the household rested on her shoulders. She, as I understood, was the head of the house. And the son’s receipt of an engineering diploma became a great holiday and triumph: their son became a scientist. Until his very last years, Nikitin regretted that he did not have time to please his mother with any major successes in his work.

The Ostankino Tower could have been such a gift, but the parents did not live to see this day.

Economist, geographer, local historian, statistician N.P. Nikitin was born on February 19 (6 according to the old style) 1893 in the city of Ranenburg, Ryazan province (now the city of Chaplygin, Lipetsk region) into a famous merchant family. His father, Pavel Fedoseevich, was involved in charity work, in particular, he was a member of the Trustee Society for the Poor. My grandfather was an honorary magistrate of Ranenburg and owned houses on Cathedral Square, one of which housed a private hospital. The family had a large library and education was valued.

Nikolai Nikitin graduated from the Ranenburg Men's Gymnasium, then the Moscow Commercial School (1913) and the economic department of the Petrovsky Agricultural Academy (now the Russian State Agrarian University - Moscow Agricultural Academy named after K. A. Timiryazev) (1917).

Among the teachers of the academy at that time was the outstanding Russian scientist in the field of statistics and geography of agriculture A. F. Fortunatov. His special course “Local Source Studies,” which student Nikitin attended, later determined his interest in specific regional local history studies. The choice of path in science was undoubtedly influenced by the works and personality of the outstanding fellow countryman N.P. Nikitin - P.P. Semenov-Tyan-Shansky.

Since 1919, Nikolai Pavlovich taught systematic courses for students of the Institute of National Economy, began publishing his first works: “Production of agricultural products in the Ranenburg district of the Ryazan province” (1919), “Several pages from the history, geography, statistics of the Ranenburg district of the Ryazan province” (1919 ), “Statistical and economic description of the volosts of the Ranenburg district of the Ryazan province” (1920). “Historical review of the experiences of dividing European Russia into economic regions” (1920).

In 1921, he became a professor at the Moscow Zootechnical Institute, and from 1934 he taught at the Institute of National Economy. From the second half of the 20s, he also worked at the 2nd Moscow University (later the Moscow City Pedagogical Institute). In these universities he created and headed the departments of economic geography and statistics. Nikolai Pavlovich was a talented teacher. Under his leadership, 18 candidate's theses were defended.

The scientific work of N.P. Nikitin went in several directions: economics and geography of agriculture, economic geography of the USSR, methods of teaching these disciplines. He is the author of more than 100 scientific studies, textbooks and programs for universities. His works “Regional geography in pre-reform Russia of the 19th century” (1953), “Local history literature of the post-reform era as a source for the historical geography of Russia of this time” (1960) are still important for researchers of individual territories using historical and geographical analysis. Studying the activities of N.P. Nikitin, Associate Professor of the Department of Economic Geography of Voronezh State University V.K. Kovylov calls him “one of the major scientists who deeply studied the complex issues of the origin, formation, development of the science of economic geography”, “a forerunner in the ideas of internal economic regionalization and historical economic-geographical analysis".

Nikitin’s works were not the dry theory of an armchair scientist; he considered his work to be living, developing, and necessary for people.

In the introduction to the book “A few pages from the history, geography and statistics of the Ranenburg district of the Ryazan province,” he wrote: “We know very little about our native coal. We don't love him, don't appreciate him, and have almost no interest in him. It seems to us that only... far beyond the sea... there is something valuable and interesting and worthy of study. ...Only by studying your own small corner, by studying every blade of grass, every tree, every stream, every hill of your native county, can you really build material and spiritual culture.”

N.P. Nikitin took part in the work of the State Planning Committee on the economic zoning of the country. For several years he was a member of the methodological commission on geography of the Ministry of Education of the RSFSR. He was an honorary member and chairman of the bureau of the economic geography department of the Moscow branch of the Geographical Society of the USSR.
He was awarded the medals “In Memory of the 800th Anniversary of Moscow” and “For Valiant Labor in the Great Patriotic War of 1941-1945”, the Order of Lenin, the badge “Excellence in Public Education”, and the Certificate of Honor of the Moscow Military District.

N.P. Nikitin died in 1975 in Moscow and was buried at the Vagankovskoye cemetery.
In the scientist’s homeland, employees of the Chaplyginsky Museum of Local Lore are implementing a project to organize a room-museum of Nikolai Pavlovich Nikitin in the preserved Nikitin house, an architectural monument of the mid-19th century.

Author's works

Several pages from the history, geography and statistics of the Ranenburg district of the Ryazan province: No. 1 / N. P. Nikitin. - Ryazan: Ranenburg. credit. co-op Union, 1919. - 144 p.
Production of agricultural products in the Ranenburg district of the Ryazan province / N. P. Nikitin. - Ryazan: Ranenburg. credit. co-op Union, 1919. - 75 p.
Statistical and economic description of the volosts of Ranenburg district, Ryazan province / N. P. Nikitin. - Ryazan: Ranenburg. credit. co-op Union, 1920. - 144 p.
Main ways of development of credit cooperation: report. Ranenburg. credit. co-op Union of Ryazan. lips co-op congress 11-14 February. 1919 / N. P. Nikitin. - Ryazan: Type. No. 1 Sov. adv. household, 1920. - 16 p.
Agricultural zoning of the Moscow province / N. P. Nikitin; total ed. and input A. V. Chayanova. - [M.]: State. publishing house Moscow dept., . - 160 s. - (Division of Moscow province into agricultural districts; issue 1).
Livestock / Text, tab. and cartography comp. prof. N. P. Nikitin. - [M.]: Cartogr. dept. Higher geodez. ex. VSNKh, trade and industry. gas. "All Russia", . - 76 s. - (Nature and economy of Russia; issue 7).
Fundamentals of agricultural economics / N. P. Nikitin; [preface V. Smushkov]. - M.; L: State. publishing house, . - 226 s. : table
Kostrov N.I. Essays on the organization of peasant farming: based on materials from the budget. research of the beginning of the 20th century / N. I. Kostrov, prof. N. P. Nikitin and A. A. Emme. - M: Novaya Derevnya, 1925. - 168 p. : table - (Tr. Zemplan / under the general editorship of I. A. Teodorovich; issue 4).
Economics of livestock farming / N. P. Nikitin. - M.; L.: State. publishing house, 1927. - 192 p.
Animal husbandry of the USSR and its socialist reconstruction / N. P. Nikitin. - M.; L.: Ogiz - State. ed. agricultural collective farm-coop. Literary, 1931. - 128 p. : ill.
Pig breeding in commercial collective farms / N. P. Nikitin, A. M. Zuev; edited by P. N. Kazansky. - Voronezh: ed. and type. kn-va "Commune", 1932. - 72 p. : ill.
Domestic economic geographers of the 18th-20th centuries. : [sat. Art.] / ed. N. N. Baransky; Geogr. fak. Moscow State University; Museum of Geography of Moscow State University. - M.: Uchpedgiz, 1957. - 328 p.
From the contents, articles by N. P. Nikitin: Historical review of the development of domestic economic geography - P. 5-35; Sergei Ivanovich Pleshcheev. - P. 99-103; Alexander Nikolaevich Radishchev and geography. - P. 104-110; Pyotr Ivanovich Chelishchev and his journey through the North of European Russia. - pp. 111-115; Vasily Petrovich Androsov. - pp. 141-1454; Dmitry Petrovich Zhuravsky. - pp. 146-151; Nikolai Platonovich Ogarev on the zoning of Russia. - pp. 152-161; Andrey Parfenovich Zablotsky-Desyatovsky. - pp. 172-175; Vladimir Pavlovich Bezobrazov. - pp. 194-199; Andrey Pavlovich Subbotin. - pp. 236-240; Economic and geographical works of D. I. Mendeleev. - P. 252-261; Alexey Fedorovich Fortunatov. - pp. 269-274.
Economic geography of the USSR: [textbook. for geogr. fak. ped. un-tov / P. M. Alampiev et al.]; under. ed. N.P. Nikitina. - 4th ed. - M.: Education, 1974. - 319 p.

Literature about life and creativity

Shlykov V. He dreamed of the prosperity of Russia // Ranenburgsky vestnik [Chaplyginsky district]. - 2003. - July 15.
Kovylov V.K. Geographical “noble nest” in the Central Chernobyl Region: [including about N.P. Nikitin] // Bulletin of Voronezh University. Series 4. Geography and geoecology. - 2005. - No. 1. - P. 114-120.
Bogdanov A. Only by studying the past can you create the future // Ranenburgsky vestnik [Chaplyginsky district]. - 2005. - June 4.
Makeeva S. Nikolai Nikitin - geographer, local historian, statistician // Ranenburgsky vestnik [Chaplyginsky district]. - 2013. - March 12.

Reference materials

Lipetsk encyclopedia. - Lipetsk, 2000. - T. 2. - P. 416.

Internet resources

Nikitin Nikolay Pavlovich [Electronic resource] // Moscow Pedagogical State University: official. website. - Access mode: http://xn--c1arjr.xn--p1ai/scientists/nikitin-nikolay-pavlovich. - 01/06/2017.
Creation of a room-museum of Nikitin Nikolai Pavlovich in the “Nikitin House”: [project of the Chaplygin Museum of Local Lore] [Electronic resource] // Libraries and museums in modern society. - Access mode: http://centrkult.ru/node/166. - 01/13/2017.

Nikolai Vasilyevich Nikitin is the author of the Moscow Ostankino Tower, the height of which at the time of completion of its construction was 533.3 m. (In 1999, the Ostankino Tower “grew up” a little, now its height is 540 m.) The weight of its foundation is 55,000 tons. The permissible deviation of the top under the influence of wind is 11.65 m. And the real “name” of the Ostankino tower, of course, is the same as that of its creator - “Nikitinskaya”.

Nikolai Vasilyevich Nikitin was born in Tobolsk in 1907. Childhood ideas about the fabulous beauty of the Tobolsk Kremlin remained forever in his memory. The head of the family, Vasily Vasilyevich Nikitin, secretary of the Tobolsk provincial court, managed to secure a position as a sworn attorney in the provincial Siberian town of Ishim. The city of Ishim plunged the Nikitins into despondency.

In the whole city there is one stone house of more or less decent appearance - the city government. To top it off, the “place” for which Vasily Vasilyevich came here in the hope of gaining an independent position in society himself turned out to be occupied. The mother, Olga Nikolaevna, found a way out of the hopeless situation. She opened a photo pavilion in Ishim, “where they make people beautiful.” The Nikitins could not afford to hire a tutor who would prepare Nikolai for the gymnasium.

Nikolai did not shine with any clearly expressed abilities, except that he loved to draw and achieved resemblance to nature. When the boy was not yet seven years old, his mother taught him to read fluently and count within a hundred. Then she didn’t know what to teach him, and the time for regular classes had already come. Nikolai was ten years old when his mother took him to the gymnasium. Despite all her fears, he easily passed the entrance exams. However, he only managed to study at the gymnasium for a year. The Civil War began, and with it wanderings through other people's yards and basements, hunger and a desperate struggle for survival. A long and severe typhus, which knocked down Nikolai’s father and then Nikolai’s younger sister, shifted many overwhelming family worries onto the children’s shoulders. The most vivid memory of this difficult time is the industrial stove that thirteen-year-old Nikitin built in an abandoned barn.

The stove with a boiler built into it and a whole system of pipes was intended for cooking molasses, which was made from frozen potatoes. This oven and a machine for grinding potatoes became the first “inventions” of Nikolai Nikitin. All this happened in Novo-Nikolaevsk, where the winds of the Civil War brought the family. From a neat, smart high school student, Nikolai turned into a little man, wise with everyday hardships. In order to extract starch from mashed potatoes, a large amount of water was required, and the owner who sold their molasses at the market borrowed a horse. Nikolai carried a huge barrel to the railway water pump and back. In the outbuilding, blown from all sides by a damp wind, a red-hot stove hums until late at night. There is a thirteen-year-old boy at the firebox. He is a stove maker, a mechanic, a fireman, and a water carrier.

Soon the Bolsheviks declared a war on illiteracy, and the first schools began to open one after another in Novo-Nikolaevsk. Nikitin was lucky: he managed to enroll straight into the sixth grade of the best school in the city. At school, Nikitin was especially interested in mathematics, which was largely facilitated by the mathematics teacher Livanov, who, right before the eyes of his students, turned dry mathematics into the queen of sciences. When the last bell rang at school, the class teacher respectfully shook the hand of class leader Nikolai Nikitin and said: “I have the honor!” Along with his matriculation certificate, Nikolai received a ticket to the Tomsk Technological Institute and a reference letter.

Arriving in Tomsk, Nikitin learned that the Faculty of Mechanics and Mathematics was staffed and he had the right to choose any other. “In that case, enroll wherever you want,” he told the commission. Quite unexpectedly, Nikolai found himself in a department that was very popular at the institute - he was assigned to the architectural department of the Faculty of Civil Engineering, where the discipline of drawing and composition was considered mandatory and almost the main one, and he had to master the secrets of fine art. However, he soon learned to draw well and even developed a taste for it.

Nikitin's drawings decorated the architecture cabinet and were exhibited at student exhibitions. After finishing his second year, he again tried to transfer to the Faculty of Mechanics and Mathematics, but the dean of the faculty, having learned that the petitioner had come to him from the architectural department, did not even talk to him, considering architects to be frivolous people and incapable of mathematical analysis. One day Nikitin attended the first lecture of a new course, which he, as a future architect, did not have to attend. Tall professor Nikolai Ivanovich Molotilov, in a rich baritone voice, read the course “Reinforced Concrete Technology” from the department. The artistry and voice of the professor bewitched Nikitin; he was simply mesmerized by the free, spacious flow of Molotilov’s creative thought. The professor spoke about unsuccessful attempts to build ships and airplanes from reinforced concrete, and warned against excessive overestimation of its properties. “The fact that today reinforced concrete does not know how to be plastic and beautiful is not at all its fault...

We will learn to build beautiful palaces from concrete, outstanding monuments of our time - the time of great construction! The 20th century will be called the century of reinforced concrete. It is he who will open the doors to the future for architects and designers, but this will happen with your active participation,” said Professor Molotilov. Nikitin did not know then that this calling had come to him. The very first coursework in the new semester was the beginning of the disclosure of one topic that Nikolai Nikitin practically worked on all his life - “Disclosure of the constructive capabilities of reinforced concrete.” At the end of the 1920s, when Nikitin was graduating from the architectural department of the Siberian Technological Institute, large amounts of concrete were used for construction.

In all corners of the country where major construction began, engineers and technicians calculated the best possible variety of reinforced concrete structures. Trusses, beams, floors were made with incredible tolerances, with a large margin of safety - for insurance - so it often happened that the supports cracked and collapsed under the weight. The need to develop a comprehensive methodology for calculating the most commonly used structures and reinforced concrete was increasingly realized. The builders of the Kuznetsk Metallurgical Plant persuaded Professor Molotilov to take up the development of such a technique, but for this N.I. Molotilov needed to have at hand a large calculation and design bureau, which would consist of capable and experienced engineers.

Next to him were only students from the Faculty of Civil Engineering. The professor selected a group of future civil engineers and unexpectedly invited Nikitin to lead it. It was not even a proposal, but an order. Professor Molotilov was intuitively guided by far-reaching plans: to use the architectural orientation and spatial vision of a capable student to introduce an aesthetic element into reinforced concrete structures. At a time when concrete was associated with the concepts - monolith, block, when reinforced concrete structures were low, rough, uncouth, Professor Molotilov believed that reinforced concrete would eventually acquire plasticity, height and grace.

So Nikolai Nikitin became the head of the student research team. Drawing profiles of reinforced concrete parts, Nikitin compiled tasks with instructions on how to make calculations. Soon, in the professor's house where the research team worked, Nikitin became his own man; he came here every day, even on Sundays, and left it no earlier than midnight. He endlessly drew profiles of structures and counted.

Often he worked himself to the point where he could not sleep, staring out the window of his room for a long time and mentally drawing lines between the stars. Nikitin took his responsibilities calmly and was even a little proud that for the remaining two years of his student life he was provided with work, fifty kopecks an hour - this was his brigade rate. He drew lines between the stars, and it seemed to him that he was discovering a path where the art of “writing lines into the sky” - as the ancient Romans called architecture - would one day live up to its name, actually lifting people to the heavenly floors. Professional conversations with Professor Molotilov and the independent discovery of new factors revealing the nature of reinforced concrete laid the foundation for the experience that alone is capable of transforming knowledge into wisdom.

The professor closely followed the work of the Nikitin team. Along with the basics of professional literacy, students received from their professor the relaxedness and initiative that are vital for industry pioneers. The metallurgical base of the Kuznetsk basin was raised by the whole country. An unprecedented turnaround in industrial and civil, that is, housing construction, was planned. The builders persistently demanded that the institute hurry up with a comprehensive methodology. When the work on its compilation was coming to an end, Professor Molotilov offered Nikitin a personal task: to supplement the methodology with another section - “Calculation of frame structures for lateral displacement.” By lateral displacements we meant wind and seismic vibrations. But the low, heavy reinforced concrete structures of that time were not afraid of the wind. Their earthquake resistance was also reliable while they were pressed to the ground.

Nikitin had to make the first calculations for high reinforced concrete structures. Nikitin’s unexpected approach turned out to be successful: he began to study frame structures not from the passive side, which receives wind flow, but from the active side, that is, from building in the design’s ability to resist wind and seismic shocks. He set himself the task of understanding the principles of interaction of the building’s structural system with wind flows and vibrations of the subsoil and saw that knowledge of the nature of the structure’s own vibrations allows him to give the building the most intricate forms that an architect’s imagination can reach.

This creative direction of Nikitin manifested itself in his first independent work. Having received his diploma, he was appointed in 1930 to the position of architect of the Novosibirsk Regional Komkhoz. For a long time, there was an application for the development of a comprehensive project for a technical school-dormitory on Krasny Prospekt in the center of Novosibirsk.

Nikitin took up this project. He designed a four-story long building with an original precast reinforced concrete frame, which he placed on a monolithic foundation. At an old brick factory across the Kamenka River, Nikitin organized a semi-handicraft production of reinforced concrete supports, beams and trusses. Based on his drawings, “straight from the sheet,” workers made special molds for “casting” reinforced concrete parts of various profiles. From here, the parts of the building went in strict order directly to the construction site. A quarter of a century later, the young architect's primacy in laying the foundations of Soviet prefabricated construction will be recognized. What became possible in mass construction in 1958, Nikitin did in 1930. If Nikitin’s first work as an architect related mostly to the field of design, then his next purely design work was architectural and artistic. A new project for the Novosibirsk station has arrived from the capital. The old station, built in the last century, was cramped and terribly neglected. Nikitin was seconded to a new facility to supervise construction and design work and to provide architectural supervision. Called upon to ensure that every pile and every brick was installed in the place legalized in the project, Nikitin could not resist the temptation to modernize the pompous project.

Together with Novosibirsk architects B. A. Gordeev and S. P. Turgenev, Nikitin began transforming the project so that the new building would meet the spirit of brave, future-oriented people. Especially for the station, Nikitin designed high arches with large spans made of monolithic concrete. This innovation entailed a complete change not only in the design scheme, but also in the architectural image of the station. The heavy merchant stucco turned out to be inappropriate, and it disappeared, opening up space for the flight of bold, elegant lines. The station building became taller and filled with light and air. The construction was completed within the time frame stipulated by the project.

The high commission arrived, and thunder struck: “How dare you change the project!” Nobody wanted to listen to Nikitin’s arguments that it was beautiful, modern, economical. Despite this, the station epic made Nikitin a regional celebrity; he was recognized as a talented specialist. With all this baggage Nikitin celebrated his twenty-fifth birthday. Soon, architects began to approach Nikitin with a request to give the project modern forms and to include progressive details and structures in the construction project. It was at that time that the slogan appeared: “Concrete is the bread of industry!” The most successful work of this period was the project of the West Siberian Regional Executive Committee. This was Nikitin’s contribution to Mayakovsky’s “garden city” - Novokuznetsk. A seven-story building with corner balconies of strict modern shapes with a large glazing area in the very center of the building.

It is surprisingly plastic and light, although it was built taking into account the sharply continental climate of Eastern Siberia. In 1932, in the design workshop of Kuzbasstroy, Nikitin met one of the amazing people of his time, the architect Yuri Vasilyevich Kondratyuk, who aroused Nikitin’s interest in high-rise tower-type structures. Kondratyuk became interested in the project for a competition for a powerful wind power plant for Crimea, announced by the People's Commissar of Heavy Industry and Energy Sergo Ordzhonikidze. Nikitin joins the Crimean Wind Farm project. The architectural image of the station, created by Nikitin, is laconic and modern. The station resembled a twin-engine plane, turned from horizontal to vertical, the purpose of which was not to fly, but to soar over the Crimea, illuminating its azure coast.

According to the terms of the competition, the project had to be sent under the motto, and they chose one name for themselves - Icarus. The valuable parcel went to Moscow. Nikitin immediately forgot about her, and Kondratyuk went on an urgent business trip to build an elevator in the city of Kamen-on-Obi. Imagine their surprise when, instead of an answer, they received a call to Moscow. The fact that their project won first place in the competition was mentioned in passing in the challenge, as if it went without saying.

Gradually, the project turned into a detailed engineering plan for the construction of an unprecedented structure. “I had to,” Nikitin wrote, “make all the construction drawings and calculate, and draw, and copy. The dynamics were very difficult. Yuri Vasilievich considered it absolutely necessary to consider the dynamic effect of wind load.

He felt very well that gusts of wind could cause forces completely different from those under the static action of the wind, but he could not help me with the calculations, since he did not understand the theory of oscillations... In February 1934, the technical project was completed. I was honored to draw a perspective, wash it with sepia, I didn’t have the spirit for a landscape.” Soon, People's Commissar of Energy G.K. Ordzhonikidze, the patron and defender of the first powerful wind farm in the country, passed away, and the project was “shelved.” On this path, Nikitin and his friend Kondratyuk parted ways. When the Great Patriotic War began, Yu. V. Kondratyuk volunteered for the militia and soon died. Nikitin was not accepted into the militia because of a leg injured in his youth; he was forced to wage war in his design workshop.

The victorious year of 1945 marked the beginning of design and survey work on the construction of the Student House - this was the original name of Moscow State University on the Lenin Hills. The designers of Moscow State University, remembering Nikitin’s rich pre-war experience and still not really knowing how this experience had been enriched during the war years, decided to involve him in cooperation. But the post of chief designer at Promstroyproekt, which Nikitin held, was not allowed to leave. But it was Nikitin who had the enviable role of designing and calculating the first implemented interconnected system “foundation - frame of MSU.” The MSU building fit well into the landscape of the Lenin Mountains, but building the first high-rise building here was not just risky, but even dangerous, because it had to be built on reactive creeping soils. Having studied the geological and hydrological conditions, Nikitin was able to penetrate the nature of the treachery of these pounds and undertook to curb them. In his opinion, only a rigid, undifferentiated layer of powerful thickness could hold the building on unreliable soils, but this did not guarantee the building from “sliding” and the expansion of the foundation from within the subsoil.

The decision came unexpectedly. Nikitin remembered that found in papyrus scrolls dating back to the 1st century. BC e., the treatise of the Roman architect Vitruvius “Ten Books on Architecture” contains very interesting practical advice: “For the foundation of temple buildings, you need to dig to a depth corresponding to the volume of the building being erected...” But the high-rise temple of science - Moscow State University, with a height of 183 m in the central part, will require an unimaginable pit. Is there a need for it and what causes such a categorical requirement? If you remember how the earth compares trenches and trenches - scars and wounds of the past war, then in your imagination you can liken the earth to water, instantly leveling its surface. Then, according to the “school” law of Archimedes... a body immersed in a liquid is acted upon by a buoyant force equal to the weight of the liquid displaced by this body. This is the key to Vitruvius' advice. This means that you can build on reactive soils; all that remains is to subdue the reactivity and swelling of the soils. So, the foundation should be, as it were, “floating” in the ground, and it should “float” on box-shaped concrete “pontoons”.

Concrete boxes connected to each other using electric welding will constitute the main feature of the “work” of this foundation - to level out the settlement of a powerful structure and neutralize the reactivity of the soil. The Moscow State University building, perhaps, remains to this day the only long-term structure in which there are no expansion joints. When Nikitin came up with the idea of ​​putting the university on a rigid box foundation, a problem immediately arose that no one had ever been able to solve radically before. The fact is that the rigid foundation, buried 15 m (exactly as much soil was removed as occupies the full volume of the building), excluded a rigid frame of the building. Not the foundation, but the building itself had to be cut with expansion joints, and here's why. The base of the building, buried in the ground, maintains a relatively constant temperature. This means that temperature fluctuations occur so slowly in the foundation that its body expands and contracts without harming itself. The frame is a different matter: sudden temperature changes can break the toughest fastening points.

Builders are well aware of this and therefore “cut” the building. But expansion joints reduce the strength of the building, depriving it of durability and ease of use. Seams also increase the cost of construction. The lower half of high-rise buildings suffers most from deformation, since it bears the heavy weight of the entire skyscraper. And here Nikitin finds a surprisingly bold way - to transfer the pressure from the lower floors to the upper ones, evenly distributing it throughout the entire frame of MSU. For this purpose, he proposed installing columns of large free height, and suspending the intermediate floors of the lower tier from these columns so that the suspended floors would not prevent the columns from freely deforming. Seasoned architects and designers just shrugged at the audacity of such a decision. The question arose: “Will the columns hold up?” Then Nikitin unfolded other drawings, and again there was a long pause. Abandoning the usual configuration of columns, Nikitin developed a new type of cross-section columns. In this case, the cross of the column was rotated 45° to the main axes of the building.

As a result, each beam of the “cross” took on the maximum load of the structure’s floors, giving a wonderful opportunity to “obtain simple and easy-to-install rigid frame units,” as it was written in Nikitin’s examination report for this invention. Thanks to this design solution, “the rigidity diaphragms of the MSU building ended up in the central zone of the structure, and from there they were distributed throughout the entire frame.” This connection of the ground part of the structure with a rigid foundation gave the unique ensemble the ability to float in the air. It’s simply impossible to get rid of this feeling, especially if you look at the university from the Luzhniki side. The constructive solution ennobles and guides the architectural ensemble of the building, returning modern architecture to its true purpose - to inscribe lines into the sky.

Nikitin's box foundations were installed for all six high-rise buildings in Moscow, and Nikitin himself went further, developing the tower structure of the Palace of Science and Culture in Warsaw. Instead of a box-shaped foundation, there was already a powerful, pre-stressed reinforced concrete slab, which organizes the transition to the square tower of the frame.

A fundamentally new “box-shaped bracing system with a square base in the lower part rests on four corner pylons.” (This is exactly what the initial version of the foundation of the Nikitin TV tower would later be). In its style, the building resembles a tower, which rises with ledges and guides the architecture of the palace, giving it an upward direction. There seems to be no more thermal expansion or wind pressure. The impossible became possible thanks to a whole series of original discoveries by Nikitin, which expanded the permissible limits of rigid connections and merged together the core of rigidity of the entire structural system of the palace. A centuries-old problem for builders was solved: how to organically distribute the natural forces acting on it across all key points of a building? This was a great victory for Soviet high-rise construction, and for Nikitin personally it was an important step on the approaches to the famous TV tower. In 1957, N.V. Nikitin became the chief designer of Mosproekt and a corresponding member of the USSR Academy of Construction and Architecture. One day Nikitin was sitting at a meeting at Gosstroy.

There was a discussion about a five-hundred-meter television and radio tower, which the USSR Ministry of Communications ordered from the builders. On the wall, a stretcher stretched from floor to ceiling, on which was a sketch of an outlandish steel tower, reminiscent of a power line mast with far-out horizontal consoles. How light and airy the iron lace of the Shukhov tower on Shabolovka seems, so frighteningly menacing does this steel colossus appear from the stretcher. It seemed that the authors were trying their best to move away from the Eiffel Tower and were so carried away by this task that they almost managed to create the Eiffel Tower in reverse, the support belts did not lighten it, but deliberately made it heavier.

The mere thought that this Goliath, half a kilometer high, with his arms akimbo, would spread his iron legs over Moscow, made me feel uneasy. Those present were worried - after all, the tower of the all-Union television center, having pierced the sky of Moscow, would involuntarily become the organizer of all present and future architecture! The discussion was passionate. Despite the assertiveness of the authors of the metal tower, who insisted on its construction, the voices of protest were becoming louder. - What are your thoughts, Nikolai Vasilyevich? - asked the presiding officer. “For our Belokamennaya to take such a structure on its own,” Nikitin nodded at the subframe, “in my opinion, it’s not becoming... The tower should be made of concrete, monolithic, pre-stressed. I think that a concrete tower will decorate Moscow.

More questions hung in the air than a minute earlier. More than one sane person has dared to throw reinforced concrete to sky-high heights. The collective mind refused to believe even Nikitin with all his innovative authority. - Concrete tower 500 m? - the presiding officer doubted. “But it’s not suitable for lower levels...” was the answer. - Will you take on the project? . - I have to think. - Think about it, but no more than a week. Do your comrades agree with me? Shall we give Nikolai Vasilyevich a week? - In a week I will be very busy. So either in three days or later. - The deadline of three days was approved without objection. The silhouettes of the tower, which Nikitin mentally drew in his imagination, were destroyed one after another, until the image of a flower with its petals turned down took possession of him. He tried to erase this image - his creature was too fragile, but the image returned, absorbing all his attention, fettering his imagination. And then Nikitin began to develop this image, putting it in the form of all the colors known to him. Finally, the image of a white lily with strong petals and a strong stem won out.

Somewhere in the depths of his consciousness there was a happy thought that fate had finally given him the main work of his life. That same evening he delved into calculations, which immediately became surrounded by strings of formulas and numbers. In the middle of the night, it turned out that three-quarters of the tower’s weight should fall on the base and only one-quarter of the weight remained on the concrete “needle” that tapered upward. The task was further complicated by the fact that the tower trunk, or, more correctly, the stem should not sway more than a meter under wind pressure, because otherwise the antenna would scatter its waves and the television screens would not provide a stable image. The base needed to be given the power and strength of the monolith, and the stem of the tower had to be not just flexible, but internally elastic and resistant. And then a key idea was born that gave the tower the right to life.

Its essence was to stretch steel ropes inside the tower trunk, using them to tighten the helmet of the base and the stem growing from it. This was the path to new limits of strength. That night he slept no more than two hours. The first of the three days allotted to him on the tower began. In the morning, Nikitin looked into workshop No. 7 of Mosproekt to see the architect L.I. Batalov and, unfolding the tower drawn overnight on the table, asked: “Is it possible to make architecture from this concrete pipe?” The architect looked at the drawing for a long time, then began to transfer the contours of the tower onto a blank sheet of whatman paper, ennobling its appearance as he went. Four high arches cut through the helmet of the tower, giving it graceful lightness. Then a slight fracture of the cone followed, and the stem stretched like an arrow to the height of the “golden ratio”, so dear to the architects of classical schools. Two-thirds of the height of the tower trunk will be indivisible and free from any suspension. Only further on the first site was outlined. Behind it, the concrete trunk continued to sharpen, rising another 70 m to end here with a domed vault, under which, tapering downwards, there were glazed tiers of observation platforms, communication services, and a restaurant. The tower was crowned with an openwork steel antenna, its appearance reminiscent of a rye ear. For ten years Nikitin fought for his tower to defend its architectural image.

This distance ran from the first sketch of the tower to the first television signal that it sent on the air. The tower at first quite frightened the builders. It was not the height itself that made them doubt the feasibility of the project, but the lack of a deep foundation, which is usual for a high-rise structure. The sole is only 3.5 m thick! Even for a chimney, the foundation was buried at least 5 m deep. And it wasn’t even the meters of deepening that mattered. The foundation has always acted as a kind of counterweight to the ground part of any structure, and here for some reason the role of the foundation was played by the ground lower part of the tower - its helmet. This is what was most difficult for me to wrap my head around. Everything was too unusual in this beautiful and risky tower. “According to the original design,” wrote Nikitin, “the conical base rested on four powerful supports-legs of complex outline. This architecturally interesting solution could not be implemented, as it met with a categorical objection from the examination.”

Nikitin's pride is the idea of ​​turning the four supporting legs of the tower into a kind of claws with which the tower will cling to elastic soil. This is how the eagle’s claws plunge into the prey and hold it tightly. The tendons of the steel ropes force each support to be pressed into the ground with such force that the supports will never creep apart under the gigantic pressure of the concrete shaft. The balanced tension of the ropes organizes the work of the supports and connects the entire tower structure into a single system. And even if there are forces capable of shaking and tilting the trunk - for example, a hurricane wind, then even then the tower, after several deep vibrations, will rush to take its vertical position, like a tumbler doll. This principle has not been applied at all in vertical building structures, even of low height. In the fight for the tower, Nikitin gained more and more supporters. He managed to defend a lot: the natural foundation, “which at first frightened everyone,” to defend the openings in the helmet of the tower, only now there were not four, but ten, which is why the tower lost some of its lightness and grace, but did not turn into a concrete funnel, as required experts.

It is enough to compare the two versions of the tower to see the “expertise costs”, which could not oppose anything to Nikitin’s calculations except emotions and doubts. On September 27, 1960, the first cubic meter of concrete was laid into the foundation of the tower. And on May 27, 1963, at a meeting at the Moscow City Committee of the CPSU, a resolution was approved: “Stop all discussions about the tower. “Get construction going at full speed.” When the builders reached the 385 m mark and completed the monolithic part of the tower shaft, the September winds of 1966 were sweeping over Moscow. The upper platform moved underfoot like the deck of a seiner during strong rolling.

It's time to tighten the ropes. As soon as the seven-strand steel ropes, covered with cannon fat for safety, were pressed against the inner wall of the tower trunk with incredible force, the tower froze as if on the command “at attention” and has since stood like the main sentry of Moscow. On February 12, 1967, the lifting of the 23-ton frame began, which is the base of the unique 148-meter metal antenna that will crown the tower. On November 4, 1967, the State Commission signed an act of acceptance of the 1st stage of the Ostankino All-Union Television Center named after. 50th anniversary of October. In 1970, the designer of the television tower, Doctor of Technical Sciences N.V. Nikitin, and the team of authors headed by him were awarded the Lenin Prize. Nikitin's associates were: B. A. Zlobin - chief engineer of the project, deputy chief architect of Moscow D. I. Burdin, chief engineer of the State All-Union Design Institute M. A. Shkud, director of the design institute "Prometalkonstruktsiya" L. N. Shchipakin.

When the construction of the tower was coming to an end, the sculptor E. V. Vuchetich, the author of the majestic monument “Motherland,” asked N.V. Nikitin to become the author and designer of the monument “Motherland.” When the opening of the “Motherland” monument took place, Evgeniy Viktorovich Vuchetich, on his own initiative, attached a board cast in bronze to the side of the pedestal with the words: “The design was developed under the leadership of Doctor of Technical Sciences N.V. Nikitin.” The monument on the Volga bank was inaugurated on October 15, 1967. And three weeks later, television broadcasts from the Ostankino Tower began. Nikolai Vasilyevich Nikitin died in the spring of 1973. He is buried in Moscow at the Novodevichy cemetery. On his grave there is a modest marble stele, designed and erected by his friends, on it there are only two words: “Engineer N.V. Nikitin.”