Where Nikita Mikhalkov lives: Moscow apartment and manor estate. Andrei Konchalovsky's family nest: the house of his wife Yulia Vysotskaya and their children. photo Modernity echoes antiquity

The ordinary, unremarkable village of Nikolskoye began to be actively built up in the 20s of the last century. In this place in the middle pine forest representatives of the Soviet cultural elite began to build dachas for themselves.

The Mikhalkov clan also settled here. The famous director Nikita Sergeevich spent his childhood years here. He lives in these places to this day, for more than half a century. Let's see what Nikita Mikhalkov's house on Nikolina Gora looks like now (photo).

“The Family Nest” by Mikhalkov

Mansions in the village of Nikolina Gora cost from $262 thousand. The place is considered very prestigious; it is located on Rublevo-Uspenskoye Highway, 20 km from the capital. There is wonderful ecology here and developed infrastructure.

It is not surprising that the famous director Nikita Mikhalkov preferred this village near Moscow to the noisy capital and settled here. He even captured the picturesque places of Nikolina Gora in his Oscar-winning film “Burnt by the Sun.”

Mikhalkov wanted to preserve as much as possible in his home the atmosphere of childhood, which he remembered so well. Nikita Sergeevich often likes to tell how his grandfather, the landowner, sat him down in front of him and, by the light of a kerosene lamp, read Pushkin to him and played Bach and Mozart.

Unfortunately, nothing remains of the old building where Nikita Mikhalkov grew up. In its place, he built a new building, which became the director’s real family estate. It was built on an area of ​​several hectares. Next door to Nikita Mikhalkov’s house on Nikolina Gora (photo) is the family estate of his brother Andrei Konchalovsky.

Modernity meets antiquity

Mikhalkov decided to combine modern elements in the design of the mansion with Soviet ones. For this reason, there is no single style in the house. Antiquity meets modernity here. Oriental motifs - with Mediterranean ones. Each room has its own unique style.

The facade of the two-story mansion is made of marble and stone in light yellow. Nearby - small artificial pond. In Mikhalkov's mansion, the decoration is mainly made of wood (walnut), and the kitchen, made in a post-war style with antique cabinets, is combined with a cozy dining area.

In Nikita Mikhalkov’s house on Nikolina Gora (photo) there is a fireplace, next to which a white piano occupies a special place. The mansion also has a study, a gym, a sauna with a plunge pool, a winter garden, and 6 bathrooms.

Favorite place Mikhalkov's house has a large living room. The whole family gathers here from time to time, noble guests who often visit the eminent director. Mikhalkov tried his best to leave more free space in the hall.

In the house on Patriarch's Ponds, where Nikita Sergeevich Mikhalkov now lives, there used to be a Ladies' Guardianship for the Poor. Now the Kinospektakl theater is located there.

Mikhalkov has been living in this house for a long time at the address: Maly Kozikhinsky Lane, 4. Despite the fact that the housing is considered one of the most prestigious, major renovations have not been done for a long time.

The film director loves free space, so there is no unnecessary furniture in the apartment. The home is decorated with an antique fireplace. To install it, the owners had to obtain permission from multiple authorities, and also build an additional air duct.

Next to Nikita Sergeevich’s house there is also the studio of the film director “TriTe”. For its construction, several dilapidated historical buildings had to be demolished, which caused outrage among the public.

In addition to the Moscow apartment, Mikhalkov has Vacation home in the village of Nikolina Gora, which has belonged to the family since 1949. Subsequently, a mansion was built on the site of the old dilapidated house, in which the famous director recreated the interiors of his childhood.

On the territory of the mansion there are several non-residential buildings, guest houses, and an artificial pond.

The interior decoration of the house is made of solid walnut wood. On the ground floor there is a kitchen, living room and winter garden, where the film director’s wife, Tatyana Mikhalkova, likes to spend time.

The second floor is occupied by Nikita Sergeevich’s office, as well as several bedrooms, decorated in a classic style.

From birth he was given more than many - through efforts more famous ancestors. He manages to live without wasting anything and never losing. With or without reason, on a whim and without any desire on his part - the excitement is inevitable, as is a careless triumph, after which - solitude on Nikolina Gora, in the dacha, where the view from the windows of the turn of the century, where being a landowner is as natural as in Moscow - an official.

Nikita Mikhalkov has a house on Nikolina Gora that has not noticed the change of the century.

You see, Nikolina Gora, like other old villages, like Krasnaya Pakhra or Peredelkino, is a kind of village in which lived people born and raised before the 17th year, that is, there was a certain class of people who went to live not in Gorki, not to Barvikha, namely there. Although both Barvikha and Nikolina Gora arose at the same time, in the 20s. It was a piece quite far from Moscow, with a pontoon crossing, without a bridge, on ice in winter, with a country road between dachas, and it did not represent any prestigious place either in the 20s or 30s. The river flooded to the very bottom, to the mountain, Otto Schmidt built a dacha there, the Veresaevs built a dacha there, Nikulin, Mesishchev, Prokofiev, Kapitsa lived there. Even if you look at the buildings, it was not for show. Now the nouveau riche are rushing to Rublyovka, for whom this is iconic place, simply because the government always lived there - both Stalin’s dacha and Khrushchev’s dacha. They think they chose the best best places. But this is not so. I took the land near the city of Gorbatov on the Oka, where the finale of the film “The Barber of Siberia” was filmed, and this land is much more sanctified by silence, which can no longer be found on Nikolina Gora today.

What was your first impression when you arrived there?

Drifts, huge amounts of snow. I’ve been living there for 50 years now and constantly for the last 10 years; I manage to spend the night in a Moscow apartment 5 or 6 times a month.

I remember this feeling of isolation well. I lived there all year round from the age of 5 with a Spanish nanny who lived in our family, she was one of those children who were brought to Russia in 1937. Her name was Juanita, and the workers who finished building our house never said her name. And this loneliness, the emptiness around, completely winter, because no one lived there in winter. And my entire childhood is an endless wait for my parents to arrive, because they could only come on Saturday and Sunday, and then only in the winter on ice, and in the spring, during the flood, we were completely cut off from big land. Country store, village RANIS - workers of science and art.

What about friends?

Those who lived there. Pasha Frumkin, Sasha Vasiliev, Kravchenko. We studied together, five children, in a small home school, in the same dacha, because the walk to school in the village was quite far, 8 kilometers. One teacher taught several subjects. Primary school, 1st grade, we didn’t go to Moscow at all.

Did your rural landowner upbringing work out for you?

Well, not so landowner, but definitely rural.

And your little Oblomov from these memories? - Not so much from memories, but from sensations. There are still such impressions etched in my memory from the house of my grandfather, who lived in Bugry, so he really lived the life of a completely landowner. There was no electricity, and there is still no electricity there, kerosene lamps, hunting, your own world, chickens, pigs, a cow, the smell of smoked hams and Antonov apples, creaking floorboards, the constant smell of paint, grandfather - a painter. And almost all of my films, in which one way or another the action takes place on an estate, are even geographically inspired by these impressions from childhood.

It’s strange that other directors don’t have an estate like yours, but you have this theme from film to film.

Evening sitting at the piano with a kerosene lamp, when my grandfather played Mozart, recited entire pages of Pushkin by heart, and sang arias from any opera. He was, I would say, a man of Renaissance talent and interests. These swamp hunting boots are made of leather, not rubber, but filled with oats, because oats absorb moisture. When they returned with my uncle from hunting hares and ducks, these boots were immediately placed where the apples were stored and the hams hung, leather boots were filled with barley, even before the revolution, I think so.

Don’t you start a farm on Nikolina Gora?

No, I walk there, there is no such distance from the civilized center, the Bugra dacha near Obninsk. There wasn’t a village there, just a house. A house and a huge garden where you had to have everything of your own to live. And the most important thing is that my impressions today, absolutely one hundred percent, when I read, say, Chekhov’s “Name Day”, Oblomov’s - everything that concerns the estate - are instantly the geography of my grandfather’s house.

Why do you think there is no estate life in the films of your colleagues? And only you have this atmosphere - yours, dear, absolute, reproduced from film to film: “An Unfinished Play...”, “Oblomov”, “Burnt by the Sun”...

I can’t now talk in all seriousness about why other directors don’t have this. Others have something different that I don't have. Another thing is that I can’t start filming until what I’m talking about becomes familiar, real and close to me.

Did you succeed? even in the revolutionary film "Slave of Love" to drag through aristocratic nostalgia. Is it because you are simply a nobleman in your worldview?

No, it's nice to hear that, but I can't talk about it seriously, I can't explain it. Just like at school, I couldn’t understand why I was punished not even for being late, but for telling the honest truth, that I overslept because there were guests and Richter was playing the piano so loudly, that I could not sleep, and for most people in the class this was a challenge, although I told the truth not in order to protect myself in the name of Richter, but simply because I told the truth.

You’ve been catching yourself doing this all your life now. What's for you natural life, for others - a challenge?

Maybe I didn’t understand this before, but when I realized it, I stopped talking, and I probably began to destroy myself. When you have one truth for yourself and another truth for others, it is a destructive thing.

Nikita Sergeevich, nevertheless, you do not change, no matter how time changes, no matter what new demands it makes.

Surely this is not always convenient?

I would be much more uncomfortable if I were to change my being for some rather ephemeral purpose. I’m a Russian person, I’ve come up with a formula: only a person who doesn’t have something can be Russian, but not in such a way that he definitely has it, but if he doesn’t, the hell with him. “Do you want a bottle, Kolya? - I want it. - Well, for this we need to help the neighbors unload their things. - Well, let them go... I don’t want it.”

Are Russian people a lazy person?

Not in this case. A Russian person will never work only for money without any other meaning. He not only wants to be paid well, he also wants to love those who pay him, and if he doesn’t love him, he will say: “Do you want me to work hard for your stinking money?” A Russian person can work hard like no one else, but he still needs an idea. Remember, Dostoevsky’s convicts were forced to carry logs in one direction, then in the other. When they found out that it was just to carry logs, they refused. Now, if this was done to build a guillotine for them, a prison for them, or a rack - if it made sense, they would do it. It is not enough for a Russian person to offer money, he must have an idea, otherwise he will lose strength, labor and vitality.

Is that why we won wars? We will wear felt boots and eat quinoa; we have no bottom line.

Yes, there is no edge, neither lower nor upper. We are even geographically structured in such a way that we absorb both the civilization of the West and the culture of the East without any coercion. The only education on globe, which really connects East and West, because it was only thanks to Russia, say, that Michelangelo arose and did not speak Tatar. We are who we are, and we will never live like in Holland, we can go to Holland whenever we want, but we don’t want to live like that. The West is exhausted with us, well, exhausted: everything is not happening as it should be. You wake up at a Sheraton hotel in any country in the world - and everywhere there will be continental breakfast, coffee with milk, scrambled eggs and bacon, yogurt, jam. Don't you understand that it will be convenient if we have the same plugs and sockets? It is impossible to turn a country like Russia into an intellectual McDonald's. We have folklore thinking, we were brought up on a magic carpet, out of three brothers, two of us worked smart, one lay on the stove, and he got everything. All the time there is anticipation, a feeling of miracle: MMM, "Vlastilina" and proof - not a mechanism for getting money, not a process of making money, but that someone is lucky. And this belief in miracles among Russian people keeps him on earth and saves him. In the caves of the Kiev Pechersk Lavra they talk about saints, about miracles, about how in the 9th century, during a drought, people prayed to God for manna from heaven, and it fell from the sky, and everyone was fed... I looked at the faces of the listeners and suddenly understood one clear thing: until we began to tempt the Lord (prove it, and then I will believe), while faith was naive and did not require proof, these miracles appeared. A Russian person, for whom faith is of enormous importance, even if he does not believe in the Lord God, still has a genetic faith in power. No other country in the world has so many sorcerers, palmists, and healers. Because there is a need for faith, but there is no culture of faith.

Have you ever told fortunes or scattered cards?

No. I believe Tolstoy, who said: “Do what you must, and let it be what will be.”

Don't you want to know your future?

Who can tell me about it?

Do you only believe in yourself?

No, I believe in God.

But you know that you are a person who always succeeds in everything?

I just never had desires that did not coincide with my capabilities. Human tragedies happen when a person thinks that he can only because he wants to. In this sense, two things saved me: these abilities from my mother and father and the energy aimed at creation. It’s interesting to create and uninteresting to enjoy victories. It's no fun to shoot a picture, sit on it and wait for fame. Perhaps this is why the Lord sent me the opportunity to experience this glory. With the onset of change, a huge number of my colleagues said: “But now we will tell you the truth.” But this is not true, and there is nothing, they abandoned themselves, and they were forgotten about. My studio, which is 10 years old, is today the only studio in the country that is not ashamed. There are reasons to grieve about other mistakes in my life, but we are not ashamed of what we did.

We didn’t run, we didn’t catch up, we didn’t jump from one track to another, we didn’t run to demonstrations, we didn’t declare anything, we just followed the traditions that were inherent in us.

What they tried to do to me in the press for “The Barber of Siberia”, pull me off the saddle and drag me into a general brawl. I live according to the Cossack principle, my ancestors were Yaik Cossacks. They said: as long as the dogs bark at me, it means I’m still in the saddle. I've never done anything that didn't resonate with me - without a single false note. I didn’t shoot for money, not for fame, because I don’t care about all that. This is what's annoying - here. Beyond the ring road, I am sure that in any house, in any house, they will welcome me, give me tea and put me to bed.

Mila GLADUSH

Photo - Pavel SHELKOV

2011 -3-16 21:55

Stepan and Elizaveta Mikhalkov in the garden of their house near Moscow.

Stepan Mikhalkov acquired the site quite a long time ago and during this time he managed to consider many projects in a wide variety of styles. The client did not like deliberately modernist architectural ideas (“I don’t really like it when the house looks more like a kindergarten from the seventies”), and they also wanted to avoid experiments on the theme of a European castle or, on the contrary, a stone hut. The owners were more inclined towards Western European rural architecture and ultimately settled on its Flemish version.

On the one hand, this is not surprising: Stepan admits that, in addition to his own construction plans, he really loves Belgium. In addition, he is one of the founders of the Moscow concept store, which represents the Belgian furniture brand Flamant in Russia. The design of the house was done by the Belgian architect Stefan Boyens, and the clients received numerous books and albums dedicated to both traditional Flemish houses and the modern Belgian country minimal to help them make certain interior decisions. Between them, by the way, there is no stylistic abyss: modern designers still love natural, “warm” materials and simple, eternal forms, and their minimalism still looks rather patriarchal.

As a result, it turned out that the house seemed to tell the story of several generations. Perpendicular to the main volume with elegant brick facades, another one is attached - with wooden cladding: that is, the building is, of course, one, standing on the same foundation, but it looks exactly like a large barn attached to a wealthy village house. Which over time was slightly rebuilt and adapted for housing - this actually happens all the time. From the street this quasi-extension is not noticeable, only the austere and elegant front façade with a lawn laid out in front of it is visible. But behind the house there is a less formal garden with apple trees and greenhouses, cozy not so much in the Flemish style, but in a completely Moscow-dacha style. Only, unlike ordinary dachas, where owners often have to choose - either a bright house or a shady garden, in this house daylight always in abundance.

First living room. The floors are French fumé oak, the ceiling is finished in domestic oak. The fireplace is custom made.

Second living room (aka library). In the background you can see the stairs leading to the second floor where the bedrooms are located.

Moreover, the walls are painted White color, the ceilings are lined with light oak, and the rooms are spacious. “Initially, it was probably in my nature to make everything into furniture,” Stepan laughs. - This was the case with the previous house, and here at first there was also a desire to arrange more things. We probably bought furniture for two of these houses.” But Elizabeth insisted on self-restraint - as a result, Flamant furniture is not arranged sparingly, but very well: each item stands in the only possible place that generations of previous owners found for it.

The feeling of a perfectly lived-in old house, which seems to remember decades and centuries of peaceful, measured life, is probably the most pleasant thing about this interior. It is clear that a snap of the fingers does not create such a feeling, but here everything works neatly for it. And the layout with carefully found proportions, and the color scheme with natural light tones (the darkest shades in this range are French “smoked” oak on the floor and leather chairs), and the “quiet” decor.

It seems that everything is simple and not embellished, like an authentic folklore motif, but this is costly simplicity with sophistication and workmanship even in the details that are not the most eye-catching in appearance. The shelving in the second living room-library is made of seasoned, antique wood, the door and window handles are made by French artisans who make similar things according to their great-grandfather’s patterns, and the fireplace in the spirit of relaxed rustic baroque is so skillfully hewn and so delicately aged that it is a modern product difficult to identify.