Krestyaninov Castle
Photographer Fyodor Savintsev saves a pre-revolutionary redbrick castle in Central Russia.
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Fyodor Savintsev, the spearhead of the Mstyora revival project
Fyodor Savintsev is a renowned Russian photographer, artist, publisher, and also a philanthropist. His main focus today is the revival of a small town in Central Russia—Mstyora. Though modest in size, Mstyora hides true architectural gems that only need to be cleaned, restored, and cared for. Fyodor has made this mission his life’s work, at least for the foreseeable future. A couple of years ago he bought several houses in Mstyora among them a two-storey wooden house with exquisitely carved window frames, a vast abandoned factory, and what locals—and now Fyodor himself—call a castle: a striking Neo-Russian redbrick mansion once built by the factory’s owner. Fyodor is now deeply immersed in the challenging restoration process. The task is enormous, as all the buildings were in extremely poor condition. His ultimate goal is to bring these structures back to life and help transform Mstyora into a vibrant tourist destination. Much has already been accomplished, he says, yet the finish line is still far ahead.
Castles and Palaces (CnP): Fyodor, tell me a little bit about yourself.
Fyodor Savintsev (FS): I stumbled into my path completely by accident. As a teenager in Moscow, I lived the classic city-kid life—skateboarding, painting graffiti, getting into harmless trouble, just enjoying myself. I always carried a small camera and mostly photographed graffiti artists. Then one day, I witnessed riot police beating members of the National Bolshevik Party at Mayakovsky Square. I shot the scene, brought the photos to TASS news agency, and the next day I became a reporter.
Fyodor Savintsev (FS): I stumbled into my path completely by accident. As a teenager in Moscow, I lived the classic city-kid life—skateboarding, painting graffiti, getting into harmless trouble, just enjoying myself. I always carried a small camera and mostly photographed graffiti artists. Then one day, I witnessed riot police beating members of the National Bolshevik Party at Mayakovsky Square. I shot the scene, brought the photos to TASS news agency, and the next day I became a reporter.
Fyodor Savintsev (FS): I first studied at the Geography Department at Moscow State University, then tried (unsuccessfully) to transfer to journalism. Eventually, I enrolled in another university’s journalism program and later completed a postgraduate degree in political science. I began working as a reporter at my first year, and photography just took over from there. Publications in international outlets, awards, auctions, fairs, galleries, exhibitions—you name it–that all happened later. I’m the father of three. This year [2025] my wife and I celebrated 25 years together. And now I’ve become a restorer and the owner of a castle and a factory.
CnP: So why take on all this hassle? You’re a successful photographer and author—why pour millions into old bricks, rotten floors and rusty roofs?
FS: I ask myself exactly that every time, but I see it all as an art project and it makes sense to me. I just chose a material project and tell a living story about preserving heritage.
FS: I ask myself exactly that every time, but I see it all as an art project and it makes sense to me. I just chose a material project and tell a living story about preserving heritage.
SELF-SUSTAINABLE?
CnP: You launched a bakery and workshops to make gingerbread—but that’s a drop in the ocean. The easy part is buying ruined buildings; the hard and scary part starts afterward. Where does the funding come from?
FS: I have a plan and I stick to it. The goal is to create a sustainable model that will fund the restoration itself—since this is completely irrational on its own, so you need a system. I’m building that system. The café earns some money and I channel the money to restoration. I sell books, photos, posters, other objects, like carved wooden frames, we design houses—it’s kinda production line that helps to preserve heritage. And of course people support me financially!
FS: I have a plan and I stick to it. The goal is to create a sustainable model that will fund the restoration itself—since this is completely irrational on its own, so you need a system. I’m building that system. The café earns some money and I channel the money to restoration. I sell books, photos, posters, other objects, like carved wooden frames, we design houses—it’s kinda production line that helps to preserve heritage. And of course people support me financially!
CnP: It’s been over two years since you bought the castle—the merchant’s house, a house of his son, and the former factory itself. What’s already been done and what surprises have you faced?
FS: A lot has been done! Actually, I’ve bought 14 buildings in Mstyora in total. The goal is to preserve the historical environment, the context. The whole factory complex—the workshops, the castle and the wooden house—is a unique ensemble not just for Russia but for the whole world. It’s a pity that before I took the reins people had almost killed the estate. Unfortunately, I now have to deal with rot, mold and ruin, but the final result will amaze everyone! No doubt about that.
FS: A lot has been done! Actually, I’ve bought 14 buildings in Mstyora in total. The goal is to preserve the historical environment, the context. The whole factory complex—the workshops, the castle and the wooden house—is a unique ensemble not just for Russia but for the whole world. It’s a pity that before I took the reins people had almost killed the estate. Unfortunately, I now have to deal with rot, mold and ruin, but the final result will amaze everyone! No doubt about that.
CnP: If it’s not a secret, how much did the buildings cost you?
FS: Look, I bought one house for around 1,500 euros. The castle cost me less than 1 euro. The factory set me 22,000 euros back.
CnP: Have you estimated how much more you will need to finish the restoration?
FS: I don’t even want to make any estimates.
FS: Look, I bought one house for around 1,500 euros. The castle cost me less than 1 euro. The factory set me 22,000 euros back.
CnP: Have you estimated how much more you will need to finish the restoration?
FS: I don’t even want to make any estimates.
CnP: The merchant’s house is a listed object of regional significance. The state should be interested in preservation and restoration. Does it help at all? Or are there big private investors interested?
FS: No, the state does not help… As for private investors… One recently turned up, listened to me, and then said, “I can help—I’ll buy it all up for myself.” So, I am the only one to carry that burden.
FS: No, the state does not help… As for private investors… One recently turned up, listened to me, and then said, “I can help—I’ll buy it all up for myself.” So, I am the only one to carry that burden.
CnP: But you can’t pull a project like this alone. You can spearhead the process, but somebody needs to fix the brickwork, mend the roof, etc. Tell me about the team—who does what?
FS: I’m responsible for everything, I hire people for different tasks. Right now I have one pal, his name is Artem. He worked in St. Petersburg restoring old windows and doors, and here on the project he’s developing skills across the board. He lives in the village and he’s my eyes, ears and hands. I visit the project, set tasks and control the progress. Each job requires its own specialists—I hire them, sometimes we succeed, sometimes we fail.
FS: I’m responsible for everything, I hire people for different tasks. Right now I have one pal, his name is Artem. He worked in St. Petersburg restoring old windows and doors, and here on the project he’s developing skills across the board. He lives in the village and he’s my eyes, ears and hands. I visit the project, set tasks and control the progress. Each job requires its own specialists—I hire them, sometimes we succeed, sometimes we fail.
CnP: How did the locals react? I talked to people restoring old Teutonic castles and churches near Kaliningrad (Germany’s Eastern Prussia before 1945)—they said locals often don’t care; monuments are used as toilets or as a source of building materials. Do Mstyora residents care?
FS: People in Mstera do! They want everything to be beautiful and restored, and many support us. There are fools everywhere; I call them out so the stupidity becomes visible!
FS: People in Mstera do! They want everything to be beautiful and restored, and many support us. There are fools everywhere; I call them out so the stupidity becomes visible!
CnP: To what extent are locals involved in the works?
FS: Over these years I provided more than 60 local residents with jobs, and they continue to work now. The café employs locals. I really want them to feel involved, but it’s not everyone is interested of course.
FS: Over these years I provided more than 60 local residents with jobs, and they continue to work now. The café employs locals. I really want them to feel involved, but it’s not everyone is interested of course.
CnP: I love bricks. When I see an Italian or Teutonic castle, my heart starts to race. How well were your buildings constructed a hundred years ago?
FS: Look, it’s interesting: one factory building was built perfectly, another one is crooked and skewed. As for the castle, it is a true Frankenstein sewn together of different parts, but overall it’s solid. I love bricks, but I was afraid of working with them; I got used to it, so tuck-pointing and restoration no longer seem scary. You just need practice. There are buildings that are perfect and well built—you can feel the talented architect and foreman were behind them.
FS: Look, it’s interesting: one factory building was built perfectly, another one is crooked and skewed. As for the castle, it is a true Frankenstein sewn together of different parts, but overall it’s solid. I love bricks, but I was afraid of working with them; I got used to it, so tuck-pointing and restoration no longer seem scary. You just need practice. There are buildings that are perfect and well built—you can feel the talented architect and foreman were behind them.
CnP: What’s your plan for the castle? A creative space? An art residency? Workshops for local craft? A restaurant? A hotel?
FS: All of the above, plus a library and a gallery.
FS: All of the above, plus a library and a gallery.
CnP: On the map, Mstyora sits near the base of the Moscow–Yaroslavl–Nizhny Novgorod triangle. It’s close to the Golden Ring and to the popular Nizhny Novgorod. Tourists today are picky—why are you confident guests will come?
FS: Right now the main problem is lack of accommodation, but I’m building guest houses. Mstyora is perfect for radial tourism, everything is within an hour to an hour and a half. It takes 1 hour 20 minutes to get to Nizhny Novgorod on the Volga, 1 hour to Vladimir, Suzdal, or Murom. Kovrov is 40 minutes away. So I’m planning big for tourism.
FS: Right now the main problem is lack of accommodation, but I’m building guest houses. Mstyora is perfect for radial tourism, everything is within an hour to an hour and a half. It takes 1 hour 20 minutes to get to Nizhny Novgorod on the Volga, 1 hour to Vladimir, Suzdal, or Murom. Kovrov is 40 minutes away. So I’m planning big for tourism.
MSTYORA'S BRIGHT FUTURE
CnP: What can visitors do in Mstera, and what tourist infrastructure exists now?
FS: Right now there’s practically nothing without me. You can visit the museum and the monastery and that’s about it. We offer tours, woodwork workshops, a café, music programs. There are many prospects—it all depends on people to implement them.
FS: Right now there’s practically nothing without me. You can visit the museum and the monastery and that’s about it. We offer tours, woodwork workshops, a café, music programs. There are many prospects—it all depends on people to implement them.
CnP: The merchant Igumnov’s house (the French embassy building in Moscow), the Tsvetkov mansion on Moscow's Prechistenskaya Embankment, the GUM store. The Krestyaninov’s brick castle fits well into this series of Neo-Russian architectural gems. On one hand the style is 100% Russian, on the other hand... look at these corner turrets, they make it look more eclectic and sophisticated. Who was the architect?
FS: I have a confirmation that architect Rodionov worked in this style and contributed to many buildings in Russia. But I don’t have official proof though that he built the castle, but he did design the local hospital, and I’m quite sure he had a hand in the castle, too. His name does come up. I hope to find more information and confirm it.
FS: I have a confirmation that architect Rodionov worked in this style and contributed to many buildings in Russia. But I don’t have official proof though that he built the castle, but he did design the local hospital, and I’m quite sure he had a hand in the castle, too. His name does come up. I hope to find more information and confirm it.
CnP: The house was built in the early 20th century. After the revolution, Krestyaninov lost both his house and the factory. Over the years, the premises were used for different purposes. You cleared piles of debris, demolished ugly annexes, and removed tons of rubbish. Did you find anything pre-revolutionary? Anything interesting or valuable?
FS: That’s the main mystery of this castle. There’s really nothing significant or valuable. My friend Artem is a pro in search, and he’s truly puzzled that we haven’t discovered anything.
FS: That’s the main mystery of this castle. There’s really nothing significant or valuable. My friend Artem is a pro in search, and he’s truly puzzled that we haven’t discovered anything.
CnP: After two plus years you’ve studied the house inside out and even made a 3D model. I bet you checked every room possible, explored everything. Tell me about architectural details or oddities that surprised you.
FS: The most interesting thing is that the castle consists of different parts built at different times. It was built, rebuilt and expanded. It’s hard to understand how it originally looked. We’re working on that and the 3D model we made helps us a lot. Interestingly, the main facade sticks out on an angle; the building is shifted and turned away from the street line and shows its face with one corner, while the other corner facing the factory has neither ornaments nor a grand entrance. It has no posh portico as one would think. The purpose of the house is unclear since the factory owner mainly lived in Moscow.
FS: The most interesting thing is that the castle consists of different parts built at different times. It was built, rebuilt and expanded. It’s hard to understand how it originally looked. We’re working on that and the 3D model we made helps us a lot. Interestingly, the main facade sticks out on an angle; the building is shifted and turned away from the street line and shows its face with one corner, while the other corner facing the factory has neither ornaments nor a grand entrance. It has no posh portico as one would think. The purpose of the house is unclear since the factory owner mainly lived in Moscow.
FS: One curious anecdote for you that’s hard to confirm though: after nationalization the owner allegedly stayed on as a simple guard and lived in a tiny room there till the 1960s. That sounds like a legend but locals claim it’s true.
CnP: Imagine restoration is finished. Have you chosen a room for yourself?
FS: Right, I’ve chosen a study for myself—it’s in the central tower. We named it the Stargazer’s Tower.
CnP: Imagine restoration is finished. Have you chosen a room for yourself?
FS: Right, I’ve chosen a study for myself—it’s in the central tower. We named it the Stargazer’s Tower.
CnP: I understand Krestyaninov had a large family; life after the revolution was hard for many. What do you know about descendants and have any of them contacted you?
FS: I’m piecing their family tree together bit by bit. I’ve reintroduced many great-great-grandchildren and grandchildren to each other.
FS: I’m piecing their family tree together bit by bit. I’ve reintroduced many great-great-grandchildren and grandchildren to each other.
CnP: In Europe there are crowdfunding platforms that raise money through selling tiny shares of the object to fund the ongoing restoration—you buy a certificate, you get a beautifully designed booklet, and your name turns up on a plaque, say, in the park. Would that work for Krestyaninov’s house?
FS: I do that sometimes—this summer I launched such a campaign: buy 1 square meter of bricks for the restoration and I’ll attached a copper plaque with your name on the castle wall. So, the model works. I’ll think about other options.
FS: I do that sometimes—this summer I launched such a campaign: buy 1 square meter of bricks for the restoration and I’ll attached a copper plaque with your name on the castle wall. So, the model works. I’ll think about other options.
CnP: Many people dream of a project like yours: they want to buy an abandoned place and turn it into something beautiful. Would you encourage or discourage such people?
FS: You can’t do something of this scale alone without billions—it’s a huge challenge. A small house for yourself is easy, especially if it’s not a listed monument. My one piece of advice—measure twice, cut once.
FS: You can’t do something of this scale alone without billions—it’s a huge challenge. A small house for yourself is easy, especially if it’s not a listed monument. My one piece of advice—measure twice, cut once.
We very much hope that you loved Fyodor Savintsev's story about his plan to revive the village of Mstyora through the restoration of a redbrick castle that once belonged to the owner of a local plant!
Photo credits:
Fyodor Savintsev
Don't miss new stories by other castle owners!
You can always get in touch with us at castlesandfamilies@gmail.com
Photo credits:
Fyodor Savintsev
Don't miss new stories by other castle owners!
You can always get in touch with us at castlesandfamilies@gmail.com