In this issue, we are publishing one of the chapters of the book dedicated to the reconstruction of the headquarters of the “Garage” museum in Gorky Park, and to the research of this multilayered building. The reconstruction project was developed by FORM.
22 November 2018
The building standing at the edge of Gorky Park next to the Krymsky Bridge, to the right of the main entrance to the park (or to the left of the minor entrance on the embankment side) does not attract any particular attention; at some moment, when the reconstruction of the park had only just begun, they even planned to tear it down altogether to make room for expanding the Garden Ring. Meanwhile, after the building was turned into the headquarters of the museum of modern art “Garage”, which moved in here from the Bakhmetyevsky Garage, the museum, in turn, invited FORM to develop the reconstruction project, and they started doing a research of the building, it turned out that it was a sophisticated multilayered structure with approximately nine periods of development. The building appeared in the end of XIX century as a part of the Bromley dockyard, was later on remodeled to become a pavilion of the All-Union agricultural exhibition, then served as the GOZNAK convention center, then one of the first sound movie theaters, then a public bathhouse, and then a sanitary ware store.
With the support from the museum, the architects not only turned some of the building into an office of “Garage” but also thoroughly researched it – their work was shown a year and a half ago at Arch Moscow 2017. Parallel to doing the research and design, they were writing a book fully dedicated to the building standing at Krymsky Val, 9/45. Below we are publishing one of the chapters of this book written by the architects of FORM, historians Marianna Evstratova and Sergey Koluzakov, ABCdesign publishers, Kuchkovo Pole publishers, and the team of the museum of modern art “Garage”. More about the book (in Russian).
Krymsky Val 9/45. The Unknown Monument of Gorky Park. Moscow, 2018
Olga Treivas, Vera Odyn, Polina Patimova, Polina Litvinenko, Alina Yaroshenko, Kristina Timchuk, Idris Suliman, Svetlana Dudina, Konstantin Kim, Mikhail Mikadze.
Chapter 7. The Park Management. Office of the Museum of Modern Art “Garage”. Architectural firm FORM.
“In 2011, Sergey Kapkov was appointed the Director of Gorky Park. From that moment on, the park underwent profound changes that caused heated controversy. Within the first half a year, all the outlaw structures were removed, and almost all of the amusement rides were dismantled – this caused a negative reaction from the visitors and the owners of the park cafés alike but the changes were still enforced.
During the same period of time, Sergey Kapkov was speaking about demolishing the office wing next to the Krymsky Bridge. It was proposed to make a road junction there and solve the problem of traffic jams inevitably forming near Gorky Park, but seeing how unpromising the whole idea was, they soon gave up on it altogether.
In 2012, the Museum of Contemporary Art “Garage” was preparing to moving to Gorky Park and needed a place for its headquarters. The management of Gorky Park offered the museum to be headquartered in the left half of the building next to the Krymsky Bridge – the one that hitherto hosted the sanitary ware store. As the architects of this project, The director of “Garage” invited FORM as the architects of this project.
The first acquaintance with the building, and especially with its interior, was not particularly inspiring: clapboard walls, mosaic panel pictures, and even a jacuzzi bowl that was inherited from the sanitary ware store. The whole place was cluttered with tiny rooms, one of the staircases being completely blocked for yielding more office space. It was hard to imagine that all this mess actually concealed a surprisingly spacious house full of sunlight. However, after the architects studied the Bureau of Technical Inventory documents, it became obvious to them that the building had a clear-cut and interesting structure that is hard to discern behind the renovations of the 1980‒2000’s.
In spite of the fact that from the outside the management building looks rather coherent, for more than half a century it has been existing as two separate volumes with a ruin of the movie theater in the middle. The ruin can only be seen from the inside of the building – it is separated from the city by two blind façades. The reinforced concrete pillars and beams of the movie theater that survived a Nazi bombing, are exposed to the blue sky up to this day. Upon the initiative of “Garage”, the trees, which appeared inside the ruin over the fifty years, were made sparser but were still preserved.
Working with the building, the FORM architects decided to bring out the best in it by clearing it from whatever later additions were there, and adjust the floor plan of the movie theater for the museum headquarters, exposing the historical brickwork.
The technical audit showed that the bearing structures were significantly damaged, and the brick columns inside the building and some of the apertures were reinforced by metal staples. The roof of the building was assembled anew: the original wooden beams were not single-cut, they consisted of pieces of wood of different sizes, and were deformed; in addition, one of the beams got badly burned during the bombing in the Second World War. The new beams, the shape of which is identical to that of the original ones, are made of glued timber. The new heat-retaining roof made it possible to use the space directly underneath it as an extra story: the two new lofts are connected to the other space with two new staircases, a straight and a spiral one. During the work, two blocked windows were restored on the façade that overlooks the park, and a few small windows of the bull’s eye type.
The four floors of the headquarters are plainly visible: several working spaces are situated at different levels.
With the coming of “Garage” museum, the building aroused a lot of public interest. This is the place that guests of honor are invited to, and a place, to which creative people from all over the world come, including many famous artists and architects.
The fate of the ruin is a story that is yet to be continued. Possibly, the destroyed fragment of the building will take on a new independent function or it will be annexed by one of the functioning parts. Several Moscow-based architectural firms proposed their concepts trying to make out just what you can turn this ruin into but so far none of them has been implemented.
The serious research done by the authors of this book allows the architects to continue their work using the extensive knowledge about the historical context and the place that this unique building occupies in it”.
A Ringlet Bridge
The project of a pedestrian bridge, proposed by the architectural company ATRIUM, headed by Vera Butko and Anton Nadtochiy, for the city of Almaty, Kazakhstan, became the winner of the A+A Awards organized by the Architizer portal in the “Unbuilt Transportation” nomination. The bridge is indeed a stunner: a “hanging garden” in concrete tubs of columns, suspended over a city highway, is fitted with ringlets of wooden ramps, which in the bridge’s key point form an element of national ornament.
Consistency of the Method
Marking its 35th anniversary, Reserve Union (officially named OOO TPO Reserve in Russia) used the venue of the Arch Moscow convention to showcase its hitherto unannounced projects. We asked Vladimir Plotkin a few questions, and we are showing a few pictures – without any captions yet.
Julia Tryaskina: “Modern public interiors are about the super-goal, not about unnecessary...
The new IPI Award for design of public interiors considers the projects from the point of view of today’s trends of the modern world, and even broader – from the point of view of a super-goal set by the client and achieved by the architect. In this article, we are speaking to the initiator of the award: about the specifics of rating the projects, about the priorities, fears, and hopes.
Vladimir Plotkin: “Our profession is complex, vulnerable, and sometimes defenseless against...
As part of the editorial project devoted to the high-rise and high-density construction that Moscow is seeing in recent years, we spoke to the leading architect of CU Reserve Vladimir Plotkin, the author of many grand-scale – and high-profile – buildings of this city. We spoke about an architect’s role and his tasks in the mega-construction process, about the drive of the megalopolis, about the strong sides of mixed and multifunctional construction, and about the methods of organizing big forms.
Alexander Kolontai: “The competition revealed the potential of Moscow as a global city”
An interview with the deputy director of the Genplan Institute of Moscow about the international competition for the concept of development of the nation’s capital and the territories that it annexed in 2012. The competition took place 10 years ago, and this year we are seeing its anniversary, just as the anniversary of changing the boundaries of the capital city.
The Book Sanctuary
Reconstructed and renovated by Studio 44, the building of Vladimir Mayakovsky Public Library received modern technical content, at the same time becoming closer to its authentic image from the times when it was part of the compound of the Trinity-Sergius Lavra.
In Tune with Mendelsohn
The “Kersten House” standing next to the “Krasnoye Znamya” (“Red Banner”) factory fits in with the tactful course adopted by Anatoly Stolyarchuk studio: it allows of no historical stylization, yet at the same time is quite respectful of the surrounding context.
Foothills and Peaks
Developed by OSA, the concept of revitalization of the territory of Stankoagregat plant combines two scales: extreme-high towers and relatively “human-friendly” urban villas. In the conditions of ultra-dense construction, this solution makes it possible to vacate territories for public spaces and trees, as well as adapt the project for the conditions of the changing market.
City in the Stream
The books by Genplan Institute of Moscow, published for the Institute’s 70th anniversary and for the coinciding exhibition, are the most amazing three-volume edition that I ever saw: the books are totally different, yet packed in one box. This, on the other hand, is justified by the specifics of each of the volumes, the diversity of approaches to processing information used in them, and the complexity of the material as such: town planning is a multifaceted science, bordering on art.
Stop the [special operetion]!
The collective letter Russian architects was published here the 26.02.2022. Now, 04.03.2022, it's text is edited according the new law of the Russian Federation. All the signatures, more than 6800, are deleted, as well as weblinks. But we coserved the edited text for the history.
Shape of the Winery
In this article, we are telling you more about the development of the shape and the implementation of the “Skalisty Bereg” (“Rocky Shore”) winery, designed by Alexander Balabin and his company “Severin-Project” in the Krasnodar Territory, and one of the finalists of WAF 2021.
An Architectural Reality Show
Roman Leonidov, the well-known architect of luxury countryside residences, about which Archi.ru repeatedly wrote, launched a new online project called “Build YOUR House” on his YouTube channel.
Buyan and the Court Quarter
The news about cancellation of the Tuchkov Buyan park has been stirring the minds of people of St. Petersburg for a week already. In the absence of any verified specific information, we discussed the situation with the architects of the park and the Court Quarter: Nikita Yavein and Evgeny Gerasimov.
The Possibility of Flight
The project of the airport, which ASADOV Architects developed for the city of Tobolsk, and which won in the architectural competition, was not implemented. However, it is interesting as an example of designing an airport building of a very small scale, where the main challenge is the optimal organization of space and infrastructure without compromising the imagery component.
Built in the town of Pushkino in the Moscow area, the “Turgeneva 13” housing complex, while fitting in with the surrounding context, differs from it with the rhythmic austerity of its dual composition, a slight wave of the façade, and the color design, in which one can see two images, winter and summer, both “growing” from the specifics of the place.
A Shell by the Sea
Designing the Sports Palace that will determine the development of the entire northern part of Derbent, ASADOV Architects turned to the architectural legacy of Dagestan, local lore, and ancient layers of history.
Karen Saprichyan is wishing everyone a merry Christmas, presenting a series of letter-shaped skyscrapers. The architect has long since been working on this theme, and has calendars of various years in stock. His latest development is a group of towers designed for the city of NEOM, which will be built in Saudi Arabia.
The three brick blocks of the “River Park” housing complex gaze at the water with their terraces. Each block forms a backdrop and two wings, while the residents-only yards turn into “stages” perceived from the river. The landscaped embankment, accessible to all the city people, complements the hierarchy of private, semi-private and public city life that is formed here.
Pompidou Inside Out
Renzo Piano and his GES-2 have already been compared to Ridolfo Aristotele Fioravanti and his Cathedral of the Assumption. And for a good reason: GES-2 also stuns you with its grace and loftiness, but ultimately turns out to be the richest collection of recognizable motifs from an early masterpiece by Renzo Piano and Richard Rogers, the George Pompidou Center in Paris. These motifs are fused into the grid of Shukhov-esque structures, painted white, and they create a dialogue between 1910, 1971, and 2021, built on references (not devoid of a poster-like quality) to the main masterpiece. The basilica-shaped space of the former power station is taken apart virtually just like the museum, in accordance with the concept by Teresa Mavica.
Next to Lidval and Nobel
The housing complex designed by Anatoly Stolyarchuk in Neishlotsky Alley: tactful change of scale, tribute to the memory of the place, Finnish additions to the functional typology – specifically, saunas in the apartments – and plans for receiving a BREEAM certificate.
And stabbed it with a knife
The leader of Coop Himmelb(l)au, Wolf D. Prix, presented three projects that he is currently doing in Russia: a complex in Sevastopol, Crimea, which, as it turned out, a western architect could build bypassing the sanctions, because this is a cultural project; a museum and theater center in Kemerovo, and the “SKA Arena”, which is built in the stead of the destroyed Sports and Concert Complex in St. Petersburg – during the presentation the latter was symbolized by a round cake that the architect eventually cut.
The Thin Matter
The house named “Medny 3.14” (“Copper 3.14”) is composed of two textures, each of which resembles in its own way some kind of precious fabric, and of three units, each of which is oriented towards one cardinal point. The architecture of the house absorbs the nuances of the context, summing them up and turning them into a single rhythmic structure. In this article, we are examining the new, just-completed, house designed by Sergey Skuratov in Donskaya Street.
The new business center built in Moscow’s district of Presnya in the 1st Zemelny Lane is all about technology and sustainability. Its streamlined shapes and white facade grid are combined with a new version of vertical greenery: the green of wild grapes, placed at a distance from the facade, instead of arguing with the “pergola” grid, sets it off by contrast.
Lightness of Being
Blooming Sakura, a campfire party, kids splashing in a swimming pool – no, these are not pictures from a vacation, but everyday life going on in the yards of Kiev’s housing complex “Fayna Town”. In this issue, we are examining how the utopia designed by the architects is wired, and what they did to make it a reality.