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​Pavel Andreev: “House 17 on Bolshaya Nikitskaya is indeed historical and authentic”

In this issue, we are talking to the author of the 1992-1995 reconstruction of the building, try to find out what specifically was reconstructed, and publish the drafts that prove that the historical nucleus of the house was preserved both inside and outside.

29 January 2019
Interview
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The possibility of demolition of the so-called “Buloshnikov Tenement House” at Bolshaya Nikitskaya, 17, building 1, coupled with the possibility of building on that spot a housing project up to nine stories high, became one of the loudest Moscow scandals of the beginning of this year. At the same time, a question arose: is this house, so ardently defended by local preservation activists, truly authentic? Or was it simply rebuilt from scratch in the 1990’s? We met with the author of the reconstruction project, Pavel Andreev, and Interviewed him about the project. A spoiler: the house was preserved in its original condition, even though it got additions from the yard side. So, in short, yes, it is authentic.

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Buloshnikov House, Bolshaya Nikitskaya, 17, Building 1.
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In 1995, when you worked on reconstructing House 17, Building 1 on the Bolshaya Nikitskaya Street, what was essentially this project about? Was it restoration, reconstruction, or was the building completely torn down and then rebuilt from scratch?

The house was kept fully intact, the bearing structures and the façade decor alike. We conducted a long-term research of the building – as far as I can remember, we started working with it in 1992. The house was severely damaged, there were leaks all over the place, it was infected with fungus, the basement was terribly damp, probably, because of breakdowns of the utility lines. We deepened the basement by about a meter, then we reinforced it, and cured the walls from the fungus. Concurrently to that, they were building a collector on Bolshaya Nikitskaya, and the underground work turned out to be rather challenging, first of all because of the decision to keep the bearing structures. There was a rather lengthy period of making the wall injections, penetrating and so on. The walls of all the three floors, both the outside bearing walls and the inside ones, and the whole volume remained original, which is clearly visible on the plans of the working documents stage.

Measurements before the reconstruction:

Measurements before the reconstruction. The basement and the 1st floor. House at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


Measurements before the reconstruction. The 2nd and 3rd floors. House at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


Project documents:

Plan of the basement. Project. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


Plan of the 1st floor. Project. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


Plan of the 2nd floor. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


Plan of the 3rd floor. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


There are six vaulted cells in the basement... 

We cleared the vaults and sandblasted the bricks they were made of. After we lowered the basement floor, the height of the inner space became about 2.5 meters. For a while, that place hosted a beer restaurant – one of the investors was Austrian, which determined its specialty. Our client bought somewhere a lot of photographs of old Moscow, posted them on the walls, and it created a really nice atmosphere.

Cross-section view. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


What additions did you make in the course of reconstruction? 

There were three versions of the schematic design, one of them including an elongated annex stretching into the depth of the Maly Kislovsky Side-street. What we ultimately chose was the version with a longitudinal annex, which made the volume of the building thicker but at the same time allowed us to raise the height of the crest of the roof without having to change its tilt angle. We placed the ventilation system in there, completely hiding it under the roof. The attic is unheated; the air induction is performed through the latticed gable windows. It never ceases to amaze me that today a lot of architects design their mechanical floors as boxes, while you can just easily hide them the way that we did.

On the street side, the cornice runs above a small attic ledge, on the yard side it is raised a little higher, and in the middle part, underneath the attic, the building got a rather spacious attic floor.

The attic floor. Project. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


Who proposed the idea of adding a dome on the corner?

I did. There was a rounded corner without a door, we made an entrance in the corner, behind which the bank lobby is situated. This entrance door needed an accent, and the dome became such an accent. I must say that it only popped up in the final versions – originally, we had no such idea.

The dome. Project. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


The lateral facade. Project. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


The facade on Bolshaya Nikitskaya. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


How authentic is the façade decor?

For the most part, it’s truly original – we measured all the details and filled in the missing links – mind, with stucco, not with polystyrene foam. I think that our work with the façade can be arguably classified as restoration, which was appropriately recorded at the time. As far as the color of the façades was concerned, we selected it by the building’s current name – Green House – and it must be said that it was slightly mismatched with the concept that was at the time being developed for Moscow.

Did the house have a protected status back in 1992-1995?

No, it didn’t.

The decision to preserve the house with all of its bearing walls as a valuable part of the city environment was collectively made by the experts of the Heritage Site Protection Department, headed at the time by Vladimir Sokolovsky. The discussion also included such prominent experts as Victor Sheredega, Aleksey Kurennoy, and Vladimir Chernyshenko. Back then, it was all decided on the level of the people who really cared for the preservation of the historical heritage: in the course of the discussion, the preservation principles were defined that later on formed the basis for the technical specifications and still later on, having taken the shape of a project, were considered by the council of the Heritage Site Protection Department, after which they took the form of official approvals.

Here is the thing – when professional and competent people consider this or that matter, they can see beyond classified, specifically, see a house that formally does not have a protected status and define the principles of working with it, decide how far you can go with changing things. Back in those days, there were fewer architectural heritage buildings – today we have about four thousands of them.

If you ask me what is more important, the monument of architecture or the environment I will answer without hesitation that the environment is more important. Just imagine – you tear down the entire city altogether, leaving just a few monuments of architecture – and you’ll lose the city forever, even though you will still have a few madly beautiful things left. There is one such a city out there, by the way, it is Samarkand – it does have a few heritage sites in it, but the city as such is nonexistent. Bukhara and Khiva, on the other hand, do have environments of their own. And if you lose the Moscow environment, your individual monuments of architecture will look pretty much like the inkstand on the green cloth, like something that you can place virtually anywhere.

You can move your monument over to any place but if you leave it devoid of its environment, its value – for me, at least – will be 99% lost. The atmosphere will just go. The projects that we worked with for twenty years formed something that we know as Moscow – environment, context, call it what you like. Because individual buildings – even if there are masterpieces among them – will not make a city.

Who was the commissioner of the reconstruction project in 1992-1995?

It was Valery Baranov, the C.E.O of the Greenhouse company that owned a grocery store in that house. We did the reconstruction project bearing in mind a supermarket, a cafeteria, and a restaurant; there was a rather large shopping hall – the showcases situated closer to the center were occupied by the store. Hence the name of “Green House”. Later on, the bank, which was on the corner, ousted the store.

I must say that another important aspect is preserving not just the building but its habitual function as well – something that turned it into a landmark within the city context. The grocery store was rather popular in Moscow, and now it’s gone. In the end of the Gertsena Street, there was a popular “FISH” store – and now this place is going to be occupied by the Bulgari Hotel. There was just as popular candy store on Nikitskie Vorota, and now its place is occupied by a Villroy&Boch store… Of course, there are things in this city that you need to change from time to time but just think for a moment: if you leave the Madeleine Square devoid of the Fauchon restaurant – Paris is not going to be the same.

Do you think this house can still be turned into a residential one?

As a matter of fact, it was built as a residential one – remember, it was a tenement house. At first it was two stories high, then, in the beginning of the XIX century a third story was built up. Of course, it can be readjusted to fit the housing function – but we are now speaking about preserving the building’s appearance in order to ultimately preserve the city’s environment, not about restoring the function. Perhaps, we could build up a story or two, stepping back a little from the front side... No more than that.
The schematic design, the underground floor; condidering the version with an underground parking garage. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev
The schematic design, the plan of the 1st floor. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev
The schematic design, the cross-section view. Green House. The reconstruction project at Bolshaya Nikitskaya, 17, Bld. 1. ABV Architects, Pavel Andreev


29 January 2019

Headlines now
The Big Twelve
Yesterday, the winners of the Moscow Mayor’s Architecture Award were announced and honored. Let’s take a look at what was awarded and, in some cases, even critique this esteemed award. After all, there is always room for improvement, right?
Above the Golden Horn
The residential complex “Philosophy” designed by T+T architects in Vladivostok, is one of the new projects in the “Golubinaya Pad” area, changing its development philosophy (pun intended) from single houses to a comprehensive approach. The buildings are organized along public streets, varying in height and format, with one house even executed in gallery typology, featuring a cantilever leaning on an art object.
Nuanced Alternative
How can you rhyme a square and space? Easily! But to do so, you need to rhyme everything you can possibly think of: weave everything together, like in a tensegrity structure, and find your own optics too. The new exhibition at GES-2 does just that, offering its visitor a new perspective on the history of art spanning 150 years, infused with the hope for endless multiplicity of worlds and art histories. Read on to see how this is achieved and how the exhibition design by Evgeny Ace contributes to it.
Blinds for Ice
An ice arena has been constructed in Domodedovo based on a project by Yuri Vissarionov Architects. To prevent the long façade, a technical requirement for winter sports facilities, from appearing monotonous, the architects proposed the use of suspended structures with multidirectional slats. This design protects the ice from direct sunlight while giving the wall texture and detail.
Campus within a Day
In this article, we talk about what the participants of Genplan Institute of Moscow’s hackathon were doing at the MosComArchitecture booth at the “ArchMoscow” exhibition. We also discuss who won the prize and why, and what can be done with the territory of a small university on the outskirts of Moscow.
Vertical Civilization
Genpro considered the development of the vertical city concept and made it the theme of their pavilion at the “ArchMoscow” exhibition.
Marina Yegorova: “We think in terms of hectares, not square meters”
The career path of architect Marina Yegorova is quite impressive: MARHI, SPEECH, MosComArchitectura, the Genplan Institute of Moscow, and then her own architectural company. Its name Empate, which refers to the words “to draw” in Portuguese and “to empathize” in English, should not be misleading with its softness, as the firm freely works on different scales, including Integrated Territorial Development projects. We talked with Marina about various topics: urban planning experience, female leadership style, and even the love of architects for yachting.
Andrey Chuikov: “Optimum balance is achieved through economics”
The Yekaterinburg-based architectural company CNTR is in its mature stage: crystallization of principles, systematization, and standardization helped it make a qualitative leap, enhance competencies, and secure large contracts without sacrificing the aesthetic component. The head of the company, Andrey Chuikov, told us about building a business model and the bonuses that additional education in financial management provides for an architect.
The Fulcrum
Ostozhenka Architects have designed two astonishing towers practically on the edge of a slope above the Oka River in Nizhny Novgorod. These towers stand on 10-meter-tall weathered steel “legs”, with each floor offering panoramic views of the river and the city; all public spaces, including corridors, receive plenty of natural light. Here, we see a multitude of solutions that are unconventional for the residential routine of our day and age. Meanwhile, although these towers hark back to the typological explorations of the seventies, they are completely reinvented in a contemporary key. We admire Veren Group as the client – this is exactly how a “unique product” should be made – and we tell you exactly how our towers are arranged.
Crystal is Watching You
Right now, Museum Night has kicked off at the Museum of Architecture, featuring a fresh new addition – the “Crystal of Perception”, an installation by Sergey Kuznetsov, Ivan Grekov, and the KROST company, set up in the courtyard. It shimmers with light, it sings, it reacts to the approach of people, and who knows what else it can do.
The Secret Briton
The house is called “Little France”. Its composition follows the classical St. Petersburg style, with a palace-like courtyard. The decor is on the brink of Egyptian lotuses, neo-Greek acroteria, and classic 1930s “gears”; the recessed piers are Gothic, while the silhouette of the central part of the house is British. It’s quite interesting to examine all these details, attempting to understand which architectural direction they belong to. At the same time, however, the house fits like a glove in the context of the 20th line of St. Petersburg’s Vasilievsky Island; its elongated wings hold up the façade quite well.
The Wrap-Up
The competition project proposed by Treivas for the first 2021 competition for the Russian pavilion at EXPO 2025 concludes our series of publications on pavilion projects that will not be implemented. This particular proposal stands out for its detailed explanations and the idea of ecological responsibility: both the facades and the exhibition inside were intended to utilize recycled materials.
Birds and Streams
For the competition to design the Omsk airport, DNK ag formed a consortium, inviting VOX architects and Sila Sveta. Their project focuses on intersections, journeys, and flights – both of people and birds – as Omsk is known as a “transfer point” for bird migrations. The educational component is also carefully considered, and the building itself is filled with light, which seems to deconstruct the copper circle of the central entrance portal, spreading it into fantastic hyper-spatial “slices”.
Faraday Grid
The project of the Omsk airport by ASADOV Architects is another concept among the 14 finalists of a recent competition. It is called “The Bridge” and is inspired by both the West Siberian Exhibition of 1911 and the Trans-Siberian Railway bridge over the Irtysh River, built in 1896. On one hand, it carries a steampunk vibe, while on the other, there’s almost a sense of nostalgia for the heyday of 1913. However, the concept offers two variants, the second one devoid of nostalgia but featuring a parabola.
Midway upon the Journey of Our Life
Recently, Tatlin Publishing House released a book entitled “Architect Sergey Oreshkin. Selected Projects”. This book is not just a traditional book of the architectural company’s achievements, but rather a monograph of a more personal nature. The book includes 43 buildings as well as a section with architectural drawings. In this article, we reflect on the book as a way to take stock of an architect’s accomplishments.
Inverted Fortress
This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.
Transformation of Annenkirche
For Annenkirche (St. Anna Lutheran Church in St. Petersburg), Sergey Kuznetsov and the Kamen bureau have prepared a project that relies on the principles of the Venice Charter: the building is not restored to a specific date, historical layers are preserved, and modern elements do not mimic the authentic ones. Let’s delve into the details of these solutions.
The Paradox of the Temporary
The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.
The Forum of Time
The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.
Mirrors Everywhere
The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.
The Steppe Is Full of Beauty and Freedom
The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.
The Snowstorm Fish
The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.
The Mirror of Your Soul
We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.
Part of the Ideal
In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.
The Fortress by the River
ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.
In the Rhombus Grid
Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.
​Generational Connection
Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.
Three Dimensions of the City
We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived
New “Flight”
Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.
The Yauza Towers
In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.