По-русски

A Hard Luck Project

A story of a project based upon an equitable dialogue between a new building and the remodeled façade of a demolished tenement being able to maintain its right to sport the contemporary-style design in the new part of the building.

24 December 2015
Object
mainImg

The land site in question is located within the industrial park of the Petrograd Side, not far away from the old Tram Depot #3. Running in the vicinity of the Avstriyskaya ("Austrian") Square, the neat and tidy Mira Street turns at this point into something crumbly and incoherent: the remains of what historical buildings are left here neighbor on soviet-era panel "slabs" and structures of a purely utilitarian nature. Recently, such places become increasingly attractive to developers which manifests itself in the growing number of inclusions of modern architecture and even greater quantity of architectural proposals and concepts based upon this idea.

One of such proposals is the project of a residential complex prepared by the studio of Anatoliy Stolyarchuk and due to be implemented at the crossing of Mira and Kotovsky streets. The project had a fair share of hard luck: first of all, it was the necessity of demolishing (and subsequently restoring the facade of) the historical building designed by Dmitry Krzhyzhanovsky. And, although the old tenement was recognized to be a hazard building and all of the people living in it had long since moved into new apartments, the city preservation activists made repeated attempts to challenge in court the municipality's decision about demolishing it. Second of all, finding an understanding with the customer was also far from easy. 

Multiapartment building at Mira Street. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio
Multiapartment building at Mira Street. Project, 2014. Location plan © Anatoliy Stolyarchuk Architectural Studio


Multiapartment building at Mira Street. Project, 2014. Location plan © Anatoliy Stolyarchuk Architectural Studio


First about the project itself, though! The authors had a high-responsibility task of "tying in" the new building to the historical one - a humble specimen of Saint Petersburg's tenements with characteristic Art Nouveau features. In town planning terms, the architects were to visually fasten the corner of the crossroads - completely unstructured as yet - and give the amorphous housing a more regular character. The disappearance of the green yard opened up to the Kotovsky Street, will be made up for at the expense of taking down a two-story annex standing in the yard.

The project of Stolyarchuk studio included this recreated historical volume as a part of a balanced composition with an almost symmetrical plan in the shape of giant "double L" stretched hugely apart, this historical volume given the role of one of the risalits. The first floor will perform public functions, just as the two floors of the building along the Kotovsky Street. Higher up, the typical residential floors are situated. At a height of 23 meters, the wall stands out a little: this is where the sightseeing platform for the people living in the loft is situated (the cornice running at a height of 28 meters). Formed by the risalits, the compact yard has two passages in it: along the Mira Street and along the Kotovsky Street.

Multiapartment building at Mira Street. Project, 2014. © Anatoliy Stolyarchuk Architectural Studio


Multiapartment building at Mira Street. Plan of the 1st floor. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio


Multiapartment building at Mira Street. Plan of the typical floor. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio


While the construction plan is to a large extent conditioned by the shape of the land site, the choice of the style for the new building was open and was also the more challenging part because of its Art Nouveau facade. The idea of historical stylization - considering the increase in the scale and considering the overall changes in the composition - was pretty soon discarded by the authors to give way to the modern vocabulary, rather neutral, but still not altogether alien to Krzhizhanovsky's architecture. 

The building's main façade that towers three floors above the old cornice, looks at the Kotovsky Street with its austere gray surface dissected by a graphic pattern of punctured lines. The general symmetry of its axial composition is distracted by a protrusion of one of the side walls of the former tenement adjoining the building's firewall. This corner junction of the two side walls got a design solution based upon the contrast of simple geometric volumes, as well as their texture and color, which perfectly matches the key town-planning part that it is meant to play. Through the corner cutaway of its lateral entrance, the theme of the tenement continues over at the main façade. Considering it dimensions, increased in comparison with its historical neighbor, the authors looked to balance out the overall impression with neutral style and light color of the finish. The part of the main accents here is played by the central arch with a modernized lunette and a red-brick figure stanza uniting the two top floors. Their color and axial position match the central bay window in the Krzhizhanovsky's building. 

Multiapartment building at Mira Street. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio


Out of the multitude of the existing ways of interacting with the historical context out there, the authors of the project chose the way of, though respectful, equitable and open stylistic dialogue between the modern and the historical. However, it was the style of the building that became the stumbling block in the architects' relationship with the customer, in the result of which the project winning a silver award at "Arkhitekton-2013" was turned down by the customer who then invited a different company to design the project.

This was not how the story ended, however. The "alternative" project fell under hard criticism from the city council: the new designer tried to take the path that Stolyarchuk had originally discarded - meaning, he decorated the new buildings with eclectic "historicism" elements. Ultimately, the customer was forced to turn back to Anatoliy Stolyarchuk for compromise. At the end of the day, Stolyarchuk's studio got the commission for designing the facades and getting them approved in the Committee for City Planning and Architecture and the Committee on State Control, Use and Protection of Historical and Cultural Landmarks. 

Multiapartment building at Mira Street. Development drawing along the Kotovsky Street. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio


zooming
Multiapartment building at Mira Street. Development drawing along the Mira Street. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio


This story, in spite of its somewhat softened end, is rather sad, and, what's more upsetting, not quite unique. There are lots of cases out there when a customer, upon getting a concept from a renowned company with a long-standing reputation, hands that concept over for further elaboration (or, should we say "fed to the lions", not to put too fine a point on it) to a different company with a task to cut the costs as much as possible. Although in this particular case the situation is a little bit different, it still goes a long way to illustrate just how vulnerable the architect (and, ultimately, the end consumer) is in the face of the overall decline in the demand for high-quality architecture.

The economic crisis did things to the construction schedule but we will hope that the place where once the demolished historical ruin stood will ultimately get a new up-to-date complex keeping the memory of the place and at the same time matching today's standards of what urban environment must be like.
Multiapartment building at Mira Street. Plan of the loft. Project, 2014 © Anatoliy Stolyarchuk Architectural Studio


24 December 2015

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.