A family of skyscrapers walks along Bumazhny Proezd, swaying decorously - the first leaned slightly to the right, the second to the left, the third lower and denser, but with a playful "cap on one side", echoes the slope of the first. The three towers, designed by Vladimir Plotkin, unambiguously resemble a genre scene performed by a cubist artist of the strictest rules: everything is very abstract and at the same time understandable for a man of the XXI century, the first tower even has a “mouth” outlined in a red frame - maybe walking our heroes have a calm conversation with each other. The houses are placed on the thin "legs" of galleries, which further enhances the iconic resemblance to a walk.
It must be said that since the time of the fantastic Tatlin Tower, architects have rarely pampered Moscow with buildings tilted like the Leaning Tower of Pisa - "dancing houses" have not yet been for us. Vladimir Plotkin corrects this situation carefully but persistently. The slight slope of each tower is visually enhanced with the help of a graphic technique familiar to most people from collections of charades and riddles: verticals with an even greater angle of inclination are drawn along the facades, which greatly enhance the effect. The fact that the oblique lines of the "front" facades are parallel to each other slightly fascinates the eye, forcing them to believe for a while in a non-existent movement, and directly indicates the source of the reception - op-art, or art based on visual illusion.
If we argue following the usual logic of a modernist skyscraper, we will have to assume that in the same way, that is, the internal supports are inclined more than the outer walls - but, of course, this is not so. The linear technique does not correspond to the internal structure of buildings, but is superimposed on it, supporting, in essence, a slight heel of both towers. The same purpose is served by a different direction of inclination - the contrast enhances the angle and accentuates the dynamics of the lines, which at some point begin to seem not parallel, but diverging, revealing some kind of their own, consistent, but quite obviously special relationships that have developed among these skyscrapers not only with the law of gravity, but also with the direct perspective we are accustomed to.