Avant-garde Design

Avant-garde Design
Avant-garde Design

Video: Avant-garde Design

Video: Avant-garde Design
Video: Советский авангард за 10 минут | Soviet Avant-garde Design 2024, March
Anonim

Budva, a small town on the shores of the Adriatic Sea, is one of the most famous resorts in Montenegro. Like many coastal cities, it is located in a wide arcuate bay between two sharp peninsula-like capes protruding into the sea. One of them, the western one, is entirely occupied by the historical center of the city - a fortress of the 15th century. The fortress has narrow streets, stone houses, tiled roofs, as well as a 7th century cathedral with a 19th century bell tower. The second cape-peninsula, which encloses the city on the eastern side, is almost completely opposite to the first - it is mountainous, covered with forest and almost completely wild. On rocky beaches you can find Papuan umbrellas made of dried leaves, cold streams of springs and even caves. Above all this, it is planned to build a new and modern part of the city: a quarter of townhouses, a tower house with municipal apartments, a hotel and a casino. The customer of the construction, the Russian company "Slav-Inn", held a closed architectural competition for this, one of the conditions of which was that the new residential tower, having outdone the bell tower of the fortress, became a new symbol of the city.

Taking part in this competition, Nikolay Lyzlov proposed two options for the architectural design of the quarter. Their planning structures are similar: the western half of the cape-peninsula is being built up, in its northern part there are townhouses, in the southern part of the hotel and a casino, in the center between them a 30-storey tower rises - so high for Budva that I want to use it as a sea lighthouse (by the way, this is not excluded). A tunnel with access to the sea was planned under the tower, and a helipad on its roof.

The difference between the options is formal and stylistic: according to the architect's own expression, one of them is “rigid orthogonal”, the other is “flexible and soft”.

The first option brings to mind the "dynamic cubist compositions", wooden exhibition pavilions and other experiments of the Russian avant-garde of the 1920s. up to the project of the tower of the III International. A 30-storey tower on straight iron legs makes a step towards the sea - almost like Mukhinsky's "Worker and Collective Farm Woman". Two consoles - one long and flat at the bottom and the other that grows like an extension of the walking "leg" at the top of the house - suggest the diving experience that the Soviet 1920s loved so much. Although in this case they, of course, serve as viewing platforms. The directions of the two main supports - "walking legs" - find a response in the thin lines of the lattice, which surrounds a gigantic structure on all sides like scaffolding, visibly showing the structure of the idea. This tower looks best in a wooden layout - the frame of intersecting thin supports shows the logic of internal movement and makes you admire the three-dimensional and transparent geometric structure.

Townhouses in this version are partially dug into the ground and are squarely molded around the highest northern hill, creating a semblance of a stepped tower - a Babylonian ziggurat. For Soviet people, a ziggurat is, first of all, a mausoleum; by the way, in this form, not only was Lenin's mausoleum built, but also the tomb of Sverdlov was designed. Therefore, the stepped houses most of all - especially on a wooden model - resemble a mausoleum, and the tower - a high tribune with it. Although the scale is, of course, much larger. But we must admit that the created image is frankly unusual and new in the series of modern "tower" construction - despite the fact that its historical "tie" is more than obvious.

In the second version, there are no “caves”, but the houses are on the contrary, raised high above the ground and put on needle supports piercing them through and through. Here, the frame no longer resembles the wooden structures of the 1920s, and more resembles a huge reinforced concrete reed. It is seated in a dense sheaf around the core of the tower and bears open glass half-rings with apartments. A different movement is felt here, similar to a fantastic mechanism - as if the landed cosmic cylinder began to smoothly unfold, exposing the internal structures.

And yet, in two so different versions, a common sub-base is read - a "lattice", the lines of which either diverge or intersect, forming rhombic interweaving. The lines of this grid are not limited to their traditionally assigned role of load-bearing supports and do not end at the base of the supported volumes. On the contrary, they either surround buildings like scaffolding, or they penetrate them through, sprouting through the roofs. Thus presenting to us for review some translucent pre-construction, similar to theatrical mechanisms in Meyerhold's productions.

In these projects, you can read a lot of thoughts and analogies, they even seem oversaturated with experimentation. But there is little glamor in them. Which, perhaps, did not allow them to win the competition. But it formed an interesting experiment, consonant with the works of the above-mentioned avant-garde masters.

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