The council began its work with a very "frivolous" and even not quite architectural theme - the concept of flower decoration of the city. It would seem, what does this have to do with architecture? The most direct, assured Alexander Kuzmin, since this is included in the general layout of the city's improvement. Compared to previous years, the flower decoration will, firstly, be expanded at the expense of park areas. Secondly, “all-season landscapes” will be formed. Thirdly, the improvement will be designed with the expectation of the perception of disabled people. In the zone of monuments - here Alexander Kuzmin cited Tsaritsyno as an example - they have recently been trying to make flower decorations using old techniques, in pandanus architecture of past eras.
The planning solution of the Fourth Ring in the area of the intersection of Volgogradsky Prospekt with Lyublinskaya Street, Alexander Kuzmin reported with pride, very pleased with the innovative approach that allowed this section to unload, reduce the cost and speed up construction. The authors of the project proposed to create a new radius of Moscow, from 1st Dubrovskaya Street to the Moscow Ring Road, instead of a backup for Volgogradka, 70% of which is already in the existing streets. To do this, you will need to build an understudy not entirely, but only its section, a chord, from the fourth ring to Lyublinskaya Street. In general, the route of the fourth transport ring will run along an overpass from the Moskva River to Ryazansky Prospekt with two interchanges, at the intersection with the Volgogradka backup and with the avenue itself. Thus, Lyublinskaya Street, on which several districts "hang" at once - Maryino, Lyublino, etc., can be brought directly to the city center.
Alexander Kuzmin asked the authors of the project to link the construction time of the junction with the construction time of the Chevertoy Ring and Vladimir Resin supported the proposal.
The next was the project of the museum of vintage cars on Rogozhsky Val, developed by "Mosproekt-4". The existing automobile plant, the territory of which is bounded by Rogozhsky Val and Novorogozhskaya Street, according to Alexander Kuzmin, is wedged into the body of the residential area and does not use the full potential of this place. According to the project, a new museum and exhibition complex will be built here, with a club area, a conference hall, rooms for circles, restoration workshops, etc. The existing garage of the 1950s is preserved for the exhibition area. buildings, the facades of which are being restored, and the building itself is being built on with an extended horizontal volume along Novorogozhskaya Street.
The exposition is arranged according to the principle of the famous "shell" of the Guggenheim Museum Frank Lloyd Wright, in the form of a ramp, where it is supposed to place up to 500 exhibits. Parking, storage and restoration workshops are removed to the underground part.
On the site of the former automatic telephone exchange next to the museum, on Rogozhsky Val, a certain investor wants to build a hotel, which, according to Alexander Kuzmin, is good for this place, because the museum can acquire all-Russian importance, and, for example, children's excursion groups will be brought here. The Council did not like the fact that the hotel and the museum were connected by a low passage. Yuri Platonov advised the authors to change, "to make the alliance of the two structures more organic". Yuri Grigoriev considered that the transition should be removed.
Summarizing the opinions of the speakers, Vladimir Resin recalled that the museum is forced to be built with money from the budget, but if an investor suddenly appears, he will be very glad. Resin advised the authors to work on the architectural appearance: "While in the drawing we see a multi-storey parking garage, not a museum." As a result, the project was accepted as a concept, and the architecture of the museum will be reviewed again.
And again, a curious object - this time on Leninsky Prospekt, 19 - "reconstruction with demolition and new construction" of the Power Engineering Institute. G. M. Krzhizhanovsky. The authors of the project are Alexey Vorontsov's bureau. The main building of the Research Institute is a vivid example of Soviet constructivism built in 1928 and is an architectural monument. It is subject to restoration, and according to the law, there will be no new construction on the territory of the monument, as Valery Shevchuk recalled. Two other buildings of the Soviet era, No. 2 and No. 3, are being demolished, and a new building, eight-story, in the form of a plate parallel to the avenue, is being erected on the site of building 3 stretched along Malaya Kaluzhskaya Street. In the preserved building and the newly designed one, 70% are the premises of the research institute. Administrative offices will be located in a new building with a five-level underground parking.
The inflated volumes of the first version of the new building were criticized by the Moscow Heritage Committee. Valery Shevchuk recalled that the construction is being carried out not only next to the monument, but in general in the protected zone adjacent to the Neskuchny Garden, and may interfere with the “disclosure of species”. Questions were also raised by the arrangement of the underground space on the territory of the monument. In the second version, the overly bulky volume was cut in width and made equal to the height of the surrounding houses, so that, being pushed back into the site, it did not interfere with the perception of the institute's constructivist composition in the form of a "trident" with its main facade facing the avenue.
Vladimir Resin offered to approve the second option and support the institute, since it is already going to update the technical base. And Valery Shevchuk, who threatened the architects with the prosecutor's office for violations, the chairman of the council found it necessary to pull back, they say, “not a pike, but a crucian carp”, so there is nothing to frighten, just “we need to work so that the prosecutor’s office does not have any questions for you”.
The concept of development of the territory of the former plant "Moskvich", where the construction of a modern business district "Metropolia" of 1.5-2 million square meters is planned. squares, Alexander Kuzmin submitted to the council "for review." Reconversion covers an area of 134 hectares at the intersection of Volgogradsky Avenue, the Third Ring, Sharikopodshipnikovskaya and Melnikova Street. The master plan of the project is being developed by the Japanese company Nikken Sekkei. According to the concept, residential districts, a park zone and a business part - the most interesting in terms of architecture and the highest place in the development of the district - will be built here. It stretches from the Third Ring to the square near the Volgogradsky Prospekt metro station and represents a composition of an "explosion" or a flower, which has already been repeatedly used by Western architects, where the others "fly away" from the central high-rise dominant, gradually descending towards residential buildings and the neighboring shopping center. Initially, the investor claimed a maximum height of 364 meters (70 floors), which, according to the results of the landscape-visual analysis, was visible even from Red Square. Alexander Kuzmin strongly recommended that it be abandoned and asked that the authors be instructed to work in the area already regulated by landscape-visual analysis.
Vladimir Resin did not doubt the success of the project, recalling the materials presented on it at the last MIPIM.
Traditionally, the most difficult objects were placed at the end of the agenda. Many of them were re-examined, which was almost everywhere associated with construction in a historical setting.
We wrote about the project of the museum of the private collection of musical instruments (by Dmitry Alexandrov) some time ago. Until recently, this place was occupied by a certain barbecue, which many at the council remembered. And even earlier, the site belonged to the Orphanage, the main building of which, with outbuildings designed by Gilardi, is located up Solyanka Street. A small new museum appears on a busy corner of the block bounded by Solyanka, Ustinsky, Kitaygorodsky and Solyansky passages.
The private collection of Russian bronze and unique self-playing musical instruments is located mainly on an area of 4 thousand square meters. The basement part will house restoration workshops. The composition of the building is made up of two parts of different heights, united by a stylobate, which fixes the borders of the property and the "red lines" of the old buildings. The left side, 2-3 floors along Ustyinsky proezd, is the exhibition halls, the right 3-storey side along Solyanka is exhibition and administrative premises. The house fits neatly into the corner area allocated to it and has a rounded corner, from where the entrance is arranged.
The brevity in Alexander Kuzmin's report, which usually indicates his desire to help the project, did not deter some members of the council from criticism. In this project, Yuri Gnedovsky wanted to "calm down architecture, make it less multi-dark and tie it to historical monuments in scale." It seemed to Yuri Platonov that this modest building on the corner of a busy place did not quite accurately correspond to the situation. A similarly located house near the Church of Peter and Paul, for example, does not have an entrance at the turn, the entrance is through the inner territory, so “no need to fuss here, no need to create the feeling that this is the entrance to a store,” concluded Platonov. Mikhail Posokhin approved the very possibility of creating such a museum and the proposed volumes. But such a small building, in his opinion, does not require a solution in large forms, in the form of paired columns, for example. Posokhin advised "to make its architecture more consonant with the architecture of the street." According to Andrey Bokov, “this place is hardly a reason for emphasis. Rather, it should be a building that binds the disintegrated context. " According to Bokov, the “music of interiors” should have more value than the appearance until it is read. The museum, Bokov believes, is a special place, you need to enter it correctly, so he supports Platonov's idea of moving the entrance.
Having listened to everyone, Vladimir Resin summed up that those present still approved the project, albeit with some remarks. In his opinion, building such a museum "is a very good thing, especially since we will place our history in this museum …".
The only object around which passions flared up by the forces of heritage defenders (mainly Alexei Klimenko) was a project to recreate the external appearance of manor buildings of the 18th - 19th centuries. A. S. Saltykova-Polivanova on Bronnaya. The estate complex occupies a site bounded, in addition to Bronnaya, Sytinsky Lane and Tverskoy Boulevard. It is located in a protected area and, in general, according to Kuzmin, was made by Mosproekt-2 taking into account the recommendations of the Central Institute of Geology and Geology.
The idea of "full reconstruction of the historical appearance" involves the restoration and inclusion of existing buildings on the site in the overall structure. It consists of two 3-4-storey blocks: a hotel - apartments with a trade enterprise in a newly built building and an art school for disabled children in the existing one, which was previously occupied by the library named after A. N. Nekrasov.
Alexander Kuzmin did not talk about the project much - and at the moment when Vladimir Resin was already ready to approve it, an ardent defender of antiquity Alexei Klimenko appeared at the microphone. In a very emotional form, he tried to prove to the chairman that the project in this form was not ready and should be changed. The fact is that on Tverskaya Boulevard, the "estate" has a single extended facade with driveways, 2 floors, covered from above with a massive attic, so as not to lose another full-fledged floor. It was on this attic that Aleksey Klimenko took up arms, noticing that velux windows are allowed today only to the courtyard, but not to the street. He had a different kind of concern in connection with the neighboring estate, house no. 25 on Tverskoy Boulevard, where the Literary Institute is now located: “What will happen when this giant trough grows over it? Where is Mr. Shevchuk? " Valery Shevchuk appeared on the call and confirmed that Aleksey Klimenko with his velux windows was right. And in general, the chairman of the Moscow Heritage Committee assured that since this is a monument of federal significance, then all work must be carried out in accordance with the law.
Alexander Kuzmin stood up to defend the project, noting that the investor made significant concessions to the heritage guardians, abandoning the original idea of blocking the courtyard. Both Yuri Grigoriev and Viktor Logvinov were going to support the project, saying that such a trifle as velux is generally not worthy of discussion in such a high meeting, while he does not see gross mistakes here.
However, Alexei Klimenko's speech apparently had its effect on the chairman - Vladimir Resin doubted the attic, velux, and overconsolidation: “Overcrowding in the attic, I'm not an architect, but it seems to me that this is more suitable for Austrian and German cities … . As a result, the very idea of recreating the historical facades was approved, but the project was not accepted, advising to finalize it.
The latter discussed, or rather, unconditionally accepted, the project of the second stage of the media center on Ozerkovskaya embankment for the employees of the TV Center channel. Partially industrial area, bounded by the embankment, Ozerkovsky lane and Bol. Tatarskaya street, already in front of the "3 channel", which in the depths of this site has built the 1st stage of a modern hardware-studio complex. The site for the second part is vacant, it is planned to build a 13-15 storey rectangular building there. Alexander Kuzmin asked the advice to give the architects the go-ahead for the design of the facades and approve the proposed volumes, which did not raise any objections.
