The site on which the new complex is being built is located between Nikolai Lyzlov's Yacht City and Gennady Movchan's Dynamo Water Stadium in the 1930s, which now functions as a yacht club. It was not easy to design anything given such a neighborhood. The water stadium is located at a distance and is closed by dense vegetation, so it had almost no impact on the new neighbor. The same cannot be said about the “City of Yachts”. The territory of the complex is adjacent to the house designed by Nikolai Lyzlov; one of the hotel buildings will be located across the street from it.
The future complex is almost two times lower than the “giant neighbor”, and he opposes the cold of glass and concrete of the latter with warm terracotta shades: light beige and brown. However, two hulls are stretched strictly parallel to the "City of Yachts" and are directed from the avenue to the bank of the reservoir at the same slight angle, forming a new street together with their famous neighbor. On the one hand, they repeat the direction set by the “City of Yachts”, and on the other, with the help of an extended volume, the new hotel complex is fenced off from its neighbor, building a solid wall between him and himself. In the same way, it is closed from Leningradka - two buildings are folded into a kind of pointed letter "G", shielding the inner territory and protecting it from "pressure from the city."
Inside, behind a linear "fence" made up of a hotel and office buildings, there is a coastal park, where two more buildings are supposed to be marked: a hotel and an apartment. In contrast to the rigid geometry of the outer blocks, they have a streamlined elliptical shape. These are “two different architectures,” says one of the heads of the ADM bureau, Andrei Romanov, “futuristic-hard on the outside, and soft,“natural-park”inside."
The difference between the "two architectures" is felt in everything - in the form of blocks, the design of facades, their rhythm, material, color. Thus, the facades of rectangular volumes are designed in a rigidly geometric manner. A series of thin projections form a restrained composition, vaguely reminiscent of piano keys - an association emphasized by the alternation of dark brown and light beige. If you look closely, the facades reveal an intrigue that was not quite obvious at first: they seem to consist of two drawings superimposed on each other - one light, the other dark, and both with different axes of symmetry. So the composition turns out to be almost symmetrical, but “almost”. For example, the entrance is shifted to the left, and the center of the composition of dark projections is shifted to the right.
The light parts of the rectangular blocks will be trimmed with pale-colored terracotta, and the dark ones - with terracotta baguettes, lattices made of thin multi-colored strips covering the glass surfaces behind them. Thus, the dark blocks of the facade become permeable, multi-colored and light - especially since in the upper part the shades gradually lighten, striving to dissolve against the background of the sky.
The inner ellipsoidal bodies, in contrast to the strict rectangular ones, look not only soft, sculpted and streamlined, but also more mobile and dynamic. The cases are set at an angle of 90 degrees to each other and have different shapes: one is more compact, the other is elongated in a thin line. Oval volumes not only grow out of the ground, but also detach from it - at least partially. The "nose" of one of the hulls is raised on the supports, the second is brought out by the console towards the adjacent ellipse.
Their shells are faced with stone in three light brown shades, which are applied to the rounded surface with small vertical strokes to minimize joint angles. Large windows embedded in this "stone stream" open the buildings into the surrounding space of the park and the reservoir, the windows change width and are grouped from the side of the reservoir, catching the most beautiful landscapes. The picture is enlivened by bright orange balconies, also facing away from the vantage point - to the reservoir. They add the final touch, adding an element of park fun to the "interior" part of the ensemble.
Thus, the entire complex is transformed into a smooth transition from an urban environment to a natural one, from rigid geometry to streamlined forms. In this way, he a little resembles his most noticeable decorative motif - the lattice of multi-colored terracotta baguettes (by the way, a detail that is not yet particularly familiar to Moscow). Because the contrast between "external" and "internal" architecture is not too harsh, but is built on semitones. The “two architectures” do not so much contradict as interact, which makes it possible to create a fairly calm transition from the city to the natural “oasis”.
