The new monograph, dedicated to Vladimir Plotkin, covers the last three years of creativity of the architect and the TPO "Reserve" headed by him. And if for most of the professional community this period became a serious test of strength, then TPO "Reserve", on the contrary, lived it as fruitfully as possible. In 2008-2011, Vladimir Plotkin and his team completed the construction of Fusion_park, the Citydel and Vremena Goda complexes, the Arbitration Court building and the Aeroflot headquarters, participated in major competitions and numerous tenders, published two books, and the last "Arch Moscow" presented a personal exposition "Architect of the Year". In total, the monograph includes 27 projects and buildings - from the most intimate, for example, "The Rafet", made in 2009 for "Archstoyanie", and the Yachtsman's House, to large-scale urban planning concepts.
A separate section of the book is devoted to the already mentioned exhibition, which took place within the framework of the Arch of Moscow; there is also an interview with an architect, which is traditional for the Tatlin editions of Mono, and a review article devoted to projects of recent years. In an interview with Tatlin's correspondent (who, for some unknown reason, remained unnamed), Vladimir Plotkin not only talks about his creative method and recent works, but also very fascinatingly talks about modern architecture in general, those models that are most in demand today, and forms, which are transformed along with the architect's worldview. One of the most obvious trends in recent years, Plotkin calls the dramatically increased number of tenders, during which developers are trying to squeeze out the maximum number of square meters from the designers. This is also understandable from the acquaintance with the portfolio of TPO "Reserve" presented in the monograph: among the projects developed in 2008-2011, high-density complexes prevail, be it offices, housing or multifunctional complex. However, Vladimir Plotkin is undoubtedly one of those few architects who are not afraid of overstated customer requirements and are able to cope with even the most outrageous footage. An example of this is the project of a residential complex on Moskovsky Prospekt in St. Petersburg, and the competitive project for the Savvinskaya Embankment, and the development of the territory of the Karacharovsky Mechanical Plant on Ryazansky Prospekt in Moscow. At the same time, Plotkin is sure that he and his colleagues do not build for centuries and that, moreover, such longevity is not required from modern architecture: today buildings are designed for 50-100 years, and such "instability of form" ideally corresponds to the principle of sustainable development: the building is actively used, the beautiful pays off, and then you can do anything with it, including turning it into another energy.
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zooming 1/7 Photo by Alena Svetlova
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zooming 6/7 Photo by Alena Svetlova
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The possibility of transformation - whether during the operation of the object or after - is generally one of the main qualities of Plotkin's architecture, and within the framework of the presentation of the new monograph, the protagonist of the evening fully demonstrated this with the example of his new work. In general, Tatlin ordered him a visor or a bench, well, that is, something that could later be donated to the plant, not so long ago turned into an art space, and used for the benefit of the public, but Plotkin decided to make a tribune. “In order to come up with an interesting visor, you need to have a good idea of the building and its real needs, and just have more time in stock, so I immediately focused on the interior object,” says the architect himself.“The bench thematically suited the presentation format well, but it seemed strange to me to limit myself to one bench with the expected number of guests, so I wanted to come up with an object that would become the center of attraction for the event, and then could be transformed into something else.” So the idea of a tribune was born, from which Vladimir Plotkin and his publishers presented a new book to the public.
From Arch-Skin ceramics, according to Plotkin's sketches, two square window frames, black and white, were made, each of which stands on a square leg. If you put them together, you get three squares (the top two are just intended for performances), and if you turn them on their side, then each element individually can be used as a bench with a comfortable table. During the presentation, the object fulfilled both purposes: first, the main characters of the evening, Vladimir Plotkin and colleagues, who came to congratulate him on the new book, appeared on the TV sets, and then, sitting on one of the benches, the architect signed copies of the monograph for everyone.
