The official address of the future residential complex is Khoroshevskoe shosse, vl. 38 ", but in fact the building site from Khoroshevka is quite remote. "Faces" are being built at the intersection of two streets named after aircraft designers - Mikoyan and Sukhoi, right behind the Megasport Ice Palace. The palace, as you know, has the shape of a propeller in plan, two slightly bent blades of which diverge from the central round core, and such "aerodynamics" affects the adjacent area in the most direct way. If the intersection was located a little further, and, probably, it would be possible to allocate a convenient rectangle of land for the construction of a residential complex, but the street routing does not know the subjunctive mood, so one of the sides of the potential rectangle turned out to be noticeably concave, significantly complicating the task for the designers.
According to Vladimir Plotkin, the developer, Capital Group, did not immediately contact his team about this project. At first, the residential complex was developed by the same Mosproekt-4 team as the Ice Palace. It was quite logical: who, if not the authors of "Megasport", should have known what house could become an ideal neighbor for the palace. But later the customer decided to invite other architects, and TPO Reserve became the author of the residential complex. “This project has become a challenge for us in every sense,” admits Plotkin. - Firstly, such a close proximity to the Palace - it obliged us to make a curtsy of respect in its direction, but we did not want to turn the house into a background structure. Secondly, of course, the very scale of the development of Khodynskoye Pole - gigantomania here has been pushed to the limit, and we understood that no matter how we feel about it, we will have to follow this trend."
The desire to create a complex, self-sufficient in its architecture and form, first prompted the authors of the project to design a system of quarters formed by houses of different storeys. Courtyards flowed into each other, forming a meander in the plan. Then there was a variant with free-standing volumes in the form of high-rise books, "opened" to the palace. In both cases, the volumes were placed on a single stylobate, which “moved out” towards the street. And only when the architects made the decision, on the contrary, to reorient the stylobate towards the inner passage and thereby increase the space between the palace and the living quarters, the composition acquired a finished look. However, even from the side of the street, the house is not placed directly along the red line: the authors nevertheless make a small indent in order to create a comfortable space in front of the outer facade, which expands with a green wedge as it approaches the intersection.
Following the concave side of the site, the three-storey stylobate acquires a pronounced plastic shape, which is echoed by the main living volume. In fact, the architects first put houses-plates on both streets (one might say, the trademark element of TPO "Reserve"), and then bend the larger one, giving it a distinct resemblance to an arc or a horseshoe in terms of plan. It is also important that the plates, although they stand on a common stylobate, are not connected to each other by any jumpers. Thus, the house is turned to the crossroads not by the seam of a giant acute angle, but by a vertical opening to the full height of the buildings. Due to the height of the stylobate in this "gap", of course, you will not see the palace, but the high-rise dominant itself, closing the perspectives of several directions at once, becomes more expressive and visually light. For the same purpose, by the way, the architects make two equally narrow and deep cuts in the arc itself, visually cutting it into three volumes. The smallest of them is comparable in width to the "plate", from which, by the way, it is farthest, the middle one is about twice as wide, and the widest, monolithic part fits the "gorge". The architects make certain deformations horizontally: approximately in the middle (taking into account the stylobate), the long body is divided into two parts, and the upper one is slightly shifted towards the intersection, so that a small console appears on the elongated end there, and, on the contrary, the end acquires expressive "step". There are consoles in the inner cutouts, which, supporting a given tectonic theme, were used by architects to create small balconies.
Long, large-scale facades are one of the favorite themes of Vladimir Plotkin's team, and this house was no exception. For the long facades of the arched building, a fractal "ladder" pattern was used, in which horizontal and vertical bridges are built into steps. The drawing is quite simple, but at the same time not monotonous - it well emphasizes the plasticity of a curved house and creates an interesting optical effect when moving past it (on foot or by car). In the “plate” body, the architects also applied it, but only at the end, while the lower half of the volume is drawn with more laconic horizontals. The ends are solved differently. Here the architects did not deny themselves the pleasure of using blank surfaces, which they alternate with the same branded "ladder", and simply with large-scale glazing, forming expressive verticals, clearly visible from afar.
The three-level stylobate also has its own face. And if the monotony of the facade of the main volume is compensated by a rather small drawing, then here, taking into account the social function, the stake, on the contrary, is made on a large scale. The architects enrich the plastic arc with such pseudopilons, which are set at an angle to the main volume. In fact, this is a purely facade solution, emphasizes Vladimir Plotkin: some of these elements are supposed to be glazed and turned into shop windows, others will be used to place advertising structures. Similarly, in the form of spectacular triangular niches, the entrance areas are also decorated, which, due to their shape, seem to draw visitors inside.
The high triangular "clearings" invented by TPO "Reserve" help the building very accurately fall into the scale of Khodynka: for pedestrians they continue and at the same time "humanize" the gigantomania of the field, notable buildings in this area of Moscow.
