The competition for the development of the concept of the Russian cultural and educational center in the Butovo-Park microdistrict started in February 2014. At the end of March, the composition of the shortlist of the competition became known: 15 bureaus from Russia, Slovenia, Finland, Spain and Switzerland were included in it, but only 12 of them reached the finish line.
The winner of the competition was announced at a press conference on May 29. It was the Megabudka bureau, whose project "Dacha in the Yard" was almost unanimously recognized by the jury as the best (six out of eight jury members gave it first place). The representative of the customer of the competition, President of the Morton Group of Companies Alexander Ruchev said at a press conference that the company plans to implement the winning project, estimating the cost of its implementation at 180 million rubles. He also said that two other concepts, which many members of the jury liked - the project of the workshop of Totan Kuzembaev and the studio of MEL - will be "proposed for implementation in the regions of Russia." Thus, these two projects were also among the favorites of the jury.
The winner of the popular vote, held on the Internet and at the stand at the ARCH Moscow 2014 exhibition, was the project of the tandem bureau ENOTA + Arhimetrics from Slovenia. We present the works of the winner of the competition and other participants in the short-list of the architectural competition. The organizer of the competition is the Morton Group of Companies, the curator is the architect Ilya Mukosey, the coordination is the Communication Rules agency.
Winner of competition
Megabudka / Dacha in the yard
According to the authors of the project, the Russian character is most clearly expressed in such a purely national concept as dacha (there is no analogue of this word in other languages, it can be translated exclusively as "dacha"). At the same time, the rhythm of life in the megalopolis and hours of traffic jams make cherished trips to the dacha less and less accessible for residents of the capital. Therefore, the logical solution to the problem was the transfer of all traditional dacha objects and functions to the territory of the cultural center in one of the districts of Moscow.
So, the "summer cottage", that is, the territory of the complex, consists of several zones and modular objects, each of which has its own specific function. Like any other suburban area, the complex is surrounded by a fence on which you can write declarations of love or smart thoughts. The inscriptions can be regularly updated - once a month the fence will be completely repainted. Passing through a regular alley, the visitor finds himself directly on the summer cottage area with an apple orchard, a "front garden" (an area with security, flower beds and benches) and a "barn" - a block with storage cells and points for renting bicycles and rollers.
All other summer cottages are very close to each other, or even completely connected into one building. Thus, the complex is a single building with protruding volumes, in which various “dacha” functional zones are located. So, in the "main house" and "veranda" there are large and small auditoriums, respectively, and in the "attic" there is also a chamber hall for 50 people. There is also a "cellar" with shops and a souvenir shop, a "summer kitchen" with a buffet and a non-alcoholic bar, a "bathhouse" - a small sports complex and a SPA center, an "apiary" - a place for quiet creative activities and a "garage" - a zone of "loud »Workshops with rehearsal rooms and even a flyover for those who like to tinker with their car.
In the courtyard there is a "tree house" with a mini-hotel for 3 rooms, a greenhouse, a gazebo, a sandbox and, of course, an outdoor toilet as an obligatory attribute of any site.
Jury on the winning project
Sergey Kuznetsov called the possibility of building up elements and the ability of the Megabudka bureau to transform as a "pleasant bonus". Alexander Skokan noted the flexibility of the project structure. According to the historian Felix Razumovsky, this proposal is generally the only one that meets the stated goal of the competition to create a Russian image of the 21st century. Evgeny Ass suggested changing the name “dacha” to “Russian village”, also praising the possibility of various combinations and interpretations of its constituent elements. Alexander Asadov described the project as "tenacious", "touching and humane", seeing in it "a sense of the historical layer of this place, a feeling that many generations have lived and worked on this land, which is so lacking in new neighborhoods." However, Asadov recommended reducing the number of elements of the complex, while increasing their dimensions. Bart Goldhoorn was more critical of the project, noting that it had a lot of fences and drawing the customer's attention to the fact that it would not be easy to maintain.
Favorite of the jury
Totan Kuzembaev's workshop
The Cultural Center consists of four independent buildings: a sports building, a building with auditoriums for circles, a building with various auditoriums, and a building with exhibition halls, a media library, and a buffet. All four volumes are united at the level of the 2nd floor by a glass gallery that forms a circular space in the center. In addition to this main and main public space, each building also has separate open courtyards.
As a figurative component of the project, the authors used the Russian avant-garde of the 1920s, constructivism and Suprematism, which cannot be overlooked when looking at the functional diagram of the complex plan. Another characteristic feature was the use of the idea of "folk crafts" and "folk art", expressed in the project as follows: each resident of the microdistrict in which the Center will be located can bring the remnants of building and finishing materials after the repair of their apartments for finishing the facades of the Central Exhibition Hall and even accept directly involved in the decoration. According to the authors of the project, the result should be "a motley patchwork of associations and images associated with Russian art and architecture."
Favorite of the jury
MEL
The Cultural Center complex consists of several volumes located in a limited area. That is, the composition of the site follows the principle underlying the structure of Russian settlements, monasteries and kremlin. The street space of the Center should become the main attraction for the residents of the micro-district. The semantic center of the project is the “courtyard” square located below ground level.
As conceived by the authors, the Cultural Center should become as neutral as possible in relation to the environment and serve only as a background for the exhibits and events located in it. Therefore, the project deliberately did not use literal references to elements of the cultural layer: ornaments, decor, fonts. The facades are clad in light-colored concrete panels that resemble the gray wooden surfaces of the Russian north. The shape of the facades and pitched roofs refers to the archetypes and shape of the traditional Russian dwelling.
Another distinctive feature of the project is the maximum flexibility and mobility of functional areas and separate premises of the Center. These rooms can be connected to each other, and also combined, if necessary, into a single space.
Popular vote winner
Enota + Archimetrics
Globalization makes the issue of identifying the Russian character in architecture today a very, very difficult task. The authors examined 5 factors that, in their opinion, affect modern Russian architecture: lifestyle, climate, natural landscape, social interaction and architectural culture.
More than 70% of the country's population lives in cities in multi-storey buildings, while maintaining a strong mental connection with the countryside. Driving out of town on weekends is fraught with a number of challenges, including the time spent in traffic jams on the way to your summer cottage. Therefore, it was decided to develop public spaces within the center that would take the best of the urban and rural worlds: spacious rooms flooded with sunlight in constant contact with nature, while allowing them to lead an active social and cultural life. The main public space is the open amphitheater, which continues inside the premises. The natural landscape characteristic of our area is manifested in thin irregular pillars along the facade, reminiscent of a birch forest, and a green roof of the building.
The architectural culture is expressed in the project, on the one hand, by its connection with the constructivist past (a simple rectangular volume of the building), on the other hand, by the parametric future, the main expression of which is again an amphitheater of a natural form.
Other projects of shortlisted participants
Field-design
The cultural center consists of two long (more than 70 meters) volumes. The main one includes all the main premises of the center: a museum, a concert hall, classrooms, a sports hall and a gym. The authors call the second volume "communication and technological" - there are stairs, elevators, mezzanines and a ramp. Between the two parts of the building there is an “inner street” - a space covered with a glass roof, which serves as a transit and connects the two entrance areas of the Center.
For the "Russian" in the image of the Cultural Center is the onion-helmet-shaped main facade of the main volume, which suddenly becomes geometrically stepped on the back side of the building. This "transformation" is provided by arches of variable configuration, which are then covered with a metal shell. Another element of Russian culture designed to complement the image of the Center is Cyrillic letters formed into an ornament that covers the facade of the communication block and penetrates the interior of the building.
Workshop-TAF
The authors of this project relied on simplicity and clarity as the characteristic features of the Russian mentality. The structure of the building is actually quite clear, although both the layout and the volume of the building, at first glance, do not look "simple" at all. The main part of the Center is made up of a gable hangar that hides a large communication hall, multipurpose and gym, exhibition spaces. On this main volume, colored annexes are planted, in which there are three auditoriums and a sports hall. Such a chaotic nature of the layout, according to the authors, gives the structure an "affordable and attractive democratic look."
In the Cultural Center, it is proposed to use a variety of materials, while maximizing their natural texture and color. The leitmotif of the entire project - simplicity - is reflected in the solution to the improvement of the territory of the Center: there are no traditional small architectural forms or excessive landscaping, but there is a wooden and stone covering for sports and other activities.
The result is an economical and easy-to-implement project, which does not exclude the use of the most modern technologies.
OFIS
The authors of the project were inspired by the projects of Konstantin Melnikov and patterns for textiles of the 1920s, by Popova and Stepanova, and developed a geometric ornament, which formed the basis for the planning, volumetric and compositional solution of the Cultural Center complex.
The main volume of the Center is made up of two buildings connected by a kind of isthmus. The structure based on hexagons allows you to create both spacious large spaces and small circle rooms inside. In addition, this structure helps to achieve greater functional flexibility.
AB-Studio
What do the residents of houses located near the future Cultural Center want to see from their windows? This question was asked by the authors of the project before starting work, and when they tried to answer it, they realized that … nothing. But better, nevertheless, is a landscape environment: a pine forest, an oak grove or a lawn with shrubs, at worst. Hence the idea was born to bury the Center underground, but not completely, which would entail a significant rise in the cost of construction, but only partially.
As a result, we got the Center, which is a hill cut by a hollow and surrounded on all sides by a pine forest. The hollow is the main public space and a kind of axis of the composition, from here are also the entrances to the underground part of the building. The hill is crowned with a golden translucent dome made of glass plowshares. Under the dome is the lobby of the second floor, from which you can go down by stairs or by elevator.
The main volume of the building, located under the hill (deepened 2 meters from the ground level) is divided into three functional zones: northern - sports; south - the cultural center and conference hall and the central domed space, open around the clock.
Kubota & Bachmann
According to Kubota & Bachmann, the Cultural Center should look like a simple rectangular volume that does not compete in size or complexity of composition with the neighboring residential buildings. This shape will not only provide high environmental performance and reduce energy consumption, but will also help reduce construction costs.
The triangles that form the facade of the building are traditional elements of Russian culture and architecture reworked in a modern way, "spied" by architects in ornaments, triangular pediments, keeled zakomars and even female kokoshniks. Opaque triangles are concrete panels with a triangular ornamental decor.
The area around the building is an orthogonal grid, in each cell of which there will be different types of vegetation: lawn, low grasses, shrubs, garden and vegetable garden.
Mosin and partners
The project of the Cultural Center is composed of three main elements: a shell, internal functional volumes and a pak surrounding the building.
The inspiration for the design of the shell was the white fortress walls and traditional Russian lace, the drawing of which was transferred to the facades of the Center with a direct quote.
The internal structure is clearly delineated functional areas, united by a communication area. At the same time, due to the arrangement of independent volumes, inside a common shell, and separate inputs for each functional block, the possibility of the most independent operation of various parts of the building is created. This structure also reflects other principles of architecture, noted by the authors as traditionally Russian: internal complexity with external simplicity; the presence of a trading or cathedral square as a place of communication; planning structure of a monastery or a manor - within clear boundaries, volumes saturated with functions are formed.
In the project, the surrounding park also plays a significant role in shaping the image of the Cultural Center. According to the authors, a well-maintained green area will attract local residents year-round.
Alexey Kozyr's workshop
What really reflects the Russian character? The authors of the project answer this question with the words of Nikolai Berdyaev: "Russians always have a thirst for a different life, for a different world, there is always an inner dissatisfaction with what they have." Therefore, the compositional and ideological center of the Cultural Center is a crystal-like dome, under which a botanical garden with exotic plants and butterflies is located. The dome stands on a laconic stylobate, which is cut through by a wide ramp leading to the courtyard in the basement of the Center. The stylobate thus resembles the letter P.
Along the western and eastern façades, birch alleys are provided, in which the sculptures "Tree" are placed. The authors propose to place fountains in front of the main facade and in the courtyard. Solar panels will be located on the roof of the building, providing energy for the botanical garden.
ALA Architects
The inspiration for the authors of this work was, firstly, the films of Andrei Tarkovsky: it is as if two realities are being created in the project: external outside life and life inside and around the Cultural Center; and, secondly, the traditionally strong (brilliant) chess school in Russia. The Russian character in the understanding of the authors is intelligent, mysterious, gloomy and melancholic.
The territory is designed in accordance with the general style of the Cultural Center - the alternation of dark and light rectangular plates on the site, which go into the terraces of the building itself. In the plan, the Center is a square, inside of which a sports hall, a large concert hall and several smaller auditoriums are freely located. The rest of the space is divided into functional areas rather conditionally and can be used in accordance with current needs.
*** The works of the contestants were evaluated by:
- Alexander Asadov, Corresponding Member of the International Academy of Architecture, the Russian Academy of Architecture and Construction Sciences, Advisor to the Russian Academy of Architecture and Construction Sciences, A. Asadov's Architectural Workshop;
- Evgeny Ass, architect and artist, founder and rector of the MARCH architectural school;
- Anna Bronovitskaya, specialist in architecture and urban planning of the Soviet period, candidate of art history, associate professor of Moscow Architectural Institute;
- Bart Goldhoorn, curator of the Architectural Biennale and Exhibition ARCH Moscow, Dutch architect, architectural critic, founder and publisher of the magazines PROJECT Russia, PROJECT Baltic and PROJECT international;
- Sergey Kuznetsov, chief architect of Moscow;
- Felix Razumovsky, Russian historian, writer, TV presenter, member of the International Union of Journalists, author and host of the series of programs "Who are we?" on the Kultura TV channel;
- Alexander Ruchev, President of the Morton Group of Companies;
- Alexander Skokan, Corresponding Member of the Russian Academy of Architecture and Construction Sciences, Director of the Ostozhenka Architectural Bureau.
