The exhibition is comparatively small - however, a comparison with the successful 2007, one must think, will now always loom on the horizon, forcing to admit the exposition is relatively small - but it is distinguished by its clarity and does not cloud the mind. Twenty-five years of new life have passed and a new one, with a degree of convention, let's say - independent, architecture, and twenty years of work - as stated in the release, joint work of the most notable architectural exhibition of the post-Soviet period, Arch of Moscow and the most informative professional magazine of the same period, Project Russia. It would be necessary to summarize, but instead it turns out only a light, not yet quite museum touch of nostalgia, such a quiet birthday - without toasts, without conclusions, and God forbid, without any bravura. And that's how it should be, probably.
The exhibition was arranged quite logically, with a beginning, an end, a middle and several pleasant branches. This year it looks more like a space for communication, which it has always been: there is absolutely no redundant information, the exposition is easy to pass in one day - unless, of course, you do not linger for conversations at each stand - in a word, an exhibition and a long-established professional "get-together" coexist quite harmoniously, nothing outweighs and everything seems to be in its usual places. Like a meeting of classmates. Everything is a little in the fog, but without ambiguity. Who we are, where we are from, where we are going: we gathered, looked and dispersed until next year.
As if sensing this lyrical mood, the architectural hero of the year, the Ostozhenka bureau arranged its exhibition in the hall of the second floor, where all routes converge and diverge - already the traditional display venue for the “architect of the year”, like a light, unobtrusive meeting-point. “This is the best place in the artist's house, and we tried not to spoil it, but to turn it into a place of communication,” says Alexander Skokan. The ribbons, suspended from the ceiling at different angles, form something like a grove at the edge; the pattern applied to them is torn and mixed, but from the three points marked on the floor, it folds like a jigsaw puzzle into three different images. The points are located, of course, not randomly, but on the main "paths": going up the stairs from the first floor, we see the letters of the name, leaving the commercial exposition of the second floor - the general plan of the Ostozhenka district, developed by the bureau at the beginning of its existence, but going down the stairs from on the third floor, the visitor will not be able to miss the workshop logo: Malevich's square, doubled and thus devoid of straightforwardness. “Ostozhenka” remains itself: the architects approached the exhibition in a city-planning way - finding themselves “in the very middle”, they understood the whole CHA in their own way, caught the lines of power, tied it into a loose knot, weaved the reflection of their own experience into the streams of visitors, - if you think about it, you start to imagine these lines, to draw traces in the mind - everyone will surely go through this simple and friendly structure through and through or tangentially more than once. In addition, the "meeting place" is also sensitive to the immediate context - the exhibition tapes fall into visual resonance with the entrance plates to the main part of the second floor - it seems that the architects of Ostozhenka simply cannot do otherwise.
The unobtrusiveness of the exposure, by the way, echoes the easy
the anniversary exhibition that the bureau showed in the spring in the basement of the Aptekarsky Prikaz - a large workshop, a small hall: over twenty-five years Ostozhenka has accumulated so many projects that it makes no sense to line them up and the architects limit themselves to a pattern into which the most important things are woven.
So here: as a tribute to the modern hobby for gadgets, icons appear on the ribbons - also a kind of reference points, pointing at which the phone (you first need to connect to wi-fi OSTARCH and download the OSTOZHENKA program), you can see volumetric models of nine main projects of the bureau - Ambassadorial House, LCD in Odintsovo, or two newly built buildings on Prechistenskaya embankment, which are clearly visible from the Crimean bridge on the way to Arch Moscow. Models are three-dimensional - you can twist them; but they are schematic - however, a high level of generalization fits into the light concept of the exhibition. “3D models are the essence of architecture,” Alexander Andreevich Skokan told me.- They are like children; small children are all beautiful, then life spoils them … Three-dimensional models are pure authorship, something for which the architect is fully responsible. What happens to the object further depends on many factors: the customer, the executors. So here we show 3D models as pure architecture. Indeed, the projects are drawn in their original form, the way they were conceived, for example, in the building on Trubnaya Square, an unfinished second phase is shown.
All of today's Arch Moscow is also built from retrospective to modern times, and also not very meticulously; as a memory, not an exploration. Gone popular in the 2000s is the image of the catalog and the textbook; there are also almost no architectural competitions - the theme, which has recently been the main and sonorous one, seems to have exhausted itself. As an echo of the recent improvement rampage - small but charming
competition of objects of new urban culture "2x2", organized by Archipeople and megabudka bureau - you need to look for its stand, it is in the far right corner of the Central House of Artists courtyard. The results of the second, we also admit - a small, recent competition for an object in front of the Atrium shopping mall on Kurskaya, are shown on the third floor.
Actually Arch Moscow - on the first floor of the Central House of Artists - begins with the archive, the exhibition "Museum of Contemporary Architecture", arranged by Bart Goldhorn in honor of the twentieth anniversary of the magazine "Project Russia" and at the same time Arch of Moscow. On the right - a selection of magazines allows you to feel the depth of time and remember how I read about something more than ten years ago - it must be, almost like now - for example, about Alexei Kozyr's airplane apartment, the bench from which is displayed here. In the center of the lobby there is a long table with objects of architects published in the magazine and participating in the Archcatalogue of the Arch of Moscow - from the Perestroika Tower in 1986 (Igor Pishchukevich, Totan Kuzembaev, Sergei Korobov) to the layout of the Berlin Museum of Drawing by Sergei Tchoban. There are lamps on the table, with them it turned out academically, almost like in some fundamental library. According to Bart Goldhorn's idea, little-known things were supposed to get into the exhibition, but not everyone responded, and many things turned out to be quite famous, such as the Half-Bridge of Hope of Timur Bashkaev or the Water Sports Palace of Sergey Kuznetsov. And Mikhail Belov exhibited drawings of several projects. In a word, the set turned out to be somewhat motley, the memories are somewhere random, as befits memories.
The present unfolded on the spacious third floor in the form of a joint exhibition project with the Moscow City Architecture Committee, combined with a forum - "Architectural Policy". The policy is divided into five topics: development of territories, industrial zones, panel housing construction, young bureaus under the brand Next! and an exhibition of architecture for children, which continued the theme of the last speech: magazine and is curated by its editor-in-chief Anna Martovitskaya (a program for children is planned there on Saturday, cite). The first and main part of "politics" shows large development projects: "Heart of the Capital" by Donstroy, the official partner of this exposition; VTB Arena Park, which is being built around the Dynamo stadium, is adjacent to the MFC in Rublevo-Arkhangelsk and blocks No. 75 and 82 of the SZAO, where KROST is engaged in "quarterly demolition and replacement of obsolete panel houses with modern residential buildings." Stopping here in front of a black-and-white model, Deputy Mayor for Construction Marat Khusnullin chided the owners of the stand: where are your beautiful buildings, why such a modest model? Presumably, in the near future we will see the blooming of layouts … Some place is occupied by DSK - according to Elena Gonzalez, who conducted her part of the excursion here for journalists, this is the most important topic, because: we all understand that affordable housing can only be like this, how panel construction is being transformed now is very important. And in the West, this topic is still very acute, in particular, the topic of what to do in already configured panel buildings, especially multi-storey buildings. Both, it is true, DSK is transformed: into exuberant colors without reducing the number of storeys. And the volumes seem to be growing.
However, if we recall the first attempt at the exhibition of the Moskomarkhitektura at Arch Moscow - then there was enough space for it and it had to be placed in the lobbies of the State Tretyakov Gallery, then the difference is enormous. Now the projects of the chief architect, and Sergei Kuznetsov himself, speak a different language and are perfectly integrated into Arch Moscow, have become a necessary part - many remember that this is the result of a rather long history, now we are seeing the result.
One of the most enjoyable exhibitions, according to Bart Goldhorn - the best, is the exhibition of young architects NEXT! Curator Elena Gonzalez selected for her first forty, and then eleven bureaus, which are allocated rather large plots on the third floor, right after the DSK. Young architects here are already quite famous, who have participated in the contests of the Next program of previous exhibitions, students of famous Moscow architects, permanent participants of the Archcatalogue. This, for example, is Yuri Grigoryan's student Ruben Arakelyan from the Wall bureau, who, as Elena Gonzalez promised, will become the curator of the Arch of Moscow non-profit programs next year. Or Aleksey Bavykin's student Grigory Guryanov from the Praktika bureau; Stepan Lipgart, as always, with an Art Deco façade; constantly present at Arch Moscow with Citizen Studio installations; bureau HBE, which has buried its projects, including those shown here last year, deep into an intriguing grid. The bureau is
Yalta Spotcamp, a camp dedicated to the study of parametric and digital architecture. Someone showed projects, someone limited themselves to installations - the Wall bureau for two months casted and "hollowed out" thin gypsum walls with supposedly random prints. All the stands, time consuming and not very laborious, have become installations here that make the space of the hall varied, meaningful and enjoyable. Next perceptibly echoes Bart Goldhorn's "archive" on the first floor, showing itself as the heir to the teachers.
The three main parts of the exhibition are also in tune with other projects on a slightly smaller scale. For example, Arch Moscow does not so much talk about public spaces as it itself is formed into a public space, which it always has been, only now it is more noticeable: projects are adjusted, happily obey this trend, starting from the “meeting place” of the Ostozhenka bureau, about which there was a lot it is said, and continuing with the Milanese installation of 2013 from the SPEECH bureau - two languages are lined up in front of the colonnade of the Central House of Artists for a reason, but form a gate through which everyone walking along the path from the Oktyabrskaya metro station pass. The SPEECH-a gate and the meeting-point of Ostozhenka end on the third floor with a narrow diagonal amphitheater brought by the Wowhaus bureau from
Berlin Architectural Gallery.
The amphitheater is not just like that: it hosts meetings and presentations, the most interesting is a round table dedicated to the life of animals in the city, which will take place tomorrow at 17:00. At Arch Moscow, as at any festival, there are always conference rooms, and now there are several of them, but amphitheaters are not always.
In resonance with the "archive" of Bart Goldhorn gets the project "Archigraphics", which has chosen a cozy dead-end hall on the second floor - a competition held now regularly by the site"
Archplatform”and its editor-in-chief Ekaterina Shalina. The winners will be announced and awarded at the PIN WIN ceremony on June 4th. The usual fairground magazine row on the balcony and the new book publishing hall on the second floor, where you come across very useful books, overlap with each other. And the end is put by the cinema, advertising the project of the London Architectural Association archizines.com, in turn, designed to support in our network time paper publications, from magazines to books.
A little apart in this symphony of roll calls is the project of the MARCH school, whose students, within the framework of the Problems of Urbanism module, explored the Moscow part of the Yauza River and its surroundings - however, it also responds to the project of arranging the Moskva River by Meganom Bureau, which won the competition (here it is, the only high-profile competition, which is generally talked about at Arch Moscow this year) and shown in the main hall on the third floor. The research of Yauza MARSH is called "Another River", catching the visitor with incomprehensibility: which river? what is the first? - oh well, yes, there is a second river in Moscow in size … And it is shown without details, with a plan, a group of diagrams and a beautiful fine installation, which you stumble over a little, because this is a gray-painted link of a famous typical fence, cut by a luminous track “second rivers ".
In a word, there is something to go to Arch Moscow for. The exhibition no longer encourages to read and study hard - there are other ways, but it's nice to hang out, remember, reflect - not even analyze, but sail on a nostalgic note. Even the archpolitics, despite the provocative name, are not encouraging, the projects shown are well known and are placed calmly. Some conversations, organized or not, drawings, watercolors, everything is so transparent, good, like in an autumn forest on a sunny Indian summer day, and only on the periphery of consciousness it looms that this park pavilion, designed by a young bureau for a small Moscow park, is already was built, and that one was canceled, because Sergey Kapkov's policy on arranging parks is likely to be replaced by another policy. But quiet, quiet, everything is fine.
