Archi.ru:
You have been working in the workshop since its inception. The history of the creation of "Ostozhenka" is well known, not to say - a textbook. This is the beginning - what did it mean to you personally?
Rais Baishev:
By the time we moved from state institutions to free navigation, conditions were ripe in the country for such private bureaus to arise. But by that time we already had serious work experience, and the new situation could in no way relieve us of our obligations to the profession. So little has changed for me. On the contrary, along with greater freedom, responsibility has also increased - in direct proportion to initiative. We started to work and the team formed. We can put it this way: we managed to transfer the most valuable thing from our past life to the Ostozhenka bureau, first of all, our commitment to team play. This still remains the greatest value for each of us.
Do you have any specialization within the bureau?
You know, this inevitably occurs wherever people work in a team. Someone claims to be able to do something better than the other, and this becomes his specialization, his label, his yoke, and over time begins to resent him - how can it be, because I am actually brighter, wider, richer! But architecture is such a profession that there are as many specializations of these as there are real architects. Look at the really big masters - how can you confuse their work? Never. These are manifestations of personality, and unique manifestations. It is very difficult to give up on this, and there is no need to give up at all.
And what is closer to you personally?
The fate of the GAP is that he is responsible for everything in the project. Therefore, it is both difficult and difficult, but also tempting … Any work consists of analysis and assembly. The wider you see all the prerequisites and components of the upcoming work, all the vectors that affect it, not only of a narrow professional sense, the more accurately a specific task is solved. And then really some preferences are involved, even better to say - sympathy. Someone likes to work with a plane, someone is carried away by the structures that arise in the process of work. I know my arsenal. I am interested in space, plasticity, interaction with context. What is the material for an architect? If a painter has a canvas and paints, a sculptor has a piece of clay or stone, then we have this space, that is, emptiness! I once wondered - what is my job? I am a space packer. I pack emptiness according to the laws of economics, in accordance with the rules and regulations, but above all according to the laws of harmony, which we were taught at the school of architecture …
And if we talk about the Ostozhenka bureau as a whole, does it have its own niche?
The genre of architecture that the Ostozhenka bureau deals with has long been established for us. Naturally, we strive to expand this framework, not to be hammered into a "niche", but we still know what is ours and what is not quite. For each of us, designing an individual residential building is much more difficult than a residential complex for two thousand apartments. One way or another, this is broadcast outside, and it is our orders that come to us - as a rule, large urban forms. Because what you have succeeded in, you are in captivity.
Is there a stage of work that you like more than others?
The most fascinating thing is when at the very beginning you find yourself face to face with the unknown. This is the moment when a person can forget about himself in front of the immensity of possible solutions. This stage - I even dream about it. And sometimes you catch yourself thinking: something has not been this feeling of weightlessness for a long time, this wonderful feeling when there is such a childish delight before a new game. And after the elusive moment of an intuitive decision, a long implementation begins.
Do you ever regret something - done or not done? Or look at an already implemented object and understand what should have been done wrong?
I think it's naive to think that something can be altered … In general, you always wait with trepidation for the moment between the end of construction and the almost inevitable start of distortions of the object in order to somehow explain to yourself what has been done and what has gone wrong. At this moment you realize something, yes. By the way, I had a chance to experience that the building I once built was demolished. With all the good that was in him, and with what did not happen. It took another function at this place - and demolished it. But I don't even feel sorry for you, you know. It is necessary, obviously, to treat this philosophically - such is the lesson of life. The further, the more temporary everything around becomes. If earlier things were done forever, now God forbid someone will be delayed with replacing the old phone, TV, car with new ones. And this also applies to architecture. Facades began to be replaced easily, like clothes, which was not conceived before. But, apparently, this should be taken as a sign of the times.
Surely in your practice as a GAP there were cases when you encountered some unforeseen obstacles and had to bypass them in some unconventional way …
What you are talking about was called "anecdote" in the old days. Not in today's understanding of an anecdote, but such a story from life, funny or even touching. One day my customer comes running with glowing eyes and says: "The top floor is selling so well, let's add one more!"
Or, for example, the famous story with a glass "pocket" in the fence of the terrace of the International Moscow Bank (now UniCredit)?
Well, yes, this is an anecdote in a good sense of the word. Parable. But this is no longer my story. And I know a lot of interesting people who will immediately tell you many anecdotes from their lives. And maybe from my …
Then I'll ask a more serious question - do you have a style preference in architecture?
A lot depends on what values are inherent in us initially, what we value from what preceded the current reality. For example, the 1920s, when our country was at the forefront of world architecture. We were lucky to learn from the masters who were creating a new picture of the world at that time. Imagine how many eras they went through to teach us something that the whole world appreciates, but the country did not appreciate! Thanks to the teachers, the dramatic history of Russian architecture became for me the strongest personal experience while still a student. And she determined, like any truth and revelation, priorities in life and profession.
Could you somehow articulate your creative principles?
They are probably still in the process of formation. Of course, there are certain beliefs, they are formed from our own practice and understanding of everything that we see around. It is very important for me that in the process of work something new arises. All that is being done is a search for something that has not yet been. At the same time, we strive not to make fashionable things. After all, what is fashionable? What is easily swallowed, copied, turns into mass. It is much more interesting if you manage to work at the level of typology of spaces, remembering that there is heaven, earth and God's light.
What else is fundamentally important for you in your work?
It is very important to build the right dialogue. First with the customer. Then with colleagues. Ultimately, a dialogue between the object and the context arises, and the object itself begins to dictate what it needs. And if the city “accepted” what was built, and the customer is ready to continue the dialogue on new topics, the work was a success. But in case of failure at any of these levels, there is no one to blame. Then you say: “I am the GAP here. Put it all on me."
Not scary?
Not scary, no. You know, architecture is a profession for the brave and the brave.
Thank you very much for this conversation. Of course, I would also like to ask what is on your table now, what are you doing at the moment …
Yes, the same. The same spaces and their packaging. Apparently, this is for life. At least I really hope.
