I walk here and feel like in Shenzhen, '' Andrey Asadov, one of the curators of Architecture 2016, told me at Trekhgorka yesterday. Indeed, the experiment with the transfer of the experience of the Shanghai Biennale, held on the territories of semi-abandoned industrial zones in order to attract attention to them and thereby accelerate their reconstruction and direct it in the right direction, seems to have been a success in Moscow. The All-Russian Festival Zodchestvo, which has been criticized by many over the past twenty years, but no one could seriously reform, has changed in substance and, more importantly, emotionally. Walking through its halls is exciting and curious. This is how I recall the now popular Chinese hieroglyph "crisis", which consists of danger and opportunity - in this case, although the crisis dragged on, it helped. The festival, traditionally held in the pompous Manege, then ousted into - no less, however, pretentious - Gostiny Dvor, this year, thanks to the efforts of the Asadov brothers, takes place in the Trekhgornaya Manufactory, which has already been mastered by creative offices, but is planning a serious reconstruction according to the project of Narine Tyutcheva. whose project is large enough, but fits within the framework of regeneration and is recognized by the Arkhnadzor itself. Previously, Trekhgorka did not hold large-scale cultural events within its walls, but this year in August it invited the Biennale of Contemporary Art, then, in its footsteps, Zodchestvo.
Entering the territory of Trekhgorka from Rochdelskaya Street, you notice under your feet a row of Zodstvo logos painted on the asphalt, turned into navigation arrows - the idea of Nikita Asadov. Following the arrows, it is easy to find both buildings of the main platforms. Although I liked it better in the fifth, first you have to go to building 24 - there, at the entrance, you will be met and presented with a brochure with a list of events - and there are more than two hundred of them and they are held simultaneously in conference rooms and halls arranged inside the buildings in many. Zodchestvo had meetings and presentations before, but now the business program has turned it into a kind of MUF, although perhaps not so solid, which is for the best - you can stay here for days, moving from one conference cubicle to another.
In addition, building 24 is warm and has a wardrobe. The official part of Zodchestvo is located here, and here is its main platform - "Forum". The stands of regions and companies are collected here. First, we are greeted by Moscow, fully represented by the story of the reconstruction of ZIL, and the Moscow region, which has turned its representation into a small amphitheater on the scale of an antique geronticon or booleuterium.
In the same building - from the entrance to the left - there are stands of buildings claiming for the Golden Diplomas of the festival and for the Crystal Daedalus. There are eight of them:
- Museum-Reserve "Kulikovo Field" by Sergei Gnedovsky,
- RC "Smolny Park" Bureau Zemtsov and Kondiain,
- MFC "Good!" at Polezhaevskaya IQ Studio, which some time ago won the competition of the Architectural Council and is now built,
- restoration of the railway station Rybinsk passenger OJSC "Kostromaproekt",
- Dawn * Loft Studio "DNAag bureau,
- Manor_Ostrov Bureau Plan_B,
- Tomsk Museum of Science and Technology Nikita Yavein,
- and houses for young families of Maxim Lyubetsky.
In addition to the exhibition of applicants, stands of regions, manufacturers and architectural firms alternate in the warm pavilion. MAO shows an ironic project of building up the Voronikhin's Kazan Cathedral by the Parliamentary Center. Yuri Shcherbinin's Krasnodar workshop - options for building up the city with large buildings of varying degrees of modernity instead of the former village houses, which still create a village belt between the historical and modernist parts of the city, wonderful, but famous for traffic jams. South of Russia, I must say, is represented abundantly: the Voronezh stand shows projects of participants of its own regional"
Architecture VRN”. His awards are given in December. Yekaterinburg's stand with "Best Practices 2015-2016" exists in two versions: an exhibition and a catalog printed by Eduard Kubensky's Tatlin publishing house specifically for the festival's exposition. Yekaterinburg with the Iset tower of Werner Zobek, an engineer and architect - where the climate can be controlled from a mobile phone, the Boris Bernasconi Yeltsin Center - with many light paintings on media facades, the not yet fully completed tower of the Russian Copper Company and the Hermitage center - The Urals, accompanied by many texts, Yekaterinburg appears to be a very dynamic city. However, a catalog was also published for the Moscow exposition of ZIL, its authors Anatoly Belov and Arina Levitskaya - it looks like exhibition books are becoming a good form.
The fifth building is cold and romantic. You could say youth, if many of the curators were not over forty. But there is a lot of student work, the results of workshops and summer schools. Curatorial expositions, many of which were conceived by us
told during the last month and a half, housed on three floors. The schemes of each floor suggested by the curators are very useful: many take pictures of them, although the schemes are on the festival website and here. Schemes are also needed because it was not possible to sign all the expositions in a uniform way - everything changed, as far as I was able to understand, until the last moment - and therefore it is sometimes difficult to figure out what is what and who is showing what. What can be seen as a plus: it is interesting to wander through the halls just like that, without making out the roads. Best of all, the exhibition of the author of the reconstruction of Trekhgorka Narine Tyutcheva - on the ground floor, entrance on the right - got into the romantic mood. From the former factory back streets, an excellent labyrinth has turned out, where all the doorways are broken, and some of the round holes left over from pipes of different diameters turn the space into a kind of Swiss cheese. Here, in the dark, a luminous model of the reconstruction is exhibited, and going further one can find several velvet Soviet flags and a portrait of Dzerzhinsky … At the entrance and exit he meets a chintz hypostyle with a history of production on the walls.
The second most charming hall, with mirrored walls - the mirrors were inherited from the Sovrisk Biennale - was given to the catalog of the competition, and I must say that the projects shown here are very lucky, they are very comfortable to watch, moving between the rows of "linen" hanging tablets. Mirrors create, as they should, the effect of infinity of light space, and then, going up to the third floor, behind the axis of Oskar Mamleev's exhibition, you also guess a mirror, looking for a spatial deception that is not there.
In a word, the exhibition was a success. And the movement of events, as endless as reflections in mirrors, and the variety of non-commercial projects, which now took three times more space, albeit unheated than commercial ones, all make the festival attractive. Andrey Asadov plans to continue to carry out Architecture in industrial zones, expanding the circle. The new format made it possible to hold the festival not for 2-3 days, but for a whole week, until October 20 inclusive.
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