RC "Russian Avangard" is located on the territory of the new district "Troitsky", located in the northern part of Voronezh next to the botanical garden. The central part of Troitskoye, named after the chief architect of the city who led its reconstruction after the war, is occupied by a new 18-storey residential area. And the western and eastern parts - a kind of flanks - are designed by Sergey Oreshkin's A. Len bureau. The narrow triangle of the western part is occupied by the residential complex “Russia. Five capitals ", which we have already talked about, from the opposite eastern one, according to the project of Sergei Oreshkin, a residential complex" Russian avant-garde "is being built - a large-scale house with an S-shaped plan, with a height of 17 to 23 floors. Developers plan to create in this place a new, by Voronezh standards, housing cluster - comfortable multi-storey buildings with high-quality amenities and self-sufficient infrastructure.
"Russian Avangard" fell into the hands of "A. Len" quite late: construction was already in full swing. At first, the customer suggested that Sergei Oreshkin change the facades in someone else's project, but ultimately the architects of A. Len changed almost everything that was possible to redo at this stage.
Initially, there was no talk of any Russian avant-garde. In the first project, the house was sectional, insolation dictated the need for variable number of storeys. The elevation changes reached seven stories, with the sections bouncing and falling randomly in syncopation.
“We analyzed for a long time, thinking what to do with it. We set ourselves an eerie structural level: we twisted each of the blocks in a half-spiral, and lowered them not just by steps, but by small terraces, of which there are a huge number. We did not have time to terrace one of the sections - its roof is flatter. And everything else rises and falls like a mountain range. The result is a rather sharp, dynamic silhouette,”says Sergei Oreshkin.
In the inner movement of the silhouette of the asymmetrical roof, one can see an allusion to Suprematism. Flat roofs with pergolas and brick pavilions involuntarily conjure up areas for mooring airships. Although, in reality, the ZhK was associated with the motives of the avant-garde later, and the idea was not proposed by the architects at all.
“The customer was carried away at this moment by collecting avant-garde, in particular the rayonists, - this is how the theme of the Russian avant-garde arose,” explains the head of “A. Len”. As a result, the facade received many elements, to one degree or another referring to the theme of the avant-garde.
The roof lines were supplemented with vertical glazed and white rectangles of loggias. The protruding planes of the balconies are scattered across the facade in an abrupt, complex rhythm, reminiscent of the rhythmic pattern of Mayakovsky's stanza. On one of the outer walls, between the windows, a cascading curved line was laid out, similar to a theater curtain. The entire facade seems to be composed of opposition and balance of multi-colored quadrangles and lines.
The architects approached the color scheme of the facade with painters' care. They refused to use silicate bricks of the usual shade, and mixed seven to eight colors - from lilac to orange - to create a special rich range. The production of bricks was carefully monitored: we went to the factory and explained to local manufacturers what kind of effect should be obtained in the end.
In addition to the flat color scheme, the brick is also involved in the volumetric design of the facade: in some places it is rough, somewhere with a geometric ornament, and in the entrance groups it completely turns into an openwork fabric. In some places, the piers are ribs - a lattice of zigzag "buttresses"; in some places the facing brick becomes deeper and forms a relief cut-off grid. Then the plastic game "calms down", focusing on the depth of the facade surfaces, which is also developed with great attention: different depths of the planes correspond to different colors, deepest of all are the interfloor traction of dark gray metal. Over the facade relief, a reminder of the history of apartment buildings, light horizontal stripes flow, delimiting the floors. The facade has been transformed into a strict and mesh, but carefully detailed brick sculpture - in the spirit of current trends, it is large-scale, but respectable, and the eye has something to stop at. Each color and texture corresponds to the perspective and the role of this surface in the overall composition - especially when you consider that the planes of the facades are constantly rotated at different angles.
The same three-dimensional, multi-tone play with bricks has been carried over to the interiors of public areas. The elevator halls are planned to be decorated with images of avant-garde paintings. For each section, the architects chose one painting: Malevich, Kandinsky, Burliuk, Chagall, Goncharova, Larionov and other less famous representatives - for example, Alexander Bogomazov, Yuri Annenkov or Nikolai Kulbin. The reproductions were enlarged to fill the entire wall and were placed - one per section - before exiting the elevator; so that the inhabitants of the house can literally join the art while waiting for their cabin. The color scheme of the canvases determined the color layout of the walls inside and even the visors outside: the painting is "pixelated" with dies of colored bricks, and the viewer is immersed in the atmosphere of the work - as if the picture was enlarged on a computer to colored rectangles, and now they are offered to "enter" this space, without losing, however prototype view - a large preview of the painting on the wall. A curious method of immersing a person in a picturesque reality, almost like in the "Land of dense grasses".
Apartments in the "Russian Avant-garde" are varied in size: from small studios to spacious four-room apartments with their own roof terraces. The terraces overlook the trees of the Botanical Garden and the distant Voronezh reservoir.
In the improvement of the local area, the theme of the avant-garde received the greatest disclosure. The general layout of the courtyards was based on the painting by Mikhail Larionov, all elements of the landscape were also made on the basis of the paintings of the rayonists, and they even planned to place a model of Tatlin's tower, painted in red, in the courtyard.
In contrast to the elements of the improvement, the construction of the house, already partially designed by other authors, did not allow to go deep into the theme of the avant-garde. The "Russian avant-garde" in this residential complex is not architectural, but pictorial. Thanks to this, the house turned out to be bright, but fit into its surroundings appropriately - it should become an interesting, rich in details, a large-scale accent on the border of the city and the forest park.
