The museums are dedicated to writers, artists, composers, engineer Shukhov and the Palace of Soviets. Students could choose any of the central districts of Moscow as sites for the design. But one of the sites - in the Trubnaya Square area - was proposed by the teachers and project leaders Andrey Nekrasov, Alexander Tsybaikin and Kirill Arkhipov. At the first stage of design, students were asked to select several characteristic existing historical Moscow houses and conditionally transfer them to the empty inner square of the block on Trubnaya. It hypothetically housed seven museums at once, forming a "museum quarter" similar to the Vienna one. The buildings that make up the quarter seem to be restoring the urban planning solutions of old Moscow.
Andrey Nekrasov, project Manager:
“The quarter that we looked at as part of the training assignment now houses a sports club and several buildings that were built in the early nineties. We assumed that museums could be located inside old Moscow houses of the 19th - early 20th centuries, and we tried to place seven different museums on a small square, preserving the perimeter buildings. In addition to museum spaces, the buildings would house workshops and living quarters for artists, with cafes, restaurants and theme shops on the ground floors. Thus, we would get something similar to the Parisian Montmartre, only in Moscow."
Chekhov Museum
Yulia Morina
The authors proposed to place the museum dedicated to the life and work of Anton Pavlovich Chekhov in the existing monumental house of the period of Stalinist classicism, carving out a diagonally unfolded courtyard in it - an open auditorium, where at the end of the stage is the facade of Chekhov's mansion. The two-story building of the museum becomes part of the museum quarter and preserves the urban planning outline of the historical buildings of Moscow. The simple volume with the courtyard and mezzanine refers to the Chekhovian image of an old country house. The main facade of the house faces the spacious courtyard. The slightly deformed configuration of the courtyard, oriented towards the lake, which was proposed to be set up in front of the museum in memory of the ponds that once existed here, speaks of the modern character of the building. In addition to exhibition galleries in the form of a labyrinth of bookshelves, the building is proposed to accommodate a literary cafe and a three-level stage space. During the warmer months, the stage with evening literary readings and concerts goes to the Courdonneur.
Museum of Akhmatova and Gumilyov
Ekaterina Vostokova
The author of the project proposes to devote the museum not so much to the creative biography of the poets as to their lives, closely intertwined and very dramatic. The life path of Akhmatova and Gumilyov is depicted as a dialogue of spaces, where the path of Akhmatova is presented in the form of a long, varied and winding ramp-labyrinth, and the path of Gumilyov in the form of a straight, clear and very short route. The complex interweaving of volumes and planes of the two trajectories of life permeates a simple and laconic building hidden inside the new museum space, goes beyond its limits and returns back, setting off to wander through the interior spaces of the museum.
Rachmaninov Museum
Natalia Gushchina
The museum dedicated to the life and work of the composer Sergei Rachmaninoff is designed in the form of a large transparent star piercing a historic building.
The star is a direct association with the personality of the composer, who has become one of the central figures in the cultural and musical life of the world. There is a small concert hall inside the star, on the stage the pianist performs Rachmaninov's masterpieces. Spectators take seats in the amphitheater, arranged in the diverging rays of the star, which cut through each floor of the building and break out of it. All the beams are illuminated from the inside, while the interiors are done in subdued, subdued colors. On the ground floor of the museum there is a cafe, a restaurant and a small shop.
Vrubel Museum
Valeria Shevtsova
The facades of a large five-story volume have been transformed into a huge sculptural panel based on The Demon. The museum is located inside the quarter and is quite close to the neighboring building of the Vasnetsov Museum. In this regard, it was decided to form a common "artists' yard" between the two museums, which serves as a kind of center for this part of the quarter. Around the courtyard there are apartments for artists, galleries, sculpture workshops. On the ground floors there are cafes, shops and a bookstore.
The interior of the museum is arranged in such a way that visitors follow a certain route of observation with transparent galleries suspended in the multi-lighted space of the museum. Transparency makes it possible to see large-sized paintings from a distance. One of the periods of Vrubel's creativity is associated with the painting of churches. One of the spaces of the museum is dedicated to this, designed in the form of a kind of domed hall with paintings by the artist.
Vasnetsov Museum
Angelina Vasnetsova
The existing building, in which it is proposed to arrange the Vasnetsov Museum, "surrounds" the existing temple of St. Sergius of Radonezh in Krapivensky lane. From the outside, the building remains practically unchanged. But inside the new museum space creates the feeling of being inside one of the paintings of the famous artist. The effect is achieved through huge reproductions of paintings and art installations, allowing you to immerse yourself in the artist's work and better understand his mood. The idea is based on the project of Vasnetsov's own fairy-tale house-workshop.
Mayakovsky Museum
Elena Koroleva
Between Neglinnaya and Petrovka, according to the authors' idea, a new dominant can be located - the Vladimir Mayakovsky Museum. The structure is formed by two high volumes, diagonally separated by a glass beam of a staircase, and is unpredictable like Mayakovsky's poetry itself. At the top of the museum, the volume of the stairs breaks out of the building, forming an observation deck from where you can see the entire museum quarter as a whole. Two-level exhibition halls are formed inside.
Bulgakov Museum
Maria Korneeva
The Mikhail Bulgakov Museum is located inside an existing very long apartment building with small apartments and boring layouts. The house, which housed the famous apartment No. 50 in the novel "The Master and Margarita", could have been approximately this, the authors believe, although, incidentally, that house on Bolshaya Sadovaya is well known, it contains a museum and a theater.
According to the idea of the author of the project, the museum on Neglinnaya occupies some part of the house, which literally "explodes" with a new glass volume. A powerful otherworldly - either devilish or divine power - destroys this ordinary house with a touch of Soviet times from the inside.
In the glass cloud formed at the site of the explosion, the image of a medieval castle with long narrow windows and a characteristic silhouette is implicitly read. behind the glass you can see a wide grand staircase leading to the third floor, to the center of the glass volume, where the main exhibition spaces and galleries are concentrated.
projects of museums not included in the "quarter":
Malevich Museum
Anastasia Talaeva
The museum is located at the corner of Sadovaya-Samotechnaya and Samoteka, on the corner next to the place where Frank Gehry's hotel was planned in 2008, but sour. The museum in the form of a glass prism is interpreted as a large three-dimensional Suprematist painting.
Museum of the Palace of Soviets
Nadezhda Yegereva
The Museum of the Palace of Soviets is located on Vozdvizhenka next to GNIMA, on the site near the underpass leading to Voentorg. I must say, this is one of the most interesting projects of the group. The seven-story volume, in the plan - a quarter of a circle, was buried in the ground for 3 floors, 4 more floors are at the top. It turns out 20 meters, which is quite monumental. Inside there is a 15-meter quarter of a model of the failed Stalinist palace, around there is an amphitheater for contemplating it, with a semblance of a pantheon-shaped dome formed by balconies for the exposition and spectators - a copy of the interior of the main hall in Iofan's project. It is assumed that the amphitheater could give lectures and hold other parties.
The museum continues with two buildings on the street and in the back of the courtyard, they are connected by underground passages, and the passage under Vozdvizhenka to Voentorg is also used. The roof of the skylight in the courtyard is planned to be converted into an amphitheater. The scale of the project, the theme and presentation - everything gravitates towards the "paper architecture" of the 1980s and looks like a memory of it.
Museum of the emergence of the Russian fleet
Sergey Levchenko
The author of the project proposes to restore the lost Sukharev tower, but not in the literal sense - the method was discovered by Italian colleagues who restore only the volume and proportions of the building. The entire volume is a frame with often located horizontal pipes or rods, repeating the outline (shape of the facades) of the historic building. During the day, such a structure is almost invisible against the background of the bright sky, but at night, illuminated from below, it appears like a ghost building, which makes it seem that the building, like a phantom, is hovering in the air. Inside the tower there is a museum of the origin of the Russian fleet. Its central exhibit is a gigantic model of the first sailing ship of Peter the Great, commensurate with the building.
Shukhov Museum
Sergey Kiselev
The museum is located on Izvestia Square, next to Pushkinskaya - the author of the project, apparently, reasoned that after the demolition of all the stalls hated by the progressive urbanists, a too empty and uncomfortable cold place was formed there. The museum, somewhat similar to the Malevich Museum above in the text, is a glass prism-tower, nine-storey high or higher, with one tier of underground space - in a word, it takes on the role of an unrealized competition project of the Vesnin brothers. Inside, in the corner, there is a large fragment of a mesh tower of the great engineer with branches reminiscent of the installation by Pyotr Vinogradov in Vyksa.
