Why is the topic of reconstruction so popular lately?
Konstantin Khodnev: First, the value of a multi-layered environment is becoming increasingly evident. Second, there is a trend towards resource savings, "sustainability", lower demolition and new construction costs. If we didn’t demolish the building, then we saved the nature a little bit. This is also due to restrictions on new construction in the historic center. Sometimes it is easier to slightly change the building on the outside and, perhaps, more seriously on the inside, than to go into long agreements with the public, residents, and authorities.
In the 1970s and 1980s, it was customary to build on new lands without facing the difficulties of the city. But now, with the return of interest in the city center, the question arises of what to do with the buildings that stand there, how they can be transformed. The next topic is what to do with buildings on the periphery that are no longer in demand. For example, hundreds of shopping centers are closing in America and it is not known what to do with them.
Daniel Lorenz: In culture, there is an increase in individualization. A person, in addition to individual clothing, is considering the possibility of acquiring a unique space: housing or a workplace. Nowadays fashion is created by people who do not sit in one place, who are mobile, work from home, with any schedule. They have a different cultural perception, different accents. This also affects the way historical objects are viewed - accordingly, developers and architects have appeared who are ready to reconstruct and use them as objects with unusual qualities.
Natalia Sidorova: Time leaves an individual imprint, even materials acquire a certain charm. In fact, it is a ready-made resource for creating an atmosphere of authenticity and uniqueness. It is important that this is an established real value, not invented on purpose.
K. Kh.: Reconstruction can be attractive for this very reason - it allows you to create some unexpected things that you could not have come up with in advance due to the fact that there is uncertainty in the circumstances.
N. S.: Sometimes reconstruction allows even more daring decisions, it creates a situation in which customers are ready for unusual approaches and typologies. A kind of synergy arises: both people are ready, and buildings are ready to provide non-standard solutions.
Is the customer ready for this?
D. L.: Yes, that's why it became a phenomenon. The customer has changed. Although it cannot be said that everything has changed, the process is gradual, evolutionary.
N. S.: Some are ready, some are not, it is possible and necessary to explain to many, to demonstrate the advantages of approaches related to reconstruction.
Do you have any favorite examples of high-quality and interesting reconstructions?
K. Kh.: Take the elevator in Cape Town reconstructed by Thomas Heatherwick, which houses a hotel and a modern art center - this is just an example of what Natasha is talking about, an absolutely incredible new typology and forms. Using its amazing context, the unique features of the old structures. This is the thrill.
N. S.: A cut of the structures allowed for a completely different look at the space. This is not a device in its pure form, but also a transformation by modern and denim, bold enough, but giving a tremendous effect.
I would like more daring and original modern inclusions in the reconstructed environment.
Again, from recent examples: we recently managed to visit near Antwerp
the Kanaal project by Axel Vervoordt, we were very impressed with it. In contrast to the sharply conceptual Heatherwick, it is more important to create a special atmosphere. Concrete paths are simply poured over the ground and become part of the landscape. Michel Devigne took care of the landscape there. New buildings were made by different architectural groups: many buildings, many authors. The buildings turned out to be different, but they are incorporated into the historical environment, and the whole complex reads as a single world, united by a common atmosphere. There is a very high level of detail.
Naturally, the customer played a very important role here, who, in fact, came up with this whole concept.
K. Kh.: I agree. Continuing the theme of the role of the customer, I would like to point out two of the most important reconstruction projects in our country. Firstly, this is New Holland, which can serve as an example of a correct, uncompromising approach to the material quality of reconstruction.
And the second example is “
Garage by Rem Koolhaas, the first object of rethinking the architecture of Soviet modernism. Because when we talk about reconstruction, we usually remember brick walls, cornices and pitched roofs. And to make a work of art from some more or less ordinary, as it seems, objects of modernist architecture - this has not happened yet. This is the first experience. It must be said that it is also rare in world practice. And it is absolutely unique in quality.
N. S.: It's about the quality not only of the building, but also of the atmosphere. When the atmosphere of events, everything that happens there, is connected with the building, an environment is obtained, and this is an ideal case.
As a matter of fact, we set the task of the course to tell you how to create such an environment.
K. Kh.: And to encourage students to not just place offices on a certain number of meters, but always set themselves the task of creating a new environment, changing life. Because the point of any reconstruction is that it should work. You have to launch a certain mechanism, and complexity is important there - architectural solutions, a program, and the idea of further operation. In essence, a renovation project is about making up life.
And for"
Dawn which scenario did you come up with?
K. Kh.: There is a gradual process, there is an environment that is slowly becoming less and less a factory, and more a city. There are opportunities for development.
N. S.: The two currently completed buildings (3.34 and 3.20) on the territory of "Rassvet" became for us a special experience of interacting with the city through deep immersion in the context. The redevelopment status and function of the apartments allowed us to experiment with different typological solutions, there are two-level apartments, including on the first floor with separate entrances and front gardens, which can allow their inhabitants to work and receive visitors on the first floor, and live on the second. There are people on the "Dawn" now both day and night, it functions 24 hours a day; cafes have appeared, new ones are planned. But the project of the territory is developing, and we continue to work with it.
What do you think is currently lacking in architecture education?
N. S.: An interdisciplinary approach. In architecture in general, and in reconstruction in particular. Due to the inertness of tradition in architecture universities, it is not accepted. But interesting solutions are now emerging at the intersection of professions. Hence the new programs that complement classical education. In our course, we will try to attract more different specialists related to the topic, but covering not only purely architectural aspects. There are nuances in working with theoretical bases, and working with surveys, and with history. There are operational and budget related features.
D. L.: I would say that when you interact not only with relief and landscape, but also with cultural codes, this is a challenge and struggle of a different level. Here is who will win. An existing building can overwhelm you, or you can overwhelm it, or both survive.
About the upcoming course at MARSH. Was it easy for you to accept the offer and become its curators? Why are you interested in this?
K. Kh.: I will not say that it was easy, but the decision was immediately positive, we somehow quickly responded. Teaching is hard work, but it teaches a lot: to systematize, organize, develop a methodology, some kind of whole picture. Move on. It is very interesting.
And, of course, it is interesting to convey the knowledge and ideas that we consider important to the maximum audience. Still, we strive to improve. Improve the city, improve life. And the more people share our values, the better.
N. S.: I must say that we were residents of the first Artplay at the "Red Rose". And it was a very wonderful, absolutely amazing atmosphere. And now Sergey Desyatov, the founder of Artplay, has infected us with a new platform Pluton, where he gives a kind of carte blanche for the work of students within our studio. And it will be possible, on the one hand, to consider all the features of the real territory of redevelopment, and on the other, perhaps, it will be possible to experiment a little, look at some things a little more boldly and relaxed. Find solutions that would not be found within the framework of, say, a specific technical specification or order. And together with the students, it will be very interesting for us to do it.
