Sergey Skuratov's project at the intersection of Nikolovorobinsky and Tessinsky lanes, reviewed and approved by the Moscow Archives in the fall, is located in a dynamically developing context. To the east of it, closer to the Garden Ring, the orange-glass Silver Sity business center was built more than 10 years ago; to the west, from the side of the Yauzskie gates, the Titul residential complex is being built. In the middle between them is a real “star”, Art House of Sergey Skuratov: a complex of two buildings, built in 2012, has collected many awards and magazine publications. Two laconic dark buildings are covered with dark handmade bricks like leather, from head to toe, from blind area to roofs; the eye picks them out in a colorful environment unmistakably, like an object of art in the midst of the bustle of the city. So the name, "House of Art" - Art House - seems quite justified.
Art is also present here in the form
Gary Tatintsyan's gallery, designed in 2013 by Sergei Tchoban, on the first floor, in a space distanced from the city by the "archaeological" slope, which Sergei Skuratov deliberately arranged here - this helped the architect present his house as an "ancient monument." Then Art House became the launching pad for the large-scale urban project Artkvartal, initiated by Andrei Grinev, the owner of the State Development company that built the house. To position the idea on the top floor of the southern building in 2014, the Door 19 club was opened - temporarily, twice a month -. In 2015, the EMA club, named after the Electromedical Plant, was opened on a neighboring site, north and higher along the slope of Nikolovorobinsky Lane. equipment that occupied the territory during the Soviet era. The appearance and disappearance of the club preceded the construction of the NV / 9 club house in its place, in the northern part of the plant. The authors of the project are Irina Rimashevskaya and the Arkhkvartal workshop, the buildings occupy a slope with a drop of about 8 meters, the building along a lane delicately hangs over a two-story brick facade - a fantasy on the theme of a paper-rolling shop in 1877. House NV / 9 State Development was built in cooperation with another development company, INSIGMA.
The developer of the house designed by Sergei Skuratov down the slope, in the southern part of the territory of the same EMA plant, is INSIGMA. The name of the new house is "Tessinsky, 1", it is a club format of real estate in the deluxe segment.
The site stretches along Tessinsky lane and goes to an intersection, which, in fact, serves as the center of the area adjacent to Serebryanicheskaya embankment. It will be visible from many points. In addition, as we can see, he found himself between two new buildings: the recently completed NV / 9 and Art House - all this required attention and response, and determined the complexity of the urban planning tasks associated with the project.
Another difficulty is that the entire relatively small area is filled with buildings of different times. In the second half of the 19th century, before the emergence of EMA, a "paper unwinding" factory developed on the territory, the street facades of its two buildings are planned to be preserved in the project, although they do not have a protection status: the facade of a two-story office building along Nikolovorobinsky (1883, architect Vasily Barkov) and three the lower floors of the most prominent building located at the crossroads (1895, architect Sergei Kalugin, later co-author of Boris Freidenberg in the building of the Petrovsky Passage). At first, its corners were interpreted as romantic towers, whose battlements, however, were lost during subsequent superstructures.
The brick facades preserved and cleaned from plaster are intended not only to preserve the spirit of the old city and enrich the emotional structure of the complex. The conservation of historical architectural elements also meets the marketing concept of the house, according to which Tessinsky 1 is conceived as a house living in two eras, and accentuates respect for the history of entrepreneurship in the person of the former owners of the current development site: Tessinov, Ostrovskikh and Vogau.
The eastern building on Tessinsky lane belongs mainly to the 1960s, as well as the buildings in the courtyard. They were last reconstructed in 2008-2012 for the recent owner, one of the divisions of the state-owned company Rosseti; all later buildings are planned to be demolished.
A volume of approximately the same scale will appear on the site of the two buildings along Tessinsky, and the dismantling of the internal buildings will serve to clear the courtyard space. The architects level its sloping surface to the level of the sidewalk of Tessinsky Lane, arranging a barrier-free entrance to the courtyard at the junction of the new and old facades through the arch-vestibule.
In the courtyard we will be greeted by a small artificial reservoir - the memory of the Serebryanicheskie ponds. To the right of the “pond” is a tree with a wide crown, part of the signature style of Sergei Skuratov. On the left is the lawn. A pedestrian path along the residential buildings from the inside connects the entrances to the sections.
Since the height difference between the sections of the first and second stages is about 5 m, the retaining wall with stairs and ramps becomes the southern border of the courtyard. Such a pronounced terrace, which is generally characteristic of the Vorontsov Pole area, is not devoid of spatial intrigue: the courtyard turns out to be almost completely isolated and completely private.
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zooming 1/5 General plan. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 2/5 Situational plan. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 3/5 Plan of the 1st floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 4/5 Plan of the 2nd floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 5/5 Section 3-3. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
The device of the house itself is also complex. Along Tessinsky 4 residential sections fit. Between the apartments on the lower floors and the parking lot, there is 1.5 m of technical space, which allows you to raise the floors above the sidewalk and dampen the noise from the parking lot. The apartments have from 1 to 4 bedrooms, the living rooms are facing the sunny south facade along Tessinsky, the bedrooms - to the north to the courtyard. Small apartments only face south.
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zooming 1/13 Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 2/13 Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 3/13 Plan of the 3rd floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 4/13 Plan of the 4th floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 5/13 Plan of the 5th floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 6/13 Plan of the 6th floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 7/13 Plan of the 7th floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 8/13 Plan of the 8th floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 9/13 Plan of the mezzanine of the 8th floor. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 10/13 Roof plan. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 11/13 Section 4-4. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 12/13 Section 5-5. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 13/13 Cut 7-7. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
Penthouses on the upper floors, the seventh and eighth, with a height of 7.1 m, are defined by the architects as apartments with mezzanines. These bunk apartments have the option of installing a wood burning fireplace and a private patio on the roof of the house, with a large window facing the courtyard. The most luxurious apartment is on the west end, with four bedrooms and a double patio. Bunk apartments also occupy one and a half upper floors of the small building on Nikolovorobinsky.
Plastic houses are built on a combination of three materials: old and new bricks and bronze.
The dark red "factory" brick of classical proportions is a historical reality of the preserved and cleaned from plaster facades of the architects Barkov and Kalugin.
Plinth-like brick forms a pattern of long thin strips of "Palatine" Roman look, evoking associations with a patrician palace (here we recall the "pond" in the courtyard - which is not campluvium; for an elite house, the analogy is logical).
Brick, varying in shades from brownish-gray to almost black, is designed to build a dialogue with Art House, which will be especially noticeable when descending along Nikolovorobinsky or when approaching Tessinsky from the east, where NV / 9 demonstrates laconic surfaces completely covered with brick.
The southern facade stretched along the Tessinsky lane folds into a nuanced mise-en-scène. The new volume receives a horizontal risalit at the bottom, continuing the line of the preserved facade of the architect Kalugin. In front of the meeting place of the new and the old and above the niche of the main entrance, the wall gently bends, forming a "fold" in the spirit of the architectural curtains of Giulio Romano, thereby accentuating the entrance. The risalit, meanwhile, remains in place, inflexible and stable, marked by a horizontal stripe-like horizontal hatching of protruding brick stripes. A similar shading forms the graphic shadows of the pilasters in the second, also new tier of the façade of the western part - not everywhere, but only where the new inter-window piers coincide with the old ones in the lower façade. Since the rhythm of the upper floor is somewhat wider, they do not always coincide. Bending plastic and brick "shading" are designed to be perceived in midday light, which, especially on a sunny day, draws any protrusions well.
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zooming 1/5 The scheme of the facade in the axes. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 2/5 Scheme of the development of the facades along Tessensky lane. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 3/5 Scheme of the layout of the facades along Bolshoy Nikolovorobinsky lane. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 4/5 The scheme of the facade in the axes. Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 5/5 Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
As you can see, the southern facade tells a multi-part story about a city growing upward and consisting of layers. Together with the laconic "fortress" wall of the Art House opposite along the lane, the effect is akin to the city streets of Tallinn or even Istanbul, where they approach the fortifications. And although there were no fortress walls here, but there were baths, gardens and ponds, this is not important: firstly, something new must appear, and secondly, the effect is unobtrusive, this is by no means a pseudo-Gothic castle, which, by the way, in Moscow there are a lot, and not at all stylization - rather a kind of story that can give a place a new aura and flavor, continuing the theme of an imaginary story started by Skuratov at Art House.
The third material is an alloy of copper and zinc, polished architectural bronze of a brilliant golden hue, and if we compare plinth-like brick with the ruins of Palatine palaces, then bronze may remind of a patrician mirror.
The bronze lattice frames the windows of the superstructure of the western façade, the eastern façade of the small building facing the courtyard and its roof are resolved in bronze.
The meaning of the golden hue can be understood in different ways: from a roll call with golden temple heads - one of them, the head of the Trinity Church in Serebryaniki, just looms in the distance - to the premium "golden" status of an expensive club house.
But one must think that bronze appeared in Sergei's project for a different reason - namely, because of the sun. Imagine how the golden facade of the small building reflects the rising sun, throwing glare into the courtyard and saturating it with light in the morning. Then - how the slopes of the western facade will catch the reflections of the setting sun in the west. Even now, if we look at the intersection from the west in the evening, the windows of the 16-story plate of the former Institute of the Nitrogen Industry show us a promotional version, a trailer of the effect that the windows of the house and its bronze frames will produce at sunset. At this moment, I would like to recall not only the Roman bronze mirror, but also the brass frames of the buildings of the 1970s - with them, too, there are rolls.
The frames are not the same and are provided with slopes; all slopes are located on one side, look to the southwest, catch the reflections of the summer sunset, and in addition, the width gradually decreases from left to right, as the probability of catching light decreases. Also, in a graduated manner, bronze stripes are built into the "fold" of the facade above the entrance.
The junction of the slope in front of the lobby is also covered with bronze: it has a chance to catch the morning sun and "transfer" it to the bend opposite, or vice versa, to serve as a "mirror" in the evening. As you can see, the whole house is "tuned" to the sun - he catches it with all the zeal of a resident of cloudy Moscow, where every ray is worth its weight in gold.
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zooming 1/3 Reconstruction project of a building on Bolshoy Nikolovorobinsky Pereulok with adaptation for housing © Sergei Skuratov Architects
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zooming 2/3 Reconstruction project of a building on Bolshoy Nikolovorobinsky lane with adaptation for housing © Sergei Skuratov Architects
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zooming 3/3 Reconstruction project of a building on Bolshoy Nikolovorobinsky Pereulok with adaptation for housing © Sergei Skuratov Architects
The brick also supports the theme of reflexes: on the risalit, from the side of the red historical facade, a gradient-stretching of terracotta inserts appears, in the general "plinth" mass no, no, and golden inserts flash.
In a word, here, as in the painting Ars Nova, there are many nuances and not a single superfluous one. The house is much "warmer" than Art House, more "Moscow", which is motivated by the insertion of preserved facades and the demanding neighborhood - two rigid plastic statements should not argue with each other. The new project has a different meaning: it captures the effect of a “patchwork quilt” characteristic of the history of a place - the house, conducting a dialogue with the context on an equal footing, absorbs the effect of a complex city, a city-history; and thank him for that.
