The Fifth Element

The Fifth Element
The Fifth Element

Video: The Fifth Element

Video: The Fifth Element
Video: The Fifth Element full movie 2024, March
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We talked about the project of a club house on Ostozhenka in Vsevolozhsky lane in 2016. The house is located at the beginning of the "Golden Mile", a five-minute walk from the Kropotkinskaya station, on the site of the Soviet automatic telephone exchange of the 1980s. In height and along the red line, it is built into the historical building, to the right and to the left of it are two apartment buildings of the architect Nikolai Zherikhov of the early 1910s, one of them, the corner one, is an impressive neoclassicism, the other, along a lane, is a simple modernist style. The new house is separated from both neighbors by driveways, in contrast to the Soviet PBX, which was attached to their firewalls. New caesuras in the continuous front of the building have opened the way for the rays of the sun, which shines from the south, from the side of the courtyard; they allowed more light to pass into the alley, - the authors of the project explain.

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Figuratively, the house does not appeal, however, to any of the neighboring buildings, as well as to the houses opposite, but develops its own theme based on an emphasized ornamentation somewhere on the verge of Art Nouveau and Art Deco, but with some modern enlargement, freedom of interpretation and geometrization of all elements. The market of Moscow club houses requires, on the one hand, a solution that is distinctly expensive, built on valuable materials, and traced, detailed - and on the other hand, it prefers the unusual and non-repetitive. It must be admitted that the house in Vsevolozhskoye meets both criteria. The facades are very rich, their main textures are natural limestone and metal (glass fiber concrete with a surface imitating patinated bronze). But the main thing is that this has never happened in Moscow.

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    Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

On the whole, the house adheres to a fairly conservative layout and typology: it is built in a "tranquility" with two staircases from the courtyard side, an imposing entrance portal with a deep two-story lobby behind it opens onto the street in the center. On the sides of it there are faceted verticals of bay windows, in the upper tier above their ledges there are loggias-terraces of penthouses under massive canopies with glazed "windows to the sky", similar to large caissons.

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The structure, we repeat, is traditional, but each element in its composition is reinforced a little more than usual. Bay windows form a faceted wave, the upper loggias are, as it were, deep and spacious as opposed to them, the entrance portal is large. In addition, there are a lot of "metal" surfaces: with glass and stone, they form a weaving akin to jewelry, of course, adjusted for enlargement many times over.

Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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Ornamental weaving has become a fundamental technique that forms a sense of the "specialness" of the house. There are practically no empty planes on the main facade, and all elements, even those in which the order base can be seen, are subordinated to the general "carpet" decorativeness. So, the piers between the bay windows are likened to fluted pilasters, but they have no bases or capitals, apart from the "Secession" metal pendants-strips at the top. Stone verticals can appear equally as flutes or a response of the surface of the walls to the shape of bay windows, since their relief consists of triangular ledges, and not at all from traditional grooves.

Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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The rusticated surface here, next to it, receives beveled contours, forming a perspective illusion in the walls between the windows - a false ledge akin to the finds of the Pompeian style. The castle stones do not crown arches and do not form sandrids, but only serve as decorative "crowns", being placed closer to the basement part. The curbs, everywhere - huge, stone and bronze, noticeably larger than their order prototypes, work to enhance the light and shade.

Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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Probably the most traditional is the bronze diamond cut of the bindings of triple windows; it also reinforces associations with the Pompeian style and Art Deco.

Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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Everything that cannot be explained in one way or another from the point of view of the order is subordinated to the ornament, which can be conventionally divided into two types: surfaces completely covered with "Klimt" curls - and a pattern made up of zigzags and oblique plates, each of which peeks out from under the neighboring one. They look like a counter-relief (relief that does not exceed the upper plane of the original stone, a technique popular in Ancient Egypt - ed.), Depicting growing crystals. It is curious how, from the side of the courtyard, a large ornament echoes the spatial pattern of highlights on the stringers of the stairs in the sunlight.

Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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It is also important that the "lamellar" relief covers not only the frontal surfaces: the relief decoration of the house is ubiquitous and affects, in particular, the lower planes of the bay windows, so that, looking up, the passer-by will also see the ornament. “It was fundamental for us to interpret the surface of the house as processed, dynamic, to show the depth of the surface of the stone,” emphasizes Ilya Mashkov, head of AB Mezonproject.

Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
Клубный дом «Резиденция на Всеволожском» Фотография © Дмитрий Яговкин / предоставлено Мезонпроект
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Sometimes the lamellar pattern "grows together" with the curls, and in this situation the volutes become larger, and their contour becomes more free. Between stone and bronze, "layered crystals" are roughly halved - they are present both there and there, responsible for the integrity of the approach and the connection between the two main materials of the facade.

They unite the whole house. All drawings take into account the joints between stone and bronze plates, in many cases including them into the general rhythm as a rather natural part of it - it may seem that the house is being formed before our eyes from separate "scales", thus playing up the modern technology of interaction between the ventilation facade and its cladding …

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    1/5 Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    2/5 Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    3/5 Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    4/5 Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    5/5 Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

The relief motifs are continued in the patterns of bronze lattices, and on the ledges of the bay windows they are looser and more abstractly geometric, and figurative flowers-sunflowers appear in the planar verticals, decided more traditionally.

However, in the basic motif of bay windows, one can also discern figurativeness - generalized human figures, the circle of which is formed by the sun in the house logo proposed by the architects.

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The circle means the community of residents, and the conditional origami “shadows” of figures that can be found almost everywhere on the facade, albeit in a very encrypted form, serve as a reminder of the main idea. The contours of the "human figure", outlined like a pentagram, even a little resemble the broad-shouldered outline of the Le Corbusier modulator, which unexpectedly takes us from the conditional "Secession" to the search for a later time.

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A denser and more detailed version of the ornament is continued in the copper panels above the entrance and in the vestibule - here, closer to the entrance, real metal is used. The overflows of its precious "red" shade are well read thanks to the close "brocade" weaving of multidirectional curls, working on the image of an expensive "frame" or "lining" of the house.

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    Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

The courtyard facade is solved more concisely: on the one hand, this is dictated by the logic of the rear facade itself, on the other, there are more large ledges and projections, which makes the structure of volumes resonate with neighboring houses and is perceived as a contextually meaningful part of the “Moscow courtyard”.

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Here, the cutting of stone plates acquires a noticeable resemblance to rustication and, unlike the main facade, "synthesized" by ornamentation, here decorated and laconic surfaces are combined with each other rather in contrast. At the same time, large-scale frames around the stair risers continue the theme set by the entrance portal and give the house a completely solemn touch: even from the side of the courtyard, it looks like a palace. And some sort of oriental, maybe even Persian - primarily due to the unclassical nature of the two-part composition with a wall in the center.

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    Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

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    Club House "Residence on Vsevolozhsky" Photo © Dmitry Yagovkin / Courtesy of Mezonproject

The central pier is also present on the main facade, where it is slightly less noticeable. Its appearance is due to the structure of the house, consisting of two sections with one entrance in the center.

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    1/7 Club house "Residence on Vsevolozhsky". 2nd floor plan © Mezonproject

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    2/7 Club house "Residence on Vsevolozhsky". 1st floor plan © Mezonproject

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    3/7 Club house "Residence on Vsevolozhsky". Typical floor plan © Mezonproject

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    4/7 Club house "Residence on Vsevolozhsky". General plan © Mezonproject

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    5/7 Club house "Residence on Vsevolozhsky". Section © Mezonproject

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    6/7 Club house "Residence on Vsevolozhsky". Section © Mezonproject

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    7/7 Club house "Residence on Vsevolozhsky". Fragment of the facade with a cut © Mezonproject

But the main effect produced by this house is, of course, theatrical. The Art Nouveau and Neoclassicism, standing next door along the alley, visually show that it is not at all stylization and not historicism in the literal sense, and not even another experiment with bourgeois Art Deco. Most of all, it resembles the illustrations and scenography of the Symbolists, sketches of costumes and backstage; curtain for some "Egyptian nights". The fantasy component is too strong here - trying to decorate, to work out the surface of the facade, the authors more strongly emphasize its role as a kind of screen, on which, in essence, one can “draw freely”. Note that this approach works on the perception of the house as more than modern: that version of yearning for sensations, which makes the environment more and more theatrical and provokes a not too serious, “playful” attitude to the rules that are so well felt in houses a century ago, belongs to ours. time. It is he who opposes the rules - "a riot of matter", if not colors, but lines and textures, protrusions and depressions.

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If we compare the house with the earlier houses of "Mezonproekt" in the spirit of respectable historicism, for example, with the residential complex "House at the Academy of Sciences" or with the house on Veresaeva street, then we have a much more free construction, to some extent based on independence ornaments with a tendency to self-development. The house seems "Egyptian", but, strictly speaking, there is not a single recognizable Egyptian detail, neither a lotus nor a beetle (although some doubts are raised by the open "scarab style" wings above the central wall on the courtyard facade). And the curls on the walls are more reminiscent of the wigs and beards of the winged Assyrian bulls from the Pushkin Museum. The house is not a stylization, but rather a fantasy on the theme of the fantasies of the Symbolists, inspired by an oriental fairy tale: radiant, desperately luxurious, in many ways deliberately mysterious - the sum of those emotions that often evoke in us the most generalized idea of an ideal century interrupted by the First World War. In general, it is no secret that many see in that time not so much the Silver Age as the "Golden", an unattainable marzipan fairy tale. Perhaps the club house in Vsevolozhskoye should become such a fairy tale. Well, then this is a very understandable experiment in the Moscow context with feelings - as an inhabitant, as well as a passer-by.

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