Location
Vavilova str., 641, Moscow
Year
2007
Architecture
Offices, Retail
Status
Concept design
Team
A.Asadov, E.Vdovin, A.A.Asadov, O.Grigorjeva, A.Dmitriev, A.Polishchuk, A.Astashov, A.Shtanuk
P.Rafelson, G.Karklo (engineers)
Existing Cheremushinsky market turns to a modern trading-entertaining complex above which the semicircular tower with offices and hotel, and panoramic restaurant at the top level grows. The hotel facade is supposed to be transformed into the huge screen consisting of led-lamps.
publications:
FROM MONUMENTALITY TO MEDIA (E.Petukhova, www.archi.ru, 29-01-2008)
The wind of change rushes over the streets and squares, ruffling roofs, thinning boulevards, dropping 30-story towers in the middle of five-story buildings and carrying them into oblivion, though worn by time, but familiar and therefore dear to the heart houses, neighborhoods and squares. Is the wind to blame for the fact that on the site of the former fields you will not find a free piece of land and in order to continue the experiments you have to put a new model in place of the old one?
It was the turn of one of the honored old-timers of the south-west – the Cheryomushkinsky market, which provided the adjacent areas from Gagarinskaya to Kaluga areas, first with agricultural products, then with Chinese manufactory and, finally, with everything.
Talk about the reconstruction of the Cheryomushkinsky market, including its expansion and the possible extension of the additional building, has been going on for a long time. As part of the Moscow Government Order No. 1138-PP dated December 18, 2001 “On Additional Measures to Streamline Market Trade in Moscow”, the owner of the building, OOO Cheremushkinsky Market, was accumulating funds and considering various reconstruction options that were gradually becoming more and more global. capturing the entire area adjacent to the market and hiding the old floor under the new floors. By 2003, the concept had completely got rid of architectural hints of an outstanding structure standing there for 30 years.
In the 1970s, several unique buildings were built in Moscow for the sale of agricultural goods. It was assumed that trading in them, as if at a fair, would be products from all over the country. And they were built accordingly. Huge open halls, under the high beautiful ceilings of the booming trading life, decorated with all the fruit and vegetable flowers. To overlap without intermediate supports of large premises of the markets, they used one of the most progressive technologies at the time – reinforced vaulted casings. Many world stars of architecture, such as Alvaro Siza and Oscar Niemeyer, then created the building, the main element of which were the coating, combining the advantages of concrete and steel. Each material made its contribution to ensuring the reliability of the structures and as a result unprecedented compositions were obtained.
Such work required from designers knowledge, experience, ownership of the calculation system and a special sense of design, an understanding of its spatial work. Therefore, one of the best designers, NV Kancheli, was involved in the work. He designed the roofs of the Basmanny and Danilovsky markets in the form of a folded shell, as well as the sailing roof of the Cheremushkinsky market. These buildings, built around the same time, after the tragedy on Baumanskaya Street in February 2006, were automatically blacklisted — potentially dangerous, whose demolition depended only on the pace of approval of new projects in their place.
* The arch of sailing, on sails, is formed by cutting off the parts of the spherical surface of the dome by vertical planes. It is conventionally divided into two zones: the lower – the carrier and the upper – carried gently sloping part of the sphere.
The tragedy of 2006 – the collapse of the roof of the Basmanny market, instantly made buildings of this type undesirable elements of the urban landscape, and therefore conceptual architectural studies were activated and moved to the design stage.
As early as 2003, the overall volumetric-spatial solution of the complex on the site of the Cheryomushkinsky market was determined. Most of the corner section between Vavilov Street and Lomonosovsky Prospekt was occupied by a 4-storey building, in the center of which an atrium was supposed to be covered with a transparent arch (a slight hint of the concrete sails of the old market). Along the southwestern border of the site stood the 19-floor plate of the hotel at the market. A rather traditional layout of the complex was unexpectedly broken by a huge opening in the high-rise block, forming a giant window looking towards the sunset, since there are no other visual reference points in that side! More precisely, the corner stair-elevator block in a glass frame stood alone above the stylobate and only at the last level 19 was it connected by a glass gallery with a hotel building.
Such a detailed description of the old project is not accidental. Many of the ideas embodied in it evolved over the course of five years from abstract outrageous forms to energetic topical architecture, complemented by the latest technical developments.
In fact, the composition remained the same. Extensive stylobate part repeats the configuration of the area, above it there is a high, extended body. In the opposite direction to the rounded outer corner of the stylobate, the vertical body is curved in a smooth arc and ends at the very top with an entresol floor with a nearly 12 meter cantilever extension, like a flick of a magician’s hand hanging above the “magic cylinder” – a vaulted surface of the stylobate atrium through which the searchlights hit. And like a silver cloak, the flat surface of the hotel wall “falls off” from it, replacing the old “window to nowhere” in this place. It is here, and not in the “hat of the wizard”, that the main miracles will happen every evening. Instead of the unreliable charm of sunset, the viewer will be offered the most modern advances in the field of lighting, capable of turning the wall into an unprecedented screen of almost 3,000 square meters, on which with the help of thousands of special lamps any dynamic image can be shown.
The basis of the media facade technology is the integration of LED-LEDs into the metal construction of the lamella type, which is assembled in front of the building facade. So, the total translucency of the glazing is only slightly reduced. Installations can be mounted not only on flat, but also on curved surfaces.
The image on the facade is created using red, green and blue LEDs. Three or five LEDs in this color combination form one pixel of the image. The image quality depends on the number and density of LEDs, i.e., on the point resolution and may change during operation.
Using the media facade, you can broadcast television signals or animations and video clips from local devices, as well as unique programs for dynamic illumination of the building. Static images are also possible, but the technical parameters of the media facade depend on the distance of perception. In general, media screens can be configured so that the image can be seen already from a distance of 20 meters. But this requires a significant increase in costs. The most rational solution provides the distance to the viewer is not less than 50-300 m, which will reduce the number of pixels (LED-LEDs) per unit area. In this case, the cost of media facades, in terms of unit of usable area, will be about 4-5 times lower than that of street LED screens!
The continuous glazing of the wall-screen is cut up by thin vertical and horizontal imposts, whereas the curved facades of the high-rise building and the coating above the atrium cuts through the metal structure of intersecting metal rods. This grid serves both as a supporting structure of the shell and as a decorative element, the theme of which continues in large glazed vertical planes of the stylobate.
Part of the facades of the vertical hull and stylobate is solved using dark brown hinged panels, like thin lines, tracing the stylobate in a horizontal, and the high-rise hull in a vertical strip. The alternation of glass planes and dark inserts is designed to combine the new complex and the administrative building of the 70s located on the opposite side of Vavilov Street. Although in this case such correctness is unlikely to have a significant impact on the image of the building under construction. Lost among the neighbors, he will not succeed under any circumstances. It is a product of another century, another culture, which replaced the monumentality of other means of influence on man. The era of “media” architecture begins, in which not only the form, proportions, textures and color will express the artistic thought of the author, but the entire outer shell of the building will become an interactive tool for conveying the artist’s information and emotional charge to thousands of viewers.
Existing Cheremushinsky market turns to a modern trading-entertaining complex above which the semicircular tower with offices and hotel, and panoramic restaurant at the top level grows. The hotel facade is supposed to be transformed into the huge screen consisting of led-lamps.
publications:
FROM MONUMENTALITY TO MEDIA (E.Petukhova, www.archi.ru, 29-01-2008)
The wind of change rushes over the streets and squares, ruffling roofs, thinning boulevards, dropping 30-story towers in the middle of five-story buildings and carrying them into oblivion, though worn by time, but familiar and therefore dear to the heart houses, neighborhoods and squares. Is the wind to blame for the fact that on the site of the former fields you will not find a free piece of land and in order to continue the experiments you have to put a new model in place of the old one?
It was the turn of one of the honored old-timers of the south-west – the Cheryomushkinsky market, which provided the adjacent areas from Gagarinskaya to Kaluga areas, first with agricultural products, then with Chinese manufactory and, finally, with everything.
Talk about the reconstruction of the Cheryomushkinsky market, including its expansion and the possible extension of the additional building, has been going on for a long time. As part of the Moscow Government Order No. 1138-PP dated December 18, 2001 “On Additional Measures to Streamline Market Trade in Moscow”, the owner of the building, OOO Cheremushkinsky Market, was accumulating funds and considering various reconstruction options that were gradually becoming more and more global. capturing the entire area adjacent to the market and hiding the old floor under the new floors. By 2003, the concept had completely got rid of architectural hints of an outstanding structure standing there for 30 years.
In the 1970s, several unique buildings were built in Moscow for the sale of agricultural goods. It was assumed that trading in them, as if at a fair, would be products from all over the country. And they were built accordingly. Huge open halls, under the high beautiful ceilings of the booming trading life, decorated with all the fruit and vegetable flowers. To overlap without intermediate supports of large premises of the markets, they used one of the most progressive technologies at the time – reinforced vaulted casings. Many world stars of architecture, such as Alvaro Siza and Oscar Niemeyer, then created the building, the main element of which were the coating, combining the advantages of concrete and steel. Each material made its contribution to ensuring the reliability of the structures and as a result unprecedented compositions were obtained.
Such work required from designers knowledge, experience, ownership of the calculation system and a special sense of design, an understanding of its spatial work. Therefore, one of the best designers, NV Kancheli, was involved in the work. He designed the roofs of the Basmanny and Danilovsky markets in the form of a folded shell, as well as the sailing roof of the Cheremushkinsky market. These buildings, built around the same time, after the tragedy on Baumanskaya Street in February 2006, were automatically blacklisted — potentially dangerous, whose demolition depended only on the pace of approval of new projects in their place.
* The arch of sailing, on sails, is formed by cutting off the parts of the spherical surface of the dome by vertical planes. It is conventionally divided into two zones: the lower – the carrier and the upper – carried gently sloping part of the sphere.
The tragedy of 2006 – the collapse of the roof of the Basmanny market, instantly made buildings of this type undesirable elements of the urban landscape, and therefore conceptual architectural studies were activated and moved to the design stage.
As early as 2003, the overall volumetric-spatial solution of the complex on the site of the Cheryomushkinsky market was determined. Most of the corner section between Vavilov Street and Lomonosovsky Prospekt was occupied by a 4-storey building, in the center of which an atrium was supposed to be covered with a transparent arch (a slight hint of the concrete sails of the old market). Along the southwestern border of the site stood the 19-floor plate of the hotel at the market. A rather traditional layout of the complex was unexpectedly broken by a huge opening in the high-rise block, forming a giant window looking towards the sunset, since there are no other visual reference points in that side! More precisely, the corner stair-elevator block in a glass frame stood alone above the stylobate and only at the last level 19 was it connected by a glass gallery with a hotel building.
Such a detailed description of the old project is not accidental. Many of the ideas embodied in it evolved over the course of five years from abstract outrageous forms to energetic topical architecture, complemented by the latest technical developments.
In fact, the composition remained the same. Extensive stylobate part repeats the configuration of the area, above it there is a high, extended body. In the opposite direction to the rounded outer corner of the stylobate, the vertical body is curved in a smooth arc and ends at the very top with an entresol floor with a nearly 12 meter cantilever extension, like a flick of a magician’s hand hanging above the “magic cylinder” – a vaulted surface of the stylobate atrium through which the searchlights hit. And like a silver cloak, the flat surface of the hotel wall “falls off” from it, replacing the old “window to nowhere” in this place. It is here, and not in the “hat of the wizard”, that the main miracles will happen every evening. Instead of the unreliable charm of sunset, the viewer will be offered the most modern advances in the field of lighting, capable of turning the wall into an unprecedented screen of almost 3,000 square meters, on which with the help of thousands of special lamps any dynamic image can be shown.
The basis of the media facade technology is the integration of LED-LEDs into the metal construction of the lamella type, which is assembled in front of the building facade. So, the total translucency of the glazing is only slightly reduced. Installations can be mounted not only on flat, but also on curved surfaces.
The image on the facade is created using red, green and blue LEDs. Three or five LEDs in this color combination form one pixel of the image. The image quality depends on the number and density of LEDs, i.e., on the point resolution and may change during operation.
Using the media facade, you can broadcast television signals or animations and video clips from local devices, as well as unique programs for dynamic illumination of the building. Static images are also possible, but the technical parameters of the media facade depend on the distance of perception. In general, media screens can be configured so that the image can be seen already from a distance of 20 meters. But this requires a significant increase in costs. The most rational solution provides the distance to the viewer is not less than 50-300 m, which will reduce the number of pixels (LED-LEDs) per unit area. In this case, the cost of media facades, in terms of unit of usable area, will be about 4-5 times lower than that of street LED screens!
The continuous glazing of the wall-screen is cut up by thin vertical and horizontal imposts, whereas the curved facades of the high-rise building and the coating above the atrium cuts through the metal structure of intersecting metal rods. This grid serves both as a supporting structure of the shell and as a decorative element, the theme of which continues in large glazed vertical planes of the stylobate.
Part of the facades of the vertical hull and stylobate is solved using dark brown hinged panels, like thin lines, tracing the stylobate in a horizontal, and the high-rise hull in a vertical strip. The alternation of glass planes and dark inserts is designed to combine the new complex and the administrative building of the 70s located on the opposite side of Vavilov Street. Although in this case such correctness is unlikely to have a significant impact on the image of the building under construction. Lost among the neighbors, he will not succeed under any circumstances. It is a product of another century, another culture, which replaced the monumentality of other means of influence on man. The era of “media” architecture begins, in which not only the form, proportions, textures and color will express the artistic thought of the author, but the entire outer shell of the building will become an interactive tool for conveying the artist’s information and emotional charge to thousands of viewers.
