The building is crowned with a model of Tatlin's tower - a reduced copy of the non-embodied project of the monument to the III International in 1920. According to the original idea, the height of the tower was supposed to reach 400 m, and inside they wanted to arrange rotating rooms, the windows of which followed the sun.
The building is decorated with 12 statues in antique clothes: city planner, architect, sculptor, stone cutter, etc. Each face has a real prototype. For example, the city planner recognizes the chief architect of Moscow at that time, Alexander Kuzmin.
They say that...... when the “Patriarch” house was being built, there was a rumor that “Putin's team” would be settled there. Many wealthy people rushed to buy apartments in the house, but were refused. According to the old residents, Alla Pugacheva wanted to buy an apartment. For unknown reasons, the deal did not take place. She even filed a lawsuit, but history is silent about the further development of the case.
Patriarch Kirill (Gundyaev Vladimir) - Bishop of the Russian Orthodox Church, and also after the elections in 2009 by the Local Council - the Patriarch of Moscow and All Russia, chairman of the DECR and a permanent member of the Holy Synod. Before enthronement, he held the post of Metropolitan of the Smolensk and Kaliningrad Churches.
Born in the fall of 1946 in Leningrad. In high school, he combined study with work. After completing his studies, he entered the seminary of the clergy.
At the end of the 60s he was tonsured, and a year later he graduated with honors from the Academy of the Clergy. Two years later, he was elevated to the rank of archimandrite and in the same period became the representative of the Metropolitan Patriarchate in Geneva.
In the mid-70s, he was elevated to the rank of bishop of the Vyborg diocese, and subsequently assumed the office of archbishop. Since the beginning of the 90s, he has been the chairman of the commission of the Holy Synod, and a year later he was elevated to the rank of metropolitan.
In early 2009, he became a candidate for the post of Patriarch of Moscow and All Russia, and two days later, with 75% of the votes, he won the vote.
A significant event in 2016 was his meeting with Pope Francis, held on neutral territory in Havana.
A family
His mother worked as a teacher of a foreign language, and his father was a chief mechanic at a factory, but in the end he decided to take the dignity of a clergyman. Grandfather was also close to the Orthodox faith and fought against the destruction of churches in Soviet time.
The elder brother, Nicholas, holds the post of archpriest and is the rector of one of the cathedrals, worked as a professor at the academy of the clergy. The younger sister, Irina, works as a director at a grammar school with Orthodox education.
Where does Patriarch Kirill live
The main residence is the estate located in the village of Peredelkino. On a plot of two and a half hectares, there is a main three-story building and adjacent separate buildings, including: personal apartments, reception halls, a house church, a hotel, utility rooms and a wellness complex, as well as a parking lot and a storage box for food.
In addition, there is a pond and a park area with sculptures and households on the territory. household buildings.
The estate itself is furnished with luxury interior items brought from Italy, and the facade of the building resembles the Terem Palace in the Kremlin.
The DECR chairman travels a lot to cities in Russia and conducts educational activities, so he does not have a permanent place of residence. The main places where he stops are considered: the Holy Danilov Monastery, the Trinity-Sergius Lavra, residences on Valaam and in Chisty Lane for work meetings, as well as several mansions: on Solovki, in Trinity-Lykovo and on Rublevka.
Several years ago, in Gelendzhik in the village of Praskoveevka, on an area of just over 16 hectares, the construction of a Spiritual Educational Center at the Russian Orthodox Church began. This construction was covered in different ways by various media.
According to some reports, meetings and sessions of the Holy Synod will be held here, for whose members are also being built Living spaces... In addition, this center will conduct educational work with young people and will receive Primates and delegations from other churches.
According to other reports, this estate will be more of a dacha and is being built mainly for the summer holidays of the patriarch.
Patriarch Kirill's apartment
While still a metropolitan, he lived for a long time in Serebryany Bor in a small wooden house... Square land plot about seven thousand square meters. On the territory there are outbuildings and buildings for educational and church activities, but main house small and already quite dilapidated.
During this period, President Boris Yeltsin and his entourage decided to improve living conditions and presented to the clergyman five-room apartment the size of 140 sq. meters. The living space is located in the famous "House on the Embankment" at 2 Serafimovich Street.
He does not live here and never lived. Initially, the donated property was in very poor condition and not suitable for habitation. Over time, the apartment was put in order and a collection of rare books was brought here for storage, which Kirill's father began to collect back in Soviet times.
The apartment is located on the top floor of the building and has a magnificent view of the Cathedral of Christ the Savior. This is the only property officially owned by Vladimir Gundyaev.
According to CIAN, the apartments at 2 Serafimovich are over 100 sq. meters cost from 95 to 300 million rubles.
Address: Ermolaevsky per., 15/44
Project organization: LLC "SPAR"
Architects: Sergey Tkachenko, Oleg Dubrovsky; with the participation of: Ilya Voznesensky, Alexey Kononenko, Mikhail Leikin
Architects (at the stage of "working design"): LLC "Ecoproject +", with the participation of:
Elena Gritskevich, Olga Skums, Elena Shmeleva
With the participation of the studio "Parties" (computer modeling)
Chief Engineer: Elena Skachkova
Constructors: Anna Litvinova, Nadezhda Kosmina
Customer: "Stroyproekt-komplektatsiya"
Design and construction: 1997 - 2002
Egor Larichev:
This week, the most controversial of recent Moscow buildings is solemnly recognized as a museum value.
At the intersection of Ermolaevsky Lane and Malaya Bronnaya, at the corner of the Patriarchs, a house appeared a year ago, named by its creators "Patriarch" (the author of the project is Oleg Dubrovsky from the architectural workshop of Sergei Tkachenko). The ten-story egg-colored building is crowned with a round colonnade under a playful dome and a metal openwork spire stuck nearby, which are perfectly visible from the Garden Ring. It is impossible not to notice the pathetic "Patriarch". He was noticed: not a single architectural structure of recent times has caused more indignation in the professional environment. The building has already been contemptuously nicknamed "cake", and the debate is now only about what kind of cake it is - biscuit-cream or meringue? "Patriarch" just right to present the prize of spectator antipathies. Nevertheless, the house was recognized as worthy of the collection of the Museum of Architecture.
On June 27, the house will be solemnly “handed over” to the museum by Elena Gonzalez, Bart Goldhoorn and Nikolai Malinin, curators of the museum program “MuAr Project. Building No. ... ". The goal of the program is to replenish the MuAra collection with projects of the best modern buildings. At the exhibitions that replace each other every month (the next, dedicated to the "Patriarch", will just open this Thursday) show project documentation and photographs of the buildings selected by the curators, then all the materials on the CD go to the museum's archives.
The idea of the three curators initially seemed strange. Firstly, it is difficult to find an interesting house every month with the current quantity and quality of construction. Secondly, newly built, "fledgling" buildings are transferred to MuArt, although usually a ticket to the museum eternity is expected for decades. And then from construction dirt to museum riches. In riches, because a house that ends up in a museum is automatically considered an event in architecture. So the "Patriarch" who will become the hero of the exhibition. "Building No. 12" now deserves a serious, not a folk-culinary analysis.
Let's start with the history of the house. As the ancients said, ab ovo - "from the egg." And in fact, at first on the site of the "Patriarch" the same workshop of Sergei Tkachenko intended to build a twelve-storey house in the shape of an egg with rounded "French" balconies and decor parodying the Baroque style. The house would have caused a real sensation: the inhabitants of the Patriarchs could have witnessed a real Koroviev trick, and Moscow - a dashing architectural gesture. The project was even close to being agreed upon, but it happened after the 1998 financial crisis. The investor was not satisfied with the loss in space dictated by the complex shape of the building. The "egg" gradually transformed into a stupa, then into a cylinder that occupies the entire area of the selected area. Well, then the rounded walls straightened - and the "Patriarch" appeared. In its structure, only a slight narrowing to the top remained from the "egg" - it provides "insolation", that is, it gives the required amount of light to those residents of the "Patriarch", whose windows overlook a narrow alley.
The egg house was planned as a super-elite housing for those enlightened wealthy people who gravitate towards life in a modern art object. But the main building of the "Patriarch" is a completely utilitarian form, the traditional and lurid decor of which arouses sharp disapproval of the architectural community. And from the "art" remained the colonnade-rotunda and the spire-tower hovering over the city. They are very strange.
Hanging over the rooftops of Sadovaya's dwarf gray houses, this senseless couple looks like a perfect phantom. Corinthian column capitals gleam with unearthly gilding, amaze with the ligature of metal structures. Sculptures depicting the patriarch's customer, his architects and even residents should soon appear under the dome of the rotunda. Just a heavenly castle soaring in the Moscow sky!
But when approaching the “Patriarch,” beauty dissipates like a fleeting dream. The intersection of Ermolaevsky and Bronnaya is completely crushed by the cyclopean body of the building itself, clearly squeezed into the wrong place. This is the most banal elite house with garages, saunas and a swimming pool, entirely in the hands of the investor. That is, built on a tiny site in accordance with the laws of the market. The building threatens to burst from the abundance of filling, bulging balconies make it literally burst at the seams. In the best traditions of Luzhkov's architecture, "Patriarch" follows the principle of "contextuality", that is, he tries to make concessions and curtsies to the houses around him. As a result, it looks even more ridiculous and flowing. A shapeless living amoeba in a classicizing rotunda hat and a spire in its paw. A building with a "bifurcated" character is a classic case of architectural schizophrenia. A case worthy of an architectural physician or even a pathologist rather than an arch critic.
So why did “Patriarch” end up not in the anatomical theater, but in the Museum of Architecture? That is why, says Elena Gonzalez, one of the curators of the MuAr Project program, that this house is “an event that goes beyond the framework of architecture”. But if you look at the list of the latest buildings that have been included in the MuArt collection, it becomes clear that the curator is somewhat disingenuous.
It is just that within the Moscow Ring Road the resources of the program were exhausted. At first, the buildings “donated” to the museum were full-fledged Moscow architectural objects: residential buildings, shops, banks and schools. But gradually began a clear "shallowing" of buildings and curatorial "trips to nature." The restaurant-pier of Alexander Brodsky "95 degrees" on the Pirogov reservoir got to MuArt - beautiful, but chamber and very fragile in appearance. Then a private residential building in Gorki-2 from Yuri Grigoryan and the Meganom bureau. The last object is generally a nonresident recruit: "Building No. 11" was the Nizhny Novgorod building of the Planet IKS shopping and office center, designed by the workshop of Viktor Bykov.
The transition of curators to "younger" architectural genres and their departure from Moscow are clearly associated with the lack of new large objects in the capital that would be worthy of the Museum of Architecture. And if there are no decent and high-quality ones, let them at least be defiant. Welcome to MuAr, Mr. "Patriarch"!
Egor Larichev. THE TAKING OF THE "PATRIARCH". "Weekly Magazine", June 21, 2002
http://www.guelman.ru/culture/reviews/2002-07-01/Larichev210602/
Marina Khrustaleva:
Patriarch's is a place known for provoking unpredictable events. Once on the empty corner of Malaya Bronnaya and Ermolaevsky lane it was planned to arrange a memorial Bulgakov zone. Genius loci disposed of very enterprisingly and filled the empty "cube" with a building, almost twice its apparent volume. Up to the middle of the height, this is a quite respectable building with regular French balconies, paired semi-columns and semicircular bay windows at the corners. After the cornice crowning the sixth floor from the side of Malaya Bronnaya, a strange thing begins: the plane of the wall goes inward, the corner jumps up with a loose frieze, and from somewhere from the inside a tower begins to grow up like ledges. The two almost symmetrical towers, which appeared already in the early sketches, mutated in completely different ways under the influence of the place. The middle one, crowning the rotunda, resembles a layered lid from a box. The distant, completing Babylonian-Borrominian chord, from a baroque octagon with lucarnes, gradually, by the will of circumstances, turned into a kind of paraphrase on the theme of Tatlin's tower.
Vladimir Pirogov, head of the sector of the Moscow Monuments Protection Department, member of the Expert and Consulting Public Council (ECOS) under the chief architect of Moscow:
Soviet architects in the 70s designing panel houses, "got hungry" and now pounced on all possible styles, allowing wild eclecticism.
- Postmodernism?
- Well, you can say so: An example of modern architectural omnivorousness is a high-rise building near the Patriarch's Ponds, on the corner of Bolshaya Bronnaya and Ermolaevsky Lane. The venerable architect Sergei Tkachenko seemed to smell freedom and tried to "shove" everything he knows into this house - from the classic pediments and "crackers" (beams under the cornice) to the Tatlin tower on the roof and a sharp combination in terms of a circle and a square. At the same time, he seemed not to pay attention to the fact that the house was set in a historical environment.
- How was this possible? Wasn't the project approved at all levels?
- Yes, the project of the house on Patriarch's with the Tatlin tower on the roof, like all large structures in the center, passed the Council under the chief architect, which includes the heads of the Workshop on planning the central zone of Moscow, and passed. After all, the council does not check projects for taste. He only checks whether the house will disturb visual connections, whether it will outweigh it. And the Garden Ring is already built up with tall buildings to such an extent that it is difficult to seriously disturb anything there. On this segment, a three-point dominant has developed: high building on Vosstaniya Square, the Peking Hotel, and now this tower has appeared in the middle, enclosing this space in a triangle. Maybe this is not bad from an urban planning point of view.
Sergey Dudin:
[…] Patriarch's Ponds are from time immemorial one of the most beloved and revered places in Moscow. True, a completely natural question arises - why are there ponds, because everyone knows that there is only one pond? The fact is that once the place was called the Goat Swamp. In the 17th century, the estate of the Patriarch of All Russia was built there, and three ponds were laid out on the site of a drained swamp. By the way, the memory of the three ponds is preserved in the name of Trekhprudny lane, sung by the romantic and tragic Marina Tsvetaeva: "Hurry to Trekhprudny lane, this soul of my soul ..." She was once born in one of the houses on this lane. Unfortunately, nothing remained of the house.
At the beginning of the nineteenth century, two ponds were filled up, God knows why. From 1932 to 1922 the ponds were called Pionerskie ponds. For the native Muscovites, the ponds remained the Patriarch's. The immortal genius of Mikhail Bulgakov enveloped these lanes with fabulous romance, and anyone who sits on a bench in the famous alley hopes to see the figure of the mysterious Woland ... Although in Bulgakov's time these places looked somewhat different, and there is no longer a tram that took the life of Berlioz, who did not believe in the fate of , and many houses ...
[...] Imagine the joy of Mr. Preobrazhensky if he happened to see new house on Patriarch's Ponds, which is called - "Patriarch". Yes, the history of the famous ponds does not end with the adventures of Bulgakov's heroes, miracles continue! For how else, if not a miracle, can this unique house-palace be called. This even the Bulgakov professor never dreamed of!
Everything in this building indicates that the main task of its creators is the desire to decorate the historical place so beloved by Muscovites. Despite its impressive size and original architecture, the house surprisingly fits into the web of nearby lanes, with their, frankly, not large buildings. I would like to emphasize that the angular arrangement of a house always requires a special approach to the problem. architectural design corner. Take a look at the so-called "Nirnsee apartment building" in Trekhprudny. There, the architect highlighted the corner of the house with the help of a peculiar and charming "birdhouse". "Lanterns" adorn the corners of many other houses in the area. And our hero proudly stands at the corner of Ermolaevsky Lane and Malaya Bronnaya Street, exactly near the place where the oil spilled by Annushka played an extremely nasty joke with the head of Massolit. The majestic house seems to reign over its little brothers, like a true patriarch.
No matter how modern and fashionable the modern or hi-tech styles are, they do not fit either with the name of the house or with the houses surrounding the "Patriarch". Therefore, architects Oleg Dubrovsky and Sergei Tkachenko chose the magnificent so-called Russian imperial style, at one time designed to link the European architecture of the famous Rastrelli and Rossi with the Byzantine luxury inherent in the royal and boyar chambers. The main lobby was designed by the famous designer Jacques Garcia, the creator of the interiors for the Parisian residence of the Sultan of Brunei. Mosaic marble floors, columns, ceilings with exquisite stucco moldings, amazing chandeliers, carpets - all this evokes a somewhat nostalgic sadness for the long-gone times of Russia's wealth. But she cannot but instill sweet hope about her future, since you see such beauty before your eyes! Much could be said about the comforts of living in this house, but I will dwell only on a few. On the ground floor there will be a bar, a conference room, a pool with heated marble floors, saunas - there is where to receive guests and entertain them. It's not forever for us to huddle in the kitchen!
Specially trained staff will provide a wide variety of services: from massage and cleaning the apartment, to home delivery of meals, air tickets and fireplace maintenance. Yes, every apartment has a real fireplace. The newest amenities include a garage - you just press a button and the car is sent to its designated place. The pool can be accessed from the apartment by a special lift from the hall on your floor. In general, automation in the house, as they say, is "at the proper academic level" - at the request of the apartment owners, it is planned to install the "smart house" system everywhere, when everything in the apartment can be turned on and off using a touch-sensitive control panel (on the screen of the control panel - the plan of the apartment with all the details, just touch it). It is assumed that the owner of a home may refuse to use the services he does not need - as you know, they do not drag themselves to heaven. But it will probably be very disappointing to live in such a house and not enjoy the fruits of civilization ... Moreover, the expected payment for comfort is planned from 2.5 to 3.5 cu. e. per day. The rest of the utility bills are the same as in any other house.
The house will be commissioned in December this year, and one cannot but envy its future inhabitants. If Woland had visited Moscow these days, he would not have missed the opportunity to admire our surprisingly prettier city from a charming turret crowning a new solution to the "housing problem" which, in his opinion, once spoiled us ...
Olga Kabanova:
[...] Many houses in Moscow have not been built in recent years, it seems, there is no strength to be surprised, but the "Patriarch" is a multi-storey, magnificent, abundantly decorated, decorated with an outlandish tower, which flew onto the roof obviously from another text - a visual example of Novorusskiy and Novomoskovskiy style stood up for some reason with a piece of cake in the throat, which there is no way to swallow. Well, it is not digested, although there are houses in the city that are abruptly, more massive, richer, more representative. It seems that such important houses should be built for the rich and arrogant by bald cynical guys, without fantasy, culture and the habit of looking back at the world architectural fashion. Even if such people look ahead, it is only in the back of superior individuals and organizations.
But "Patriarch" was born in one of the best Moscow architectural workshops - the studio of S. Tkachenko - and was invented by a young, cheerful, completely "advanced" (self-determination) and fashionably cut team, which already had several stylish and modern Moscow buildings. This team is headed by Oleg Dubrovsky, who has a positive outlook on life, calm cheerfulness and charm, reminiscent of the actor and director Sergei Bodrov (junior).
The history of the appearance of "Patriarch" in the presentation of Dubrovsky is as follows. After the default, before which the brigade worked at Mosproekt-2, it became difficult with orders, so all possible projects of buildings in the center were required to be made "walk-throughs" - that is, with turrets, decorations and other historical splendor. The authorities wanted to do this and only this way - even cry, even laugh. It was at this sad time, either from despair, or from anger, that the house was drawn in general outline. It was decided to look at the problem cheerfully - in an era not with us reigning high tech to use slave labor and make a thing ridiculously hand-made, with a tower of Babel on his head, with colonnades and domes. Such a principled madhouse. The limit of absurdity. Because it’s boring to erect a building at all. Yes, it rises above the Patriarchs and presses. But if the customer wanted so many floors, then there will certainly be so many. In general, it was decided to answer the social (or boss's) order in full. So the hero of Sergei Bodrov (junior) directly formulated the text, which was just forming in the minds of the people. Someone who took his speeches with laughter, someone very seriously - with indignation and fear.
They laugh a little over the lined up yellow "Patriarch", they are more and more indignant. There are several reasons for this. Not the least is that not all architectural ideas have been brought to life. And impudent and not so. Not really - from a lack of funds: the facade was not laid out with white stone, the carpentry was made sloppy, the tower was not built a large two-volume tower, like a bell tower, which makes the house look somewhat sham. But daring ideas - to concrete, for example, a pond for an elite parking lot, and to build an indoor market on the remaining squares - were easy to ignore. Because on the pond, they still had to build a powerful monument to Bulgakov, which includes a multi-meter stove, stepping into the water, and a bench erected on a pedestal, on which a bronze writer sits. Much cooler.
Another reason why "Patriarch" is not read by an ordinary architectural consumer is that it is difficult to joke and arrange provocations in our city. And not because the history of modern architecture does not know them (it knows them, and Moscow too), but because, in all seriousness and with great pathos, many completely hilarious buildings have been built here, much more like a cruel joke and inappropriate provocation. Here the situation is similar to National Bolshevism, which, for all Limonov's steepness, will never surpass the madness of the pure in heart and mind of the Amilov supporters. So, "Patriarch" is quite comparable, for example, with the new school building of Galina Vishnevskaya. And it was built without any mockery by very not young and serious people. But not far from the school, on Ostozhenka, a Moscow version of one of the most famous Barcelona houses of Gaudí was built - well, absolutely hilarious, a real parody, pure kitsch. And the "Patriarch", apparently, is too big, expensive and majestic to make fun of him easily. Yes and square meter in his vast apartments is no joke.
Another consideration brought by those dissatisfied with the "Patriarch": they say, this is a special place, Moscow, with a cultural tradition. But what good can be expected from a place about which it was once written that there was either the devil himself, or his henchman on the bench was sitting and joking in the most unpleasant way, and many people believed in it, as in reality. In general, this place is not clean.
Responding to the attacks of colleagues, the architect Oleg Dubrovsky has repeatedly said that it is impossible to make a reserve out of the Patriarch's Ponds. It has changed, and its inhabitants have changed. The architecture just reflects these changes honestly. After all, no one seriously encroaches on rating television programs that go beyond the bounds of decency, since the viewer loves them. True, Dubrovsky notes with satisfaction that the customer today wants to build in a modern way, and there will be no more houses like "Patriarch" in his life. Laughed it off. So, maybe there is nothing to blame on the architect, if he is not ordering a frozen hit.
What do you think about this?
Daniil Dondurei, editor-in-chief of the Cinema Art magazine (lives on Patriarch's):
It seems to me that this is a fake, papier-mâché building - a fake. Old Moscow, a patriarchal place that preserves many collective myths, a place of national memory received a house that could only be appropriate in United Arab Emirates... It is like a sour cream cake that cannot be eaten without damage to your health. This is a real shame. The most vulgar mixture of different styles. This is worse than television series that disfigure the consciousness of the population of a huge country. TV series are quickly forgotten, and the house is in front of you for decades.
Natalia Sipovskaya, editor-in-chief of the Pinakoteka magazine (works for the Patriarchs):
Moscow, I believe, will devour everything, it is such a plasma-like city. She ate Tsereteli. But this house amazes me. He is terribly unpleasant: rich, pretentious, clumsy, a skirt on the roof. As if people, not knowing how to overcast seams, decided to build a cloak with lace.
Anatoly Smelyansky, doctor of art history (lives on Patriarch's):
Yes, this is a conspicuous house, with such a funny Tatlin tower on the roof. Flight of the New Russian fantasy. He does not annoy me, although I know that many simply hate him. It is huge, solemn, looks like such a miracle Yudo and organizes the space around. But after all, this place is terribly architecturally dirty - there are houses from the beginning of the century, and such gray senseless tsekovskie boxes. So it doesn't spoil or destroy the landscape.
Olga Kabanova. AT THE CORNER AT THE PATRIARSH. Izvestia, March 13, 2002
http://izvestia.ru/culture/article15613
Kirill Ass:
[...] But here we see the residential building "Patriarch" by the workshop of S. Tkachenko at the corner of M. Bronnaya and the former street of Zholtovsky. And what does this building reveal to us? An immense enumeration of inaccuracies, misses in scale, absurdities. Let's take a closer look at this curiosity.
Let's start with the main thing, with the body of the building, its mass and shape. What made the architects build a thirteen-story building in this place? Neither the rather spacious area, nor the surrounding houses, nor the logic of the development of the fronts of intersecting streets prompted this. Peace has always been a valuable feature of this corner of Moscow; it is not without reason that this is one of the most expensive areas. An irregular quadrangle of five to seven-storey buildings bounded the space, smoothly converging through the dense greenery of the square to the culmination of the entire area - the surface of the Patriarch's Pond. Above it in the south rises a yellow dwelling house of the 1940s, nobly asymmetrical, crowning the entire composition of the quarter with its colonnade, and built, obviously, not without intent and with sense.
Now in the far corner of this quadrangle the house "Patriarch" is defiantly sticking out, whose completion, as if in fear that it might not be accidentally noticed, the architects decorated with two "spatial compositions" at once. The house, in essence, is completely devoid of a clear form - sluggish curvatures, vague hints of some figures, fragmentation of the decor - everything contradicts the mass of the building, as if it is shy of its size, and is proud of it, like the tallest student in the class. The building stretches out to the intersection of streets, trying in vain to take over the entire space of the pond. There is no respect for the neighbors in the block: the house of the former Moscow Architectural Society of arch. Markov is dismissively wiped aside, what can we say about other "ordinary buildings". So the even and balanced perimeter of the Patriarch's Ponds was suddenly tactlessly destroyed. What for? Only at the whim of the client? With current housing prices in this area, such a height is completely unnecessary - after all, apartments will still be snapped up for any money!
Maybe this shape is caused by the internal need of the building? Let's take a closer look at it. Alas! We sraeu are forced to notice that in principle there can be no internal motives for external expression in a building of this type - after all, this is a shell & core, an empty box. So we have to come to terms with the fact that the complex composition of the facades is just a figment of the architects' imagination: after all, they did not pay attention to external influences, and the building has no internal ones.
But since there are no motives, there are at least the necessary elements. It used to be a sad joke that windows are the main enemy of the facade. In our case, one can hardly say more precisely. It would seem, what is easier than, without any hindrances (since there are no layouts), to cut through windows of the correct sizes? But the architect's hand trembled - and the openings are more unpleasant than the other. And it's not just the proportions - the fillings are terrible. What prevented at least frames and transoms from making proportionate to themselves? Why are vertical divisions almost five times thicker than horizontal ones? Either this is some kind of ridiculous plan, or just unacceptable indifference to their work. The windows are designed as a kind of French balconies. Or they pretend to be them, from below it is impossible to distinguish. The grates are carefully drawn, but it seems that a pencil was lost, and only charcoal was at hand. What a contrast with the neighboring house, where the ligature of the balcony rails is so touching. Under the windows on the rounded corner of the house, the bars suddenly bent away from the facade, having lost all meaning. Decorativeness in itself. It is the same everywhere, as if the architects are only concerned with some individual fragments of the building, and it will not add up to a complete idea, perfected in all respects.
The project manager S. Tkachenko, in an interview with G. Revzin in the Project Classic magazine, speaks about the “element, perhaps, of a joke, ... irony”, manifested in the application of details, about the “distance” created by irony. It is a pity that the distance is so small that it is not visible. Skillful use of exquisite décor can help to hide the imperfections in spatial composition caused by the overwhelming conditions of the building or the awkwardness of the architect, of which we find many examples in the past. Avoiding decor, in turn, exposes all the intrinsic features of a building or interior. But here the decor is either used inappropriately or horribly drawn, and not only does it not mask the hopeless disproportionality, but on the contrary, accentuates it, making the vulgarity of the building blatant.
Art critic G. Revzin is delighted with the quality of the workmanship. But where are they? What gets to the unfortunate passer-by is a pitiful semblance of details. Giant undivided columns on the ground floor step in front of us in a ragged rhythm, threatening to crush us. The deep throat of the entrance turns its lip over the heads of the audience, trimmed from the inside with a miserable slatted ceiling. This is what we see before us. Let's raise our eyes. A few more details are piling up on us - some semblance of huge modulons hang from the facade. Here and there, scattered schematic rusts sluggishly denote aggressiveness.
Get away from this dangerous neighborhood! Let's see, standing aside. All the increasing rows of pilasters rush upward. But what hurts the eye? The pilaster is dark - and all terribly low, and the capitals are only carelessly sketched. For some reason, the pilaster step is inconsistent. There are hints of cornices in between. The hints are unfortunately rude. On the tenth floor, it seems, I got tired of drawing cornices, and the pilasters, while maintaining their thickness, suddenly became three times higher. Above them, in a height unattainable for sight, a well-drawn entablature seems to be. For some reason, it is littered with modulons, and besides, it suddenly rings out to give a place at the turn for a clock that is completely indistinguishable from the ground.
Above all this, a rotunda hovers, whose order was unadorned by Vignola (who, by the way, almost never adhered to his “rule” in practice), and whose columns are thus deprived of narrowing. However, the rotunda turns out to be not a rotunda at all, but some kind of impossible in terms of curved figure, along which the entablature stretches without any loosening, as the baroque masters never dreamed of. This figure is covered with the very same two "compositions" of conditionally stainless steel. One of them has the progenitor of a clam shell, and the second is a parody of Tatlin's tower. The whole house is painted with flashy yellow and white, in imitation of the pseudo-tectonic "Moscow" color, which is why the form is even more destroyed, because everything with which the facade is decorated has nothing to do with either the structure of the building or its meaning, and is, in fact, completely abstract a pattern of motley, as it were, "architectural" elements, composed in the most impossible way.
Now, after taking a break from the influx of impressions, let's try to understand what all this is about? We read about the excellent quality of the parts. But besides the quality of handicraft work, there is an artist's work, which is omitted here. And when the details are finally ready, it would not hurt to place them on the body of the house with dignity and taste. And this, too, seemed superfluous, as you can see. And when it comes to "molding", dozens of pilasters and kilometers of cornices, fine work is canceled. But here there is an arrogant (in every sense) contempt for the "common" person - all the beauty "from Vignola" - for a dear client in the skies, or on the back, "his", courtyard facade, but let passers-by be content with plastered bearing pillars at the entrance - the only truly honest details of this building, but avoid leaving the underground parking lot.
S. Tkachenko spoke about "collage", "irony" in relation to the so-called Moscow style. But as a mockery of the "Moscow style", the house failed, because it repeats all the compromises inherent in the object of ridicule. Here all the innate features of Moscow architecture of the 90s are presented as a selection. It turns out something like "ate a siskin." S. Tkachenko, like almost all our masters, does not seem to see something important - form and proportions, the most important relationship between material, detail and the whole. The house is completely devoid of them. More precisely, these relations, of course, exist, but no one paid attention to them. And this cannot be the principal position of the architect, because such an approach generally takes him out of the field of architecture. And then there is no need to discuss details, subtlety of irony and so on. This is about something else. But this topic was not raised in the quoted conversation. But apart from a few neat plaster casts, there is everything else, everything in between. And in essence, this "in between" is the main thing in architecture. It is not only the profile that is important, but also the line along which it goes. Not only capitals are important, but also entasis and intercolumnium. The flesh of the building is important, not just the makeup. Accuracy is important. Tact is important. Taste is important.
After all, if the architect is subtle enough to clearly see the flaws of Moscow construction recent years, is it worth wasting your time and the customer's money on a monumental giggle?
Evgeniya Mikulina:
[…] Stalin's buildings are characterized by a certain grotesqueness - a conditional exaggeration of masses, details, images. This grotesque is a natural reaction between incredible architecture and the standard environment it was intended to transform.
The interpretation of this motive seems to be the house “Patriarch” by Sergei Tkachenko's workshop. Its authors assert an ironic attitude to the tasks of the profession, refer to Vignola and declare that they expected to amuse the great theoretician of proportions with their subtly thought-out pranks. They are well acquainted with the literature on which the Soviet classics of the 1950s relied.
But if the classics are built on the hierarchy "construction-tectonics-decor", then "Patriarch" is anti-classic, here the decor is fundamentally more important than anything else. The house is literally not visible behind the incredible amount of details: behind the cornices, columns, balconies, as if there is no wall, it seems that all possible rules for constructing an architectural form have been violated.
Meanwhile, in the appearance of this house, a lot is just taken into account. For example, it is pyramidal for functional (insolation) and aesthetic reasons: its silhouette slightly resembles both "skyscrapers" and their prototype - ancient Russian tents (here the "literary" name of the house is partly materialized). Its facade is vertically three-part: there is a "heavy" base, a neutral center and a lightweight upper part. That is, quite Zholtovsky. And even the Constructivists have slightly "inherited" in it: the construction is crowned with a paraphrase of Tatlin's "Tower of the Third International".
The "Patriarch" looks like a feast of architectural excesses, the taste of which is spoiled by numerous violations of the recipe: for example, all the details are not scaled, and all the rows of the order along the vertical of the central volume are the same. It is clear that these are exactly architectural jokes, but until you figure it out, it becomes no longer funny. However, the very fact of grotesque exaggeration connects "Patriarch" with Stalinist prototypes, and the awareness and irony of this gesture bring architecture to new level... This is not a poorly realized imitation of the classical tradition, but it is precisely its interpretation, to which every free creative person has every right.
"Patriarch" is an example of what would be obtained if the decor were a true sign of the "Stalinist style" - a position that is most often adhered to by critics of retro fashion and its adherents from commercial construction. But the essence of this style is in the interpretation of volume, in the nature of the division of the masses, proportional to the bases. All three objects of this issue show that in the existing negative practice of “neo-Stalinist” architecture, it is not the style itself and not the idea of referring to it that are flawed, but the misunderstanding of its characteristics and the methodology of working with its techniques. And that the creation of a “new Stalinist classic” today is just another professional architectural challenge. Which nothing prevents you from doing well.
Georgy Kokhtagora:
[…] And now, from general considerations, let's move on to specifics and approach the most bleeding wound of the city - the Patriarch's Ponds. Here, at the bottom of a dehydrated old pond, everything is turned upside down and dug. Someone wanted to get to the bone marrow of Moscow. All this sadistic surgery, jerking and drooling, from the corner of Malaya Bronnaya and Ermolaevsky Lane looks out at an amazing building - a new residential elite house, blasphemously nicknamed "Patriarch". And it is the “Patriarch” house that can be called the culmination and apotheosis of the “Moscow style”. This bright yellow architectural hysteria represents the angular multi-storey building with a maniacal repetition of absolutely identical double pilasters to the full height of its facades and the same stubborn repetition of glazed semicircular balconies posing as bay windows. The hulk ends with a jubilee cake of several rotundas molded on top of each other, crowned in turn - oh, gods! - a kind of paraphrase of the "Monument to the III International" by the avant-garde sculptor Vladimir Tatlin! ... From now on, this extreme architectural manifesto can be seen from everywhere, confusing the eyes and shaking the imagination of even seasoned aksakals from architecture and art history. It should be added to this that the "Patriarch" house is the creation of the architect Sergei Tkachenko. And such creations, of course, are not always so exalted, in the "new Moscow" you can find dozens, or even hundreds, and all have their own authors, some extremely eminent
Georgy Kokhtagora. MOSCOW CHIMERA. ARCHITECTURE OF LAST TIMES. "Tomorrow", January 7, 2004
The residential complex "Patriarch" is located in a unique historical area of Moscow near the Patriarch's Ponds. This place gained worldwide fame thanks to the famous novel by Mikhail Bulgakov. Today the area of the Patriarch's Ponds is called the "Silver Mile" of Moscow. Elite apartments in houses on Patriarch's highly valued in the capital real estate market for their rare combination of rich infrastructure, quiet side streets and convenient transport accessibility.
Apartments in the residential complex "Patriarch"
In the residential complex "Patriarch" 28 apartments deluxe class from 148 to 380 sq.m... All apartments can be equipped with a fireplace. The windows are fitted with wooden double-glazed windows, the ceiling height is 3.2 meters. On the top floor is located luxury duplex penthouse with an outdoor terrace.
Description and infrastructure
Residential complex "Patriarch" was created according to the project of the architectural bureau of Sergei Tkachenko and is a monolithic 12-storey building, noticeably dominating over the surrounding buildings.
The facades are richly decorated with balconies, columns, sculptures. The roof of the "Patriarch" is crowned with an unusual turret - a kind of tribute to the ambitious, but not yet embodied, project of the "Tatlin Towers". Nevertheless, many famous architects and urban planners have repeatedly stated that the Patriarch Residential Complex is one of the ugliest buildings in the capital.
As for the engineering and technical equipment of the complex, it is made at the highest level. The control system allows you to control the operation of the equipment remotely from a single control panel, on the screen of which the functioning of all systems in the apartment is displayed - lighting, microclimate, audio-video complexes. The building has an autonomous transformer substation, ITP, automated systems fire extinguishing and smoke removal. Permanent stay of engineering personnel is organized.
The residents of the house are especially proud of the exclusive design of the luxurious lobby by the famous French designer Jacques Garcia.
Among the infrastructure facilities there is a chic pool, decorated with marble and a lighting system, a gym, a bath complex, which includes a sauna, a hammam, and a snow room. At the service of residents - a cigar room, a cafe-bar, a fur store.
The residential complex has underground bunk garage and round the clock security.
House Patriakh at Malaya Bronnaya Street, 44 was built on the corner with Ermolaevsky lane, next to the Patriarch's Ponds, by 2002.
The creation of the architect Sergei Borisovich Tkachenko, like his egg-house on Mashkov Street, was severely criticized. But if the latter is somehow already accustomed to, then the architectural historian Vladimir Zinovievich Paperny called this house the worst example of "Luzhkov architecture."
Photo 1. House "Patriarch" on Patriarch's Ponds in Moscow
Despite its impressive size, there are only 28 apartments in the building. To services of those living here: underground parking, a gym and even an indoor pool.
Roskoschestvo and presentability of the house "Patriarch" is intended to decorate the facade with its own coat of arms.
Photo 2. Elite house located on Malaya Bronnaya street, 44
The structure is crowned with two structures.
One of them in its appearance resembles a twisted tower-monument, never built according to the project of Vladimir Evgrafovich Tatlin in honor of the III International (the true dimensions of the original were supposed to reach 400 meters in height, and the rotating levels with their windows should always be directed to the sun, exactly following the rhythm of its movement across the firmament). Another design looks more like a meringue or whipped cream hat.
The most striking thing about these elements is the material from which they are built. Surprisingly, this is an ordinary tree. According to those who recently visited the roof of the "Patriarch", part of the structure is already beginning to rot.
Photo 3. Surprisingly, the completion of the building is made of wood
Interestingly, according to the project originally proposed by the architect Tkachenko, there should have been a house that looked like a Faberge egg. As we noted at the beginning of the article, the architect nevertheless built the building in such forms in Moscow.
The elements of the building's decor were 12 sculptures made with a claim to antiquity: a town planner, a chronicler, a builder with a brick, a builder with a trowel, a dispute figure, a muse, a sculptor, a stonemason and two more allegories - a whip (guardian of the city) and a carrot (a kind citizen) ... They say that the image of each sculpture has its own real prototype. Thus, the chief architect of the city of Moscow, Alexander Kuzmin, is represented in the statue of the urban planner.
And again about the elitism of the house, the cost of apartments in which is not small. The same sculptures, as well as the wooden structures on the roof, are made of a cheap material - ordinary fiberglass with an applied covering layer "like a stone".
Based on this, the question arises: how long will the completion of the "Patriarch" house have such an unusual appearance?
From the history of the elite house on Patriarch's Ponds
It is not known for certain who bought apartments on Malaya Bronnaya, No. 44, but these clearly wealthy people needed peace and quiet, and therefore even Alla Borisovna Pugacheva was refused to purchase housing here, whose fans, replacing each other, would surely spend the day and spend the night under its windows and at the entrance.
It is believed that the house was erected for the "team" of the then newly elected President Vladimir Vladimirovich Putin. But, as far as we know, they began to design the house even before its ascent to the Russian political Olympus.
During the construction of the Patriarch, an incident arose associated with the nearby Patriarch's Ponds - they were drained.
Rumors immediately spread that an underground parking lot or even a new skyscraper would be built here for the elite residents of the building. But the rumors turned out to be rumors, or maybe the authorities were afraid of the protests of the surrounding residents, and the reservoir remained in its original place, and the territory around it was reconstructed and ennobled.
This is the history and features of the Patriarch house on Patriarch's Ponds, located at 44 Malaya Bronnaya Street.
