The Lviv Hotel is a characteristic representative of Soviet constructivism in architecture and at the same time a bright phenomenon among other buildings of this era, despite the fact that at the time of its construction the main task of local architects was to adapt the standard project to the existing situation, and the creation of exclusive architectural elements, to put it mildly, was not welcomed (especially if they had a purely aesthetic function). The architects of the project Konsulov Anatoly Dmitrievich and Nivina Ludmila Denisovna nevertheless managed to circumvent these rigid restrictions within the limits of the possible. Konsulov, "responsible" for the aesthetics of the building, created a partly romantic, partly progressive-futuristic image of the complex, primarily due to the many author's details, which turned the standard "Khrushchovka" into a piece of art.
Having thoroughly studied not only the project itself, but also a huge number of sketches created by Konsulov, we come to the obvious conclusion that the pragmatic environment still thoroughly clipped the wings of the author, and most of the ideas either did not pass the approval of the party organs, or crashed into the realities of the Soviet reality, the human factor of performers, the shortage of materials, etc. And the ideas, by the way, not only carried great aesthetic value, rational design and ingenuity, but were frankly prophetic, and not only for functionalism, minimalism, etc., but also for other more romantic and bionic architectural trends. This is especially clear after 65 years.
The goal of the reconstruction project is to at least partially imagine how the author could have turned around without all the everyday obstacles of the time, and at the same time to at least virtually collaborate with our famous ancestor if it was unable to during his lifetime. Most of the ideas or principles are taken from the colossal archive of his sketches. This project concerns only the use of the roof for a more respectable segment (penthouses) and is the first part of a dilogy on the reconstruction of the hotel.