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 first part of this architectural dilogy - the development of the roof of the Lviv Hotel for a respectable segment of hotel apartments (penthouses) - served as a base for the main part of the hotel reconstruction - a large-scale architectural solution for the organization of the courtyard area of the complex (still partially used for chaotic car parking, and for the most part carelessly vacant), the transformation of a huge ownerless space into a luxurious recreational and entertainment zone, taking into account all the needs of hotel visitors, neglected by the hotel's visitors. With the study of these needs and analysis of similar establishments in Lviv and the region (local trends, trends in the hotel business), as well as in the world practice, and began work on the project, as there was no detailed design task with a list of required premises. Thus, a list of mandatory areas was formed, a brief description of which it is logical to start with the entrance group.
So, not having a precise planning concept of the yard, the author starts the zoning process with a logical arrangement of those elements that are technologically necessary and have quite clear dimensions described by the design norms, or due to existing buildings, passages and other factors. Thus, it was necessary to take into account the building of art workshops of the Opera Theater and residential building No. 6B on Kulisha Street, cutting into our plot, fire access to them and other nuances. Since a considerable part of the courtyard currently belongs to the aforementioned house, it is proposed to annex it to the atrium territory, and in return to give the residents free access to the complex, or in general, taking into account the large scale of our object, to buy out the apartments from the residents and to resettle the hotel employees. A small technical courtyard is left for the art workshops and direct access to the second level of the recreation area for the theater staff. The current entrance to the courtyard remains in the same place and is equipped with a guard booth, but now it leads to the underground level located under the entire territory of the complex. The existing technical annexes of the workshops have been moved there. The main purpose of the underground level is car parking, which is so necessary nowadays. At the time of the hotel's construction - 1960. - There was much less traffic and the parking lot was located in the right one-storey wing on Vagova Street, which then belonged to the hotel. The layout of the underground garage is not developed by this project, as it is standard for such premises and is regulated by a grid of reinforced concrete columns 6 x 6 m, which in turn is set by the existing structural system of the hotel building itself and serves as the basis for the structural scheme of the entire atrium. In general, part of the metal structures of the complex rests on the bearing walls, but still the main volume is supported by metal and sometimes wooden columns. The glass covering itself is attached to a system of rafters made of rolled metal of different cross-sections so that the iron framework does not protrude beyond the glazing and from the outside the plastic shape of the glass dune can be read unobstructed, like a single giant sculpture. Traffic on Kulisha Street is one-way, so there is a separate entrance and exit in the appropriate order. The turning radii are minimal for the reconstruction of the historic districts of the city. The circular type of ramp was chosen for the descent for a number of reasons: it corresponds to the aesthetics of the atrium, it has already been used by A. D. Konsulov in a similar situation (Dniester Hotel), in this case it is more rational in plan, visually attractive for visitors (it is deliberately bordered by a gallery on the second level and mostly glazed) and, finally, its shape forms two important spaces at once. The first is a water reservoir in the center of the spiral ramp, where rainwater from the vast area of the glass structure flows down a spectacular glass "whirlpool". This project involves the maximum use of "green" technologies, and since rainfall is not rare in Lviv, it is at least not economical to ignore this fact. Rainwater from the tank in the center of the ramp should be distributed by pumps to all technical needs of the hotel. The second space formed by the exit-street is the entrance group itself. After the distribution of passages and ramp, it automatically found itself in the center of the courtyard, almost directly opposite the exit to the courtyard from the hotel. Symmetrically with respect to the central axis of the vestibule of the main entrance from Kulisha Street, an identically shaped volume of the shopping area appeared, and together with the ramp they organized a hospitable and memorable entrance, which with its shape invites visitors inside and at the same time forms a small "square" necessary in such cases. To the left, the vestibule is accessed by a control window from the security premises of the complex. A representative main internal area of our greenhouse opens up before the entrants. The layout of the second level includes not only ergonomics but also aesthetics (factors of equal importance and interdependence, according to the author of this project), and is designed in such a way that the openings in the ceiling provide a view of the main spectacular dominants and even direct the viewer's eye towards them. The main dominant feature of this project is the artificial rock in the middle of the courtyard, pierced by two glass pipes of panoramic elevators. It is also one of the main supporting pillars of the entire structure. Rocks of this shape are found in different parts of the world (Indonesia, China, America, etc.), everywhere have their regional features, but they have a common feature - they are always bright sights, wherever they are. What to say about the center of Lviv, where the appearance of such a rock is, to put it mildly, unexpected? On the side of the restaurant, the monolith is immersed in a pond, in the middle of which there is also a stage for the orchestra. Numerous jets of water cascade down from the rock into the reservoir, naturally in such a way that the spray does not reach the stage, and the intensity of the waterfall is adjusted depending on the concert program so that the noise of the water does not drown out the performers. On the opposite side of the stone, there is a relatively flat chamfer across the entire height of the stone, under which there is a small sports area with fitness equipment and instructors. From this platform visitors can try their hand at rock climbing, the most successful ones can climb through a specially designed hole to the observation platform on the top of the mountain and from there see a magnificent view of the entire glass barchan. Less sophisticated in mountaineering people can get there by elevator, or on a picturesque bridge from the stairwell of the hotel. The entrance area is also full of flowerbeds of different shapes, made in concrete according to the style of the project, as well as most of the park and recreational spaces of the atrium. To the right of the main entrance is the grand staircase to the second level, combining the bionics of the orangery with the characteristic elements of functionalist staircases. The location of the main entrance opposite the hotel exit tempted to resort to the pompous symmetry of baroque parks, but the author followed the planning principle of Japanese gardens, where the architect managed to create the illusion of a huge tangled park on a relatively small area, using park elements to guide the visitor along a complex trajectory and successively open to him picturesque and informative views. In our case, in order to pass through the atrium, a person will have to walk around the entire area along one of the winding paths and, whether he wants to or not, enjoy the views that the architect strongly recommends to him.
Extended dining area of the existing restaurant - the need for it becomes obvious at the first glance at the situation: it is now enlarged by a temporary tent-covered enclosure similar to street cafes, i.e. there is a need for it. The placement is dictated by the function - direct neighborhood with the existing hall. It should be noted at once that in Anatoly Konsulov's sketches, taken as a basis for this project, this was originally envisioned: The restaurant hall smoothly flows from the interior into the courtyard, gradually blending with the moderately curbed wild nature; in addition to flowerbeds and lawns, there appear paths of chipped wild stone, boulders with moss, park sculpture, sometimes stylized under Carpathian ethnos, a pond with a stage for the orchestra in it and water cascades, bridges, vines and other elements so typical of the work of A. D. Konsulov. D. Konsulov, as well as for the coryphees of the genre of that time, such as Frank Lloyd Wright, Le Corbusier, Alvaro Aalto and others, whose ideas he was inspired by. The design of the columns in the restaurant, the pond flowing into the interior, etc. are also based on them (K.A.D.'s sketches). Since the floor level of the restaurant is 75 cm higher than the first level of the courtyard, small staircases and retaining walls appeared in the interior, forming cozy round niches for each table, similar to the theater boxes and located radially around the stage, which greatly enriched the interior. Although judging by the photos from the times of construction of the Tourist Hotel (its original name), its finishing, despite the difficulties of coordination and lack of materials, corresponded exactly to the project, the realization of the park in the courtyard did not come to that time. Speaking of finishing: the current state of both interior and exterior of the building with each next renovation irrevocably distances it from its original appearance, as well as from the status of a unique work of constructivism, and returns it to a typical "Khrushchovka", declaring the post-perestroika rustic aesthetic preferences of its current owners, and the trends of modernity in general. Therefore, the visualizations use not photos of the existing object from life, but a three-dimensional model meticulously restored from photos and Konsulov's original design.
The next zone is a children's zone, its necessity in public places can hardly be overestimated, and its presence is especially important in the recreation and shopping areas: for a full-fledged rest of adults (solvent) people it is necessary to give them the opportunity to entrust small children to the vigilant staff in a safe and highly coveted place for the latter and serenely focus on their own relaxation and shopping. Accordingly, the children's area is as far as possible from the street, bar, casino and the main pedestrian artery of the complex, partially viewed from the restaurant through a decorative web of fences in the openings (these are the most appropriate to the bionic aesthetics of the project panels made of foamed aluminum). The children's area extends over two floors, which gives the opportunity to give free rein to the imagination in its more detailed design (this project is conceptual and is limited only by its zoning) and to use all the advantages of this height in the design of attractions for children, such as rope trampolines, systems of galleries, stairs, ropes and ramps, spiral tube slides and so on. The entrance here is hidden from the main streams of the public, but from the central space is accentuated by an arched bridge with the balcony of the second tier of the children's town, which together with the layout that draws visitors there will attract children, and those in turn their parents. A trap awaits parents who have already vacated the area: a turn into the shopping area opens up in front of them.
This zone is a round two-light space surrounded by retail outlets, the composition of which is also not random: stores with costume jewelry, souvenirs, jewelry, flowers (proved to be in demand in hotel complexes), perhaps a couple of small themed cafes, pastry stores - in general, a place where visitors can slightly unload their purses. Stores and cafes are two-storeyed, but the second floor-gallery is lower than the rest of the atrium, because in such chamber rooms four-meter height is not required. They are illuminated from above through the glass roof of the complex. Part of the windows overlook Kulisha Street, attracting occasional passers-by with the bionic extravagance of glass waves. As mentioned earlier, one sector of the commercial building, adjacent to the main entrance vestibule, is designated for the protection of the entire complex.
According to our research, not the least place in the local entertainment culture is occupied by a bar, a minicasino with slot machines, a billiard room and possibly a cigar room. These rooms are as far away from children as possible and hidden in the far corner of the lower level of the atrium corresponding to the first floor of the hotel, due to the fact that their function traditionally involves artificial lighting. In total, the project envisages three levels, each of which, as it increases, becomes smaller in plan and further away from the existing internal walls and, accordingly, from the windows of the hotel rooms, in order to ensure the penetration of the maximum amount of natural light in all necessary areas, as well as to prevent too close proximity of the upper levels of the atrium and the windows of the guests (minimum 4-5 m). The same considerations are behind the futuristic design of the second level fences, which can be seen in the vertical section: the beveled surfaces of the fences, almost at 45 degrees, seem to cut through the sunlight and are designed to let maximum daylight down. And the flowerbeds built all around the perimeter of the second level create the atmosphere of a tropical garden for the observer from the room of the second and third floors: plants preferably exotic, lianas, vertical gardens in several places to enhance the jungle effect, as our greenhouse is supposed to be heated. The second and third levels do not coincide in height with the hotel floors, as according to the Soviet norms the height of the latter is 2 m 80 cm from floor to floor, which is unacceptably low for our terraces, and are connected by transitions through intermediate platforms of the main staircase of the hotel. Somewhere in the same array (with the casino and bar) are public bathrooms and other small utility rooms. The rest of the first level is occupied by flowerbeds, small artificial ponds with mini-fountains, a winding system of walking alleys between them, cozy curdoniers with exclusive benches - in general, park space, as well as the second and third levels.
In addition to the promenade area and the second level of the children's playground with its own entrance on the second tier there are also several two-storey two-light rooms adjacent to the wall of the theater workshops, the building itself is a segment of the ordinary development of the street (richly decorated facade facing Kulisha Street and actually a bare plane of the side wall, designed by the authors for the completion of subsequent buildings). The function of these premises will presumably be determined during the operation of the complex, perhaps it will be additional coffee shops (with their own bathrooms), exhibition halls or something more relevant. By the way, the whole promenade and park zone of our object can and should be used as an exhibition area: sculptures, installations, etc. should be placed everywhere in the form of small architectural forms (they can be sold in parallel). (they can be sold at the same time).
In researching current leisure trends, an unexpected and very inspiring trend of vacationers reading books, and print rather than digital, has come to light. It is not without pleasure that I am supporting this good start by establishing a public library on the second floor, where it was determined by zoning because of the abundant natural light through the glass roof and the need for a location away from social noise, forming an idyllic island enclosed by a high wall. Like all self-respecting libraries, ours has a second-level gallery and metal staircases running along the high shelves.
This is the end of the list of zones, but the project is sketchy, there is a lot of space, the layout is mobile, and therefore it is possible to flexibly adapt to new needs that will crystallize after the opening of the complex. All levels have exits to the two existing stairwells of the hotel, access to two elevators, and the second tier also has a grand staircase from the courtyard. One more thing about the use of green technologies in the project: it is proposed to glaze the "dune" not just with glass or double-glazed windows, but to splurge on glass with a transparent coating, which works as a solar battery, as well as has a controlled function "chameleon", allowing you to dosage the sunlight if necessary. This technology has existed in the Ukrainian construction market for quite a long time and quickly pays for itself. In addition, the flat roof of the Opera House workshop building can be used for solar panels. Such a small power plant will allow the hotel to become, if not completely energy independent from the city, at least partially cover the cost of electricity. In light of the events of recent years, the advantages of such investments are becoming clear.
The aim of the reconstruction project is to at least partially visualize how the author could have developed without all the domestic obstacles of the time, and at least to cooperate virtually with the outstanding ancestor, since it was not possible during his lifetime. Most of the ideas or principles are taken from the vast archive of his sketches.