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FAKTURA
FAKTURA
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FAKTURA
Type
Russia’s relationship with the
art of cinema is possibly more intertwined with its political history than any
other country. Its use as a tool for political reform was exemplified by the
great Russian director, Sergei Eisenstein with his ‘collage-editing’ technique,
which yielded dynamic constructivist film sequences, where collisions of images
were used to elicit an emotional response from the audience.
‘Faktura’ exemplifies our
approach to re-imagining an appropriate new facade for the Pushkinsky Theatre
in Moscow as it combines the constructivist tradition of applying the abstract
or ‘dematerialist’ theories of artists like Kazimir Malevich with the manner of
making ie. real materiality. Cinema is a product of the dichotomy between light
and darkness. The abstraction of light is used in technological ways to project
a two-dimensional image as a representation of three-dimensional reality. This
concept is expressed in the context of the building façade, which is generally
a two-dimensional skin. We have experimented with the notion of the theatre
within this skin as a solid form. The facade becomes a separate and ephemeral
layer with manifold meaning:
translucent DuPont™ Corian® is the material equivalent of this
abstraction, in that it carries with it no historic connotation or symbolism.
We have forged the material to take on the qualities of light, whilst
constructing the facade with a lightness of structure.
The facade comprises a series of
vertically secured translucent white Corian® fins, each manufactured with a
slight curvature and altering depths to allow for an interplay of transparency
and obscurity, depending on the user’s viewing position in relation to the
building. The facade is a constantly changing skin, which at once reveals and
conceals through the use of light, whilst the abstract white cubic form of the
building presents a somber outward appearance inviting further investigation.
The sweeping entrance staircase
with high brass balustrade extending to Pushkinsky Square emphasizes a more traditional
material choice with historical connotations. The entrance to the staircase
focuses the view directly forward and to the entrance of the building where the
sharp diagonals resulting form the interplay of light with the forms of each individual
fin draw the eye more acutely to the entrance and recall the dynamic graphic
elements of Russian Constructivist art.
The penetrable Corian® facade
encloses an interstitial break-out zone for visitors before entering the
existing lobby through a newly constructed DuPont™ SentryGlas® glazed curtain
wall which meets a new multifaceted ceiling, constructed from DuPont™ Butacite®
Polyvinyl Butyral (PVB) Interlayered glazing in light bronze with complex
diagonal geometries. This new abstract form is partly visible from outside and
reflects the Corian® facade, in a collision of Rayonist visual complexity,
creating a series of montage images for the user, thereby representing
fragments of the whole, much like Eisenstein’s filmic techniques.
art of cinema is possibly more intertwined with its political history than any
other country. Its use as a tool for political reform was exemplified by the
great Russian director, Sergei Eisenstein with his ‘collage-editing’ technique,
which yielded dynamic constructivist film sequences, where collisions of images
were used to elicit an emotional response from the audience.
‘Faktura’ exemplifies our
approach to re-imagining an appropriate new facade for the Pushkinsky Theatre
in Moscow as it combines the constructivist tradition of applying the abstract
or ‘dematerialist’ theories of artists like Kazimir Malevich with the manner of
making ie. real materiality. Cinema is a product of the dichotomy between light
and darkness. The abstraction of light is used in technological ways to project
a two-dimensional image as a representation of three-dimensional reality. This
concept is expressed in the context of the building façade, which is generally
a two-dimensional skin. We have experimented with the notion of the theatre
within this skin as a solid form. The facade becomes a separate and ephemeral
layer with manifold meaning:
translucent DuPont™ Corian® is the material equivalent of this
abstraction, in that it carries with it no historic connotation or symbolism.
We have forged the material to take on the qualities of light, whilst
constructing the facade with a lightness of structure.
The facade comprises a series of
vertically secured translucent white Corian® fins, each manufactured with a
slight curvature and altering depths to allow for an interplay of transparency
and obscurity, depending on the user’s viewing position in relation to the
building. The facade is a constantly changing skin, which at once reveals and
conceals through the use of light, whilst the abstract white cubic form of the
building presents a somber outward appearance inviting further investigation.
The sweeping entrance staircase
with high brass balustrade extending to Pushkinsky Square emphasizes a more traditional
material choice with historical connotations. The entrance to the staircase
focuses the view directly forward and to the entrance of the building where the
sharp diagonals resulting form the interplay of light with the forms of each individual
fin draw the eye more acutely to the entrance and recall the dynamic graphic
elements of Russian Constructivist art.
The penetrable Corian® facade
encloses an interstitial break-out zone for visitors before entering the
existing lobby through a newly constructed DuPont™ SentryGlas® glazed curtain
wall which meets a new multifaceted ceiling, constructed from DuPont™ Butacite®
Polyvinyl Butyral (PVB) Interlayered glazing in light bronze with complex
diagonal geometries. This new abstract form is partly visible from outside and
reflects the Corian® facade, in a collision of Rayonist visual complexity,
creating a series of montage images for the user, thereby representing
fragments of the whole, much like Eisenstein’s filmic techniques.
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