Architecture is a
temporal art. Every architectural piece is in concrete to be seen for ages to
come, but how contemporary generation accommodates it is an altogether
different aspect. Every once in a while the architecture happens to have a
“face-lift”, something to make it ‘current’ and ‘chic’ for that period. What I am
attempting is to reduce the contradiction aroused by the two entities- time and mental acceptance of the physical form. My attempt here is a
symbiosis between architecture (of past and present) and a race with time, of which the outcome is architecture
of temporality encrypted by an interpenetrating transparent layer. The dynamics
played by these two forces have churned out a reason to make the form
integrative and as a conglomerative presence in the contemporary.
Instead of ripping-off the face, what I am
attempting is to formulate a layer which shall penetrate through time which
holds the integrity of the past (Pushkinsky now),
and weave into it a new fragrance of present. This layer which I intend to
call as a texture is a transparent
presence over Pushkinsky endowing the design with sensuality. This texture has climbed and spread across
Pushkinsky like an ivy. An ivy with
its epiphytical character of not being a parasite to its host but simply
leaning onto it for support is what the design
intends for the building. Pushkinsky cinema has a penetration which must not be
altered altogether, since it is very accommodative and casts a feeling of
belonging, a sensation which every old building spreads through its age and wisdom.
The dynamics here generating between both the host and the texture are meant to
integrate into a single entity and eventually be Ivy-Tex. Hence, Ivy-Tex is
the texture as an ivy embraces Pushkinsky for what it is and what it can be.
