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Learning From Luga (учить от Луга)
Learning From Luga (учить от Луга)
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Other Projects by PellOverton
Learning From Luga (учить от Луга)
Firm
Type
This proposal contends that restoring the building’s
original glass curtain wall is the first step towards restoring the grandeur of
the Pushinsky and the significance of Pushkin Square as a hub for Moscow’s
cinema and stage culture. Effectively returning the Pushinsky to a building without a façade, we propose
the installation of two parallel structures which flank the grand stair and
spill into the Square as extensions of the cinema’s programmatic and spatial
interior. These structures are designed as assemblies of densely aggregated,
durable plastic components, which together create
an antipole to the Pushinsky in the form of a façade without a building – a structure, at times inhabitable, which
is never thick enough to be considered a building nor thin enough to be
construed as merely a surface.
The footprints of these two structures are modulated
to accommodate varied programming along their lengths, including: a box office
and covered queue for purchasing tickets to events around the city; a stage
area facing the north corner of the square for informal summer performances; a
concession stand to seasonally serve park-goers and areas of continuous seating
for people to enjoy the Square in view of the Cinema building and the fountain.
These moments of programming correspond
to intensifications in the design – bulges, turns, and apertures, which
respond to and engage the urban conditions around the site.
original glass curtain wall is the first step towards restoring the grandeur of
the Pushinsky and the significance of Pushkin Square as a hub for Moscow’s
cinema and stage culture. Effectively returning the Pushinsky to a building without a façade, we propose
the installation of two parallel structures which flank the grand stair and
spill into the Square as extensions of the cinema’s programmatic and spatial
interior. These structures are designed as assemblies of densely aggregated,
durable plastic components, which together create
an antipole to the Pushinsky in the form of a façade without a building – a structure, at times inhabitable, which
is never thick enough to be considered a building nor thin enough to be
construed as merely a surface.
The footprints of these two structures are modulated
to accommodate varied programming along their lengths, including: a box office
and covered queue for purchasing tickets to events around the city; a stage
area facing the north corner of the square for informal summer performances; a
concession stand to seasonally serve park-goers and areas of continuous seating
for people to enjoy the Square in view of the Cinema building and the fountain.
These moments of programming correspond
to intensifications in the design – bulges, turns, and apertures, which
respond to and engage the urban conditions around the site.
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