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Sculpting in Time
Sculpting in Time
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Sculpting in Time
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Our approach to redesigning the facade of the Pushkinsky cinema hall utilises the world of cinema itself as an intrinsic conceptual catalyst. Reflecting the theories of Russian Cinema in a metaphysical manner has been our design intent since the initial stages of design.
Thoroughly researching the rich history of cinematography in Russia, found us continually compelled by the dynamic theories of Andrei Tarkovsky. Following studies of his films Nostalghia and The Mirror we were predominantly inspired by his crafted and phenomenological scenes; absorbing the viewer, giving a heightened sense of time and space.
Tarkovsky's approach to film demonstrates numerous concepts which intertwine relationships, emotions and dynamic imagery creating sensitively compelling cinema. Upon a comprehensive reading of his works we found his principal inspiration to be Aristotle's Dramatic unities theory:
A concentrated action, happening in one place, within the span of a single day.
This theory, which Tarkovsky successfully utilised to guide his film The Mirror, focused our aspirations to emphasise this style of drama within the facade of the Pushkinsky theatre whilst taking into account its prominent position within Pushkin Square.
Redesigning the Pushkinsky cinema's facade poses several architectural problems. The symbolic shape, strong geometry and its influence on Pushkin square make it an extremely challenging task for any designer. Following several attempts to re-design the original facade of the building, we discovered the risk of running into a Pastiche design or a parametrically based skin which we deemed unsuitable when taking into account the Cinema hall's rich history and significant surrounding environment. Alternatively we decided it was important to allow the building to regain its iconic image and at the same time create a dynamic space within Pushkin square and a new landmark for Moscow’s skyline and Russian cinema.
Combining these ideas and effectively creating a theatrical cinematic experience within the square focused our ambitions. The new facade changes throughout the day and year giving users a dramatised sense of time and place. The combination of laminated glass with a DuPont SentryGlas interlayer and a fine gold aluminium mesh resolved the intention to create as transparent a surface as possible, whilst retaining the ability to reflect the surrounding context and abstract the Pushkinsky cinema hall. The SentryGlas interlayer makes for a smaller structure and excellent transparency, creating greater contrast throughout the times of day projected by the facade. To retain the buildings iconic shape and imagery we propose the ‘stripping back’ of the newer commercial additions thus revealing the once lost symbol of Russian cinema. In order to bring the hall up to modern standards we included a new insulating concrete screed on the lateral facades, new aluminium sandwich panels on the underside of the theatre and triple glazed Low E laminated glass with a SentryGlas interlayer on the original entrance. In addition, we feel the ‘fifth facade’ -the roof- should be utilised through a lightweight steel and glass stair; allowing for incredible views and the possibility of outdoor exhibitions and screenings.
During the day the facade acts as an abstracting screen, allowing for altered views through to the iconic shape of the Pushkinsky Cinema. The gold mesh creates a monochromatic glow within the building, flooding the foyer with gold light. Its fine nature also helps produce subtle abstractions from an external viewpoint whilst not being overpowering and out of context.
"When less than everything has been said about a subject, you can still think on further. The alternative is for the audience to be presented with a final deduction (...) no effort on their part. What can it mean to them when they have not shared with the author the misery and joy of bringing an image into being?"
Andrei Tarkovsky
Thoroughly researching the rich history of cinematography in Russia, found us continually compelled by the dynamic theories of Andrei Tarkovsky. Following studies of his films Nostalghia and The Mirror we were predominantly inspired by his crafted and phenomenological scenes; absorbing the viewer, giving a heightened sense of time and space.
Tarkovsky's approach to film demonstrates numerous concepts which intertwine relationships, emotions and dynamic imagery creating sensitively compelling cinema. Upon a comprehensive reading of his works we found his principal inspiration to be Aristotle's Dramatic unities theory:
A concentrated action, happening in one place, within the span of a single day.
This theory, which Tarkovsky successfully utilised to guide his film The Mirror, focused our aspirations to emphasise this style of drama within the facade of the Pushkinsky theatre whilst taking into account its prominent position within Pushkin Square.
Redesigning the Pushkinsky cinema's facade poses several architectural problems. The symbolic shape, strong geometry and its influence on Pushkin square make it an extremely challenging task for any designer. Following several attempts to re-design the original facade of the building, we discovered the risk of running into a Pastiche design or a parametrically based skin which we deemed unsuitable when taking into account the Cinema hall's rich history and significant surrounding environment. Alternatively we decided it was important to allow the building to regain its iconic image and at the same time create a dynamic space within Pushkin square and a new landmark for Moscow’s skyline and Russian cinema.
Combining these ideas and effectively creating a theatrical cinematic experience within the square focused our ambitions. The new facade changes throughout the day and year giving users a dramatised sense of time and place. The combination of laminated glass with a DuPont SentryGlas interlayer and a fine gold aluminium mesh resolved the intention to create as transparent a surface as possible, whilst retaining the ability to reflect the surrounding context and abstract the Pushkinsky cinema hall. The SentryGlas interlayer makes for a smaller structure and excellent transparency, creating greater contrast throughout the times of day projected by the facade. To retain the buildings iconic shape and imagery we propose the ‘stripping back’ of the newer commercial additions thus revealing the once lost symbol of Russian cinema. In order to bring the hall up to modern standards we included a new insulating concrete screed on the lateral facades, new aluminium sandwich panels on the underside of the theatre and triple glazed Low E laminated glass with a SentryGlas interlayer on the original entrance. In addition, we feel the ‘fifth facade’ -the roof- should be utilised through a lightweight steel and glass stair; allowing for incredible views and the possibility of outdoor exhibitions and screenings.
During the day the facade acts as an abstracting screen, allowing for altered views through to the iconic shape of the Pushkinsky Cinema. The gold mesh creates a monochromatic glow within the building, flooding the foyer with gold light. Its fine nature also helps produce subtle abstractions from an external viewpoint whilst not being overpowering and out of context.
"When less than everything has been said about a subject, you can still think on further. The alternative is for the audience to be presented with a final deduction (...) no effort on their part. What can it mean to them when they have not shared with the author the misery and joy of bringing an image into being?"
Andrei Tarkovsky
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