KOSTOMAROVSKY

Historically, Syromyatniki got its name from the settlement located in this corner of Moscow since the 16th century, where artisans settled, who were engaged in dressing rawhide. The name was preserved even after in the 18th century craft workshops from the most picturesque high banks were crowded out by noble estates, and then at the beginning of the 20th century industrialists and merchants began to buy out the territories to organize production. At the end of the 19th century, in the era of the Industrial Revolution, the territory was cut by a branch of the Moscow-Kursk railway, around which large factories naturally grew. As a result of such changes, an atypical neighborhood of large and small enterprises, parks and aristocratic estates has formed in the area. During the years of Soviet power, Syromyatniki was considered an unfavorable place with a large number of closed industrial areas and colorful asocial characters migrating from the station.

The chosen option is consonant with the image of the former estates on this site - these are four towers of different heights, shifted in a checkerboard pattern relative to each other. They form two front courtyards on the waterfront side and a private courtyard on the college side. The shift of volumes provides ease of perception of a rather long and even monotonous front along Kostomarovsky lane.

In our opinion, the scale and compositional rhythm of the building fits well with the spirit of the merchant Moscow, when narrow facades came out onto the red line, and there was a garden in the depths of the site. The location of the main house not along the red line, but in the depths of the site with a front entrance device is characteristic to the estate development of the past. Thus, one can trace a reference to two types of site development in Moscow of the past in the urban planning. Moreover, the facade solution of the four towers can be designed in different materials and decor, so that the building will look non-trivial and fresh. A small number of residents in one tower makes the complex truly club-like; the percentage of corner apartments and apartments with terraces and river views is high.

In the decoration of the facades of the low-rise tower overlooking the river, natural light-colored bricks and fiberglass reinforced concrete on arched elements were used. Vertical brick laying with an offset is an homage to the old Russian roofing element - a plowshare. Of course, it is difficult to talk about contextual design in a metropolis, but with the light color of the finish and the unusual pattern of ceramic masonry, the architects paid tribute to the ensemble of the monastery located across the river. On the contrary, on the second line, or more precisely, on the second 9-story tower, porcelain stoneware of a contrasting dark color with mica patches was used in the facade decoration.

The alternation of dark and light facades of the towers with different patterns of windows and different finishing materials brings a bit of Moscow charm to the line of development of the alley. The beauty of Moscow, unlike, for example, St. Petersburg, is in its heterogeneity and even some chaos. APEX architects made all four towers, which are in strict hierarchical subordination to the environment and a clear spatial logic, slightly different, slightly dissimilar, forming a lost development front and creating an accent architectural ensemble on the banks of the Yauza.

The interiors of the complex is a modern interpretation of the historical heritage. Our architects proposed a minimalistic interpretation of ancient Russian ornamental themes in modern decoration materials. Vibrant accent tones of red, deep green and gold enter into dialogue with subdued beiges of the stone, complemented by bionic shapes.