Spartacus Alive / Site8 Architects : Ning Lin / USA, Los Angeles
- create a series of inter-connected public spaces that is user friendly on 24 hour basis;
- connect the above ground activities and underground activities through a series of meaningful and fluid motions;
- create new dynamic public plazas in the middle of existing public spaces such as gardens, river front walks, gorgeous religious sanctuaries;
- rise up to the challenge of creating a new powerful presence while conforming to a severe height limitation;
- interpret Yaroslavl’s beautiful cultural heritage.
We believe that the answer to these questions lies in » Go Back to Zero, the Beginning». We propose to use 3 dimensional forms from man-made and natural history as a organic linkage from the past to the present and the future.
Парусное Судно / Nathaniel MacBain / USA, Roanoke
The centerpiece of the proposed design is inspired by the ships that have navigated the Volga for centuries. Yaroslavl’s unique situation along the Volga has brought with it both good fortune and great hardship. The historic importance of Yaroslavl and the quality of its people will never be diminished, nor will the ties that bind the destiny of this town to the irresistible dynamism of the great river be dissolved. This ship is not simply emblematic of the history of this town, but expresses the spirit and vested identity of a strong people moving forward; succeeding, innovating, and thriving in the best tradition of Yaroslavl.
The Vessel is proposed as a mixture of concrete and steel systems. Sophisticated construction methods would be required in order to achieve the integrity and beauty of the many lines which constitute the complex form of the concrete outer shell. Prominent features of the Vessel include substantial curtain wall systems and curvilinear wood panel partitions which envelope two performance spaces. The full program of the Vessel’s interior would also include three large gallery spaces for Art, Historic Artifacts, and Special Exhibits. Each space will be unique, since the design intent is to maintain structural and formal continuity between the interior and exterior of the Vessel. The height of the Vessel does not exceed 2 meters measured from the top-end of the former ravine. Читать далее
Lemniscatus / Kevin Pasewalk / USA, Denver
The basic idea, concept of the project:
- Adds to the cultural richness and artistic beauty of the historical city
- Provides a facility that will be part of the city landscape for hundreds of years, adding contrast to the current composition of the city while enhancing the significance of the area by adding complexity and beauty.
- Serves as host to protect and celebrate the history and culture of Yaroslavl
- Emphasize the importance of maintaining UNESCO World heritage status
- Integrates modern architecture focused on quality and cultural significance
History and culture rely on a cohesive harmonious relationship. History informs and shapes the culture of a society and in turn that culture defines history with the passage of time. History and culture coexist and become significant through the success of this relationship. To create architecture that is successfully integrated into a historical context the same type of relationship is required between architecture and its contextual environment. It is the quality of this relationship between old and new that is critical, not the architectural language per se. Читать далее
YVK (Ярославская космическая Выставка) / Ariane Lourie Harrison, Seth Harrison, Alexander Davis, Stephen Ullman / USA, Greenpoint, Brooklyn
YVK: a new exhibition and performance center for Yaroslavl
A 1731 print of Yaroslavl presents the city as an animated landscape of religious buildings. This synthetic image of one of Russia’s “Golden Ring” cities grounds Harrison Atelier’s proposal: the YVK (Ярославль Выставка космической), a new exhibition and performance space. Assembling many visual and perform- ing art programs under an inner domed landscape, the YVK pays homage to this image of Yaroslavl across its perforated weathering steel facades.
From a distance, the new building appears as a filigreed plinth, highlighting the beauty of Yaro-
slavl’s churches of St Nicholas and the Church of the Savior. From its main approach (at the bridge at Которосльная Street), the building unfolds a dramatic sequence of space: a generous entry canopy of dap- pled light under the punched-metal skin leads to a large museum reception space and to clusters of domed exhibition spaces for the permanent and temporary exhibitions of the Yaroslavl State Historical, Architectural and Art Museum.
Some of these domed spaces are intimate in scale: the perfect size for a viewer to contemplate a single icon. Other dome clusters are large, offering flexible exhibition spaces. The large exhibition domes offer multiple points for attaching wall partitions, accommodating the changing needs of temporary exhibitions. The circulation spaces between exhibits are airy interstitial spaces, expanses of light and sky, filtering in from the perforated metal screen roof.
One of the largest domes in the building houses an experimental theater, with clusters of domes allocated to rehearsal space, green rooms, costume and set ateliers. Passers-by become spectators for the activity in the ateliers: these spaces for creation and innovation are visible from the exterior of the building. Above these workshops, the northwest-corner of the building is hollowed out and faces an outdoor amphitheater, further calling attention to making sets and costume as a performative activity. Читать далее
Aqualine / worldly design group : Francis McCloskeyLópez + Zuzana Chupacova / Puerto Rico / USA (Syracuse, New York), Slovakia (Trenčín)
To enhance the World Heritage nature of the designated place, a direct pathway is created between the Church of St. NicholasatRubleny Gorod and the Church of the Savior at Gorod. The connection between the two churches is elevated up to the maximum allowable height, to create not only a physical access between these two historical elements of Gorod, but creating a high point from which to enjoy the ravine as a living museum of Yaroslavl’s history.
The pedestrian platform is suspended from the main structural arches with a steel honeycomb structure. Each cell of this structure is covered with a plastic “bubble”. The idea is that it will promote tactility and invite visitors of Yaroslavl to sit on them, while material of anthropological and historical importance (which can include material from excavations on the site) will be suspended in each “bubble,” which means that instead of the structure supporting a museum, its surface becomes an interactive exterior museum that invites visitors to play with the space and the information, as well as taking advantage of the direct visual references that the ravine has to offer. It is finished in permeable pavement, for drainage and walkability.
The design takes into account that the existing stadium is the main place for Yaroslavl’s celebrations and events, as well as a place that is full of historical interest. As such, to increase the capacity of the stadium to hold the citizens of Yaroslavl and its visitors, the perimeter is conceived as a giant amphitheater, from which to watch large presentations and events, with the Churches of St. Nicholas and the Savior at either extremes of the structure, and always in plain sight. The exterior of the structure is as simple as possible from eyelevel perspective, to respect the existing World Heritage urban fabric.
To make a direct connection to the Volga and Kotorosl Rivers and their importance to the history of Yaroslavl as much as the history of Russia, the center of the large exterior space is flooded to create an enormous body of water. The view of the existing buildings also enjoys reflection on this body of water. This changes the current state of the stadium from a place where the local population plays tennis and soccer to a place where both Yaroslavl’s citizens and its visitors can enjoy floating on rented boats in the summertime. In the winter, this body of water is frozen to provide amenities for ice skating. Again, there is constant view of the churches, to aid Yaroslavl’s identity as a touristic destination. At any given moment this can be drained towards the river to increase the capacity of the ravine for a particularly large event. With a body of water, it also has the capacity to be outfitted with floating platforms for particular events. By occupying most the space in this manner it can be excavated more carefully for archaeological work at any point in time.
The designed structure becomes a giant theater screen with the capacity to display onto the Ravine as a large scale performance. The surface above also creates a platform from which the Mayor can address the general public, at plain sight.
From below the interactive museum surface, the enclosed space is about flexibility of use. The supporting spaces; including an office, a bar/cafe, toilets, and plenty of storage for each one of these functions; are four piers that neatly hold up the platform/roof above. The ample space inside can then be easily transformed according to the occasion, whether it be a convention, exhibition, town meeting, or a private party, etc. Читать далее
Yaroslavl Museum / E2DM : Andreas Mede / USA / Woodside
Ethereal glass pavilion: on the edge of having a presence, between reflection and a soft light; set within expanded cultural parkland.
The building as a lens for filtered light; emits a soft glow placing itself confidently, subtly within its surroundings. The outer skin will reflect the sunlight and its’ surroundings, when light is low this outer skin will emit a soft diffuse glow, no other external lighting necessary.
Constructional elements are reduced to what is essential, allowing the objects displayed to have their proper presence. At the same time, the glazed skin, the plastered internal walls, exposed concrete beams and ceilings, have their own materiality and tactile qualities; smooth or textured.
To build in the context of the historical quarter of the city, the new museum is a distinct object which is a product of its’ time; defining clearly what is new from what is of the past. Respect for this past is achieved with the creation of a distance from the historical and a distinct quality of the present through the architecture of this time. Historical resonance is seen in the regular footprint of the new museum and its’ positioning in the park, respecting the established urban pattern. This allows the new to sit comfortably next to the old; there is no questioning of lineage. The linear regular geometric form of the new museum is an outcome of a study of the site conditions and pattern of existing development; the new volume sits comfortably within the existing urban fabric.
The site planning develops several ideas resulting from a study of the existing context. The first idea is that of extending the existing parkland, which contains the Church of Saint Nicholas (to the southwest) and the promenade leading to the Monastery of the Holy Transfiguration and the Volga to (the northeast), with the Church of the Saviour (to the southwest). This is achieved by eliminating the road dividing the site from the church and extending the parkland connecting these two areas, thereby including this church more naturally within the cultural landscape. The next idea is to raise the primary elevation of the site to 97m to allow for a better transition from the site to the surroundings and placing a lower level to the new building below this new site elevation. A single story pavilion is placed on top of this lower level, with pedestrian access now possible to and through the site, connecting the aforementioned historical locations and the extended parkland. The new museum is entered from either the street (to the northwest) or the park (to the southeast). Service access (trucks) is created to the new building from the (lower road) to the southeast of the site. Existing views across the site are maintained by keeping the building at the height limit of 103.15m. Functional areas benefiting from southern exposure: the Café, Administrative Offices, and the Festival Hall, are located along the southwest-southeast. The new building respects the street edge establishing itself on the site with careful consideration of the distances to existing structures. These measures aim to integrate the new museum into the surroundings, to improve the urban condition, pedestrian access and links, and create more green space. Читать далее