If in daylight the theater building looks like a fabric structure, its effect becomes even more interesting in the dark. Brightly lit canvases and lighting elements shining through the fabric making the silhouette of the building recognizable.
It will be a single luminous form that will serve as a reference point day and night, playing the role of match between sensation and reality, between the position it seems to be in and the position from which it will move.
It will be a single luminous form that will serve as a reference point day and night, playing the role of match between sensation and reality, between the position it seems to be in and the position from which it will move.
That is why our idea is to envelop the building with a «soft» shell that partially flows from the existing building volume and allows it to sensitively coexist with neighboring buildings, without false imitations. Like the drapery of a curtain, a white shimmering fabric envelops the building.
The slightly transparent, seemingly movable membrane creates the greatest possible contrast with the strict geometry of the existing underlying building.
The slightly transparent, seemingly movable membrane creates the greatest possible contrast with the strict geometry of the existing underlying building.
The theater has many geometric, color, rhythmic and textural dissonances in the parts of the building. Therefore, the entire mass of the theater is perceived as a collection of differently meaningful facades. One part of it looks like the pattern of a residential building of the late 19th century, another part of it is an image of a typical multifunctional shopping mall, and some local sections of the front on Gilyarovsky Street look like architectural «metastases» that do not functionally reflect the semantics of the theater in any way.
As a result, the theater building falls apart with very dissonant elements and fails to reflect the meaningfulness of the function and the meanings found in the building itself; the theater is not a memorable element of the city.
As a result, the theater building falls apart with very dissonant elements and fails to reflect the meaningfulness of the function and the meanings found in the building itself; the theater is not a memorable element of the city.
The theater is an important volumetric and visual attractor of the northern part of the Sadovoe Ring. For a kilometer and a half it influences the visual picture of both pedestrians and automobilists. At the same time, the theater building has obvious architectural and volumetric imperfections.
These imperfections are not in the most obvious place, they are not in the frontal facade that faces the Sadovoe Ring. Frontally, the theater building mimics the entire line of facades and leaves no distinctive impression. And also the big mass of the building looks out from behind the mimicry body, and there is a feeling of volumetric detachedness of these buildings, which destroys the integral representation and perception of the theater.
These imperfections are not in the most obvious place, they are not in the frontal facade that faces the Sadovoe Ring. Frontally, the theater building mimics the entire line of facades and leaves no distinctive impression. And also the big mass of the building looks out from behind the mimicry body, and there is a feeling of volumetric detachedness of these buildings, which destroys the integral representation and perception of the theater.
The textile façade is made in the form of a pre-tensioned membrane tent structure (elastic translucent fabric «PTFE»). The tent façade is stretched on the cable ropes, which are load-forming and load-bearing elements stretched linearly along the façade and on the roofs.
If in daylight the theater building looks like a fabric structure, its effect becomes even more interesting in the dark. Brightly lit canvases and lighting elements shining through the fabric making the silhouette of the building recognizable.
It will be a single luminous form that will serve as a reference point day and night, playing the role of match between sensation and reality, between the position it seems to be in and the position from which it will move.
It will be a single luminous form that will serve as a reference point day and night, playing the role of match between sensation and reality, between the position it seems to be in and the position from which it will move.
That is why our idea is to envelop the building with a «soft» shell that partially flows from the existing building volume and allows it to sensitively coexist with neighboring buildings, without false imitations. Like the drapery of a curtain, a white shimmering fabric envelops the building.
The slightly transparent, seemingly movable membrane creates the greatest possible contrast with the strict geometry of the existing underlying building.
The slightly transparent, seemingly movable membrane creates the greatest possible contrast with the strict geometry of the existing underlying building.
The theater has many geometric, color, rhythmic and textural dissonances in the parts of the building. Therefore, the entire mass of the theater is perceived as a collection of differently meaningful facades. One part of it looks like the pattern of a residential building of the late 19th century, another part of it is an image of a typical multifunctional shopping mall, and some local sections of the front on Gilyarovsky Street look like architectural «metastases» that do not functionally reflect the semantics of the theater in any way.
As a result, the theater building falls apart with very dissonant elements and fails to reflect the meaningfulness of the function and the meanings found in the building itself; the theater is not a memorable element of the city.
As a result, the theater building falls apart with very dissonant elements and fails to reflect the meaningfulness of the function and the meanings found in the building itself; the theater is not a memorable element of the city.
The theater is an important volumetric and visual attractor of the northern part of the Sadovoe Ring. For a kilometer and a half it influences the visual picture of both pedestrians and automobilists. At the same time, the theater building has obvious architectural and volumetric imperfections.
These imperfections are not in the most obvious place, they are not in the frontal facade that faces the Sadovoe Ring. Frontally, the theater building mimics the entire line of facades and leaves no distinctive impression. And also the big mass of the building looks out from behind the mimicry body, and there is a feeling of volumetric detachedness of these buildings, which destroys the integral representation and perception of the theater.
These imperfections are not in the most obvious place, they are not in the frontal facade that faces the Sadovoe Ring. Frontally, the theater building mimics the entire line of facades and leaves no distinctive impression. And also the big mass of the building looks out from behind the mimicry body, and there is a feeling of volumetric detachedness of these buildings, which destroys the integral representation and perception of the theater.
The textile façade is made in the form of a pre-tensioned membrane tent structure (elastic translucent fabric «PTFE»). The tent façade is stretched on the cable ropes, which are load-forming and load-bearing elements stretched linearly along the façade and on the roofs.