Download stanislavsky factory - John McAslan + Partners

STANISLAVSKY FACTORY
BUSINESS AND CULTURAL MASTERPLAN
HORUS CAPITAL MOSCOW
JOHN McASLAN + PARTNERS | DEVELOPMENT SOLUTIONS
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“Why should work and the workplace be so dull?
The modern office is becoming a more and more dynamic organism. All the
customary canons of working space and organisation are being re-examined
and discarded. The new economy does not tolerate repetitions and demands
innovations and a more creative approach to each working day. This makes the
most common place routine in thriving companies less boring and tedious. In
response, at Stanislavsky we placed many activities and functions together to
dissolve the traditional boundaries between work, leisure and living.
And this is splendid!”
Sergey Gordeev, Horus Capital
CONTENTS
1.0 INTRODUCTION | 5
2.0 SITE LOCATION | 6
3.0 HISTORIC CONTEXT | 8
4.0 THE STANISLAVSKY FACTORY: MASTERPLAN | 10
5.0 STANISLAVSKY RESIDENTIAL | 14
6.0 THE HISTORIC STANISLAVKY FACTORY | 42
7.0 THE MUSEUM AND BUSINESS CENTRE | 44
8.0 THE MUSEUM COURT | 52
9.0 THE STANISLAVSKY THEATRE | 54
10.0 THE THEATRE SQUARE | 56
“We started work on the Stanislavsky Factory early in 2005 and it was one of our first projects in
Moscow for Horus Capital.
The owner of Horus is Sergey Gordeev, who is a highly respected and cultured patron of russian
architecture and art. It was really pure luck that we found him or he found us. Either way he and
his colleague Alexey Blanin, the Chairman of Development Solutions, remain very much at the
centre of our relationship with the City.
To a London-based practice with an international portfolio, Moscow appeared a mysterious place
and we were intrigued by its unique social, historic and physical context. It has a completely
different urban scale to many European City’s and it now has the great potential to repair,
regenerate and rediscover its remarkable history.
In this regard, although we admired many of the great historic and modernist buildings in the
Moscow, we felt International architects have struggled to read the City and many recent buildings
have been realised as “quick fit” commodities rather than rooted in a thoughtful analysis of the
local context and need. At Stanislavsky, we arrived with no pre-conceptions, no solutions and a real
intent to listen and understand and what followed was the creation of a unique place in a unique
city. It is a small but important part of Moscow’s continuing Renaissance as a truly great world
city.”
Aidan Potter,
Design Director, John McAslan + Partners
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1.0 INTRODUCTION
The Stanislavsky scheme has invented
a new strategy for sensitive regenerative
interventions within half a mile of the
Kremlin and Red Square, in a city planning
climate that lacks a comprehensively
detailed approach to most forms of urban
development. There is no urban planning
Best Practice to refer to; and, until the
completion of the Stanislavsky Centre
redevelopment, no innovative contemporary
regeneration project for planners or
architects to cite.
The regulatory situation is volatile and
the city’s judgement of redevelopment
proposals as “good” or “bad” remains
relatively random. The preservation or
thoughtful regeneration of Moscow’s
historic fabric is usually fought for by
beleaguered heritage groups, and a
handful of historically sensitive developers.
Moscow’s planners, in search of “World
City” status, are more interested in
instant western-style urban architectural
makeovers. Significantly, Sergey Gordeev,
chairman of the Stanislavsky project’s
developers Horus Capital, has supported
the preservation of threatened Modernist
architectural icons such as the Melnikov
House.
At the Stanislavsky Factory, one word
– complexity – sums up the challenge
to transform the site so that it retained
its historical gravitas, yet became a
distinct and pioneering mixed-use
environment in Moscow. John McAslan
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+ Partners’ scheme is based on a series
of architectural and spatial contrasts tied
together by a landscape scheme that has
brought coherence to an almost implacably
cluttered site. It was notable that, as the
main interventions took shape, urban
parcels opposite the main street-facing
range of Stanislavsky buildings, became
subject to copy-cat regeneration schemes
by other developers.
Even a bullet-point history of the
Stanislavsky site demonstrates the
complexity of the existing architecture and
site plan that confronted JMP’s Urban
Design Director Aidan Potter. By the
end of the 18th century, the Aleksayev
family’s mercantile success included a
gold and silver thread factory that was
re-planned at the end of the 19th century
by Konstantin Stanislavsky, whose equal
interest in theatre led to the construction
of the so-called 1912 Building, cable
and tungsten filament factories, and the
Moscow Arts Theatre on the site. In the
Soviet era, three more industrial buildings
were built. Apart from the Theatre, and the
proprietors’ classically styled 19th century
private homes along the main street edge,
the site is dominated by industrial buildings
set out in a crudely ad hoc way. When
bought by Horus Capital in 2004, it was
mostly derelict; even the theatre, where
Method Acting was invented by Konstantin
Stanislavsky, was ruinous; parts of the
site – and many of the interiors – recalled
scenes from Crime and Punishment.
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2.0 SITE LOCATION
GO
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Stanislavsky
Factory
YE KOL’TS
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JMP’s interventions were developed
and construction began, at a time
when labour was plentiful and cheap in
Moscow: it would have been relatively
easy to clear most of the site, apart from
the 1912 Building and the Theatre,
and treat it as an urban tabula rasa on
which to import “instant” contemporary
architecture; The city planners might well
have preferred this approach, not least
because public consultation is not the
norm in most heritage or regeneration
projects in Moscow. But JMP’s Client
wanted to achieve a great deal more
than that – a regeneration in which the
history of the site remained evident. This
demanded a mixture of restoration, repair,
reprogramming, and newbuild, retaining
and re-using existing buildings as offices,
apartments, or restaurants; it required the
testing and subsequent decontamination
of land on the site; and, perhaps most
interestingly, the theatre was revived as a
premier Arts Centre – which, by 2009, had
again became a reactor core for radical
theatre productions.
JMP’s first step was to establish a
masterplan for services, parking,
landscaping, and public and private
access. The regeneration treatments for
the six buildings included re-cladding
three of them; converting the decrepit
19th century houses into a restaurant and
hotel complex; and designing newbuild
apartment blocks of an elegant but
restrained architectural manner on the
edge of the site facing an historic church.
Because of the ad hoc development of
the site over time, with no two buildings
parallel, the site had no formal logic.
This made JMP’s landscaping scheme
crucial to the way the scheme was held
together internally, in particular so that
its commercial and domestic elements
remained strongly connected with the
theatre’s iconic cultural presence. The
internal garden tableaux are refreshing
focal-points in a coolly graphic paving
scheme that has not only added colour and
texture at key points, but brought a return
of bird’s, bees and other insects to the
heart of the Stanislavsky Centre.
“The client was completely committed
to doing something different, something
intuitive, something not done before in
Moscow,” explained Aidan Potter. “They
shared with us an emotional commitment
to the history of the site, and in the idea of
the 19th and 21st centuries living together.
Even the main lobby of the 1912 building,
now offices, became a gallery and museum
about the history of the site. The client was
incredibly patient, and when we advised
them, for example, that whole sections
of facing bricks on the theatre facade
were useless, they had many hundreds of
them carefully chipped out by hand and
replaced.”
The Stanislavsky Centre scheme is now
regarded by both Moscow planners
and heritage groups as an exemplary
innovation in regeneration, and the
scheme has generated further comparable
projects by Horus Capital, and by other
developers – the beginning of a critical
mass of high quality regeneration in
Moscow’s central historic quarters. The
ambition of the Stanislavsky project has
already demonstrated one important
form of sustainability: its occupation, and
space-values, remained untouched by the
effects of the 2008 economic crash, and
it is considered a signature mixed-use
development, whose occupants in 2009
range from professionals and wealthy
Muscovites, to multinationals such as
Panasonic.
AERIAL PHOTOGRAPH OF MOSCOW
WHICH ILLUSTRATES THE LOCATION OF THE STANISLAVSKY FACTORY
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3.0 HISTORIC CONTEXT
1746
1805
Konstantin Stanislavsky’s
great-grandfather
Alekseyev (1724-1775)
comes to Moscow and
establishes trading
business.
Semion Alekseyev
becomes merchant of
the first guild in Moscow
and was given surname
Serebrenikov (Russion for
silver).
1785 - Stanislavsky’s
great-grandfather (17511823) Semion Alekseyev
establishes a gold and
silver thread factory in
Yakimanka district of
Mosocw. The business
is successful providing
materials to the court of
Katherine the Great.
The Stanislavsky Factory:
Moscow in 1854
The original factory at Stanislavskogo
Street, was established in 185456 and was a family business which
manufactured gold and silver thread. The
business had been established in 1746 by
Aleksy Petrov in Moscow and it flourished
providing materials to the Aristocracy and
the Church.
The establishment of the new factory
was followed with the birth in 1863 of
Alexsey Petrov’s great grandson Konstantin
Sergeyevich Alekseyev who later changed
his name to Konstantin Stanislavsky.
Konstantin was educated at home and
entered the family business in 1882
working on the shop floor, studying the
machinery and basics of metallurgical
production. During this period, the young
Stanislavsky established the Moscow Art
Theatre located in a Reading Room in
The Factory with an assembled theatrical
troupe consisting of factory workers.
At that time in Moscow, the foundation
of a theatre was not supported by the
authorities which suppressed civil and
cultural liberties, to avoid censure
therefore the theatre was created under
the title “ Rogozhskvoe Department of first
Moscow Society of Soberness”
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1814
Factory burnt down in
great Moscow fire of
1814 and Alekseyev
opens new factory in
Taganskaya district of
Moscow. The business
continues to grow
supplying gold and
silver thread to the
church.
1835
1856
After Semion Alekseev’s
death his wife Vera
oversees business which
enters international
market and by 1843
the factory annual
production reached 500
thousand roubles.
The first performances were reported
in all the main newspapers and their
popularity led to the construction of
the original theatre on the site in 1900
designed to seat 250 people at a cost of
50,000 rubles. The theatre closed in 1909
and Stanislavsky moved on to create the
Maly Theatre Group and was to establish
himself with a world reputation as a
director and acting theorist.
Stanislavsky and
the Stanislavsky Method
As founder of the first acting “system”,
co founder of the Moscow Art Theatre
(1897-), and an eminent practitioner of
the naturalist school of thought, Konstantin
Stanislavsky unequivocally challenged
traditional notions of the dramatic process,
establishing himself as one of the most
pioneering thinkers in modern theatre.
Stanislavsky coined phrases such as
“stage direction”, laid the foundations of
modern opera and gave instant renown
to the works of such talented writers
and playwrights as Maksim Gorki and
Anton Chekhov. His process of character
development, the “Stanislavsky Method”,
was the catalyst for method actingarguably the most influential acting system
on the modern stage and screen. Such
The business passes to
Stanislavsky’s grandfather
and the factory moves to
Malaya Alekseyevskaya
street. Sales increase
after coronation of
Alexander II.
1862-63
Vladimir Alekseyev dies
but business wins medal
of honour at international
exhibition London.
1863- Konstantin
Alekseyev is born
later uses stage name
“Stanislavsky”
Educated at home
participates in amateur
theatricals at home.
renowed schools of acting and directing
as the Group Theatre (1931-1941) and
the Actors Studio (1947-) are a legacy of
Stanislavsky pioneering vision.
Using the Moscow Art Theatre as his
conduit, Stanislavsky developed his own
unique system of training wherein actors
would research the situation created by
the script, break down the text accordingly
to their character’s motivations and
recall their own experiences, thereby
causing actions and reactions according
to these motivations. The actor would
ideally make his motivations for acting
identical to those of the character in
the script. He could then replay these
emotions and experiences in the role of
the character in order to achieve a more
genuine performance. The 17th Century
melodrama Tsar Fyodor was the first
productions in which these techniques
were showcased.
1898
Stanislavsky starts Moscow
Art Theatre using Assembled
troupe of factory workers.
First productions were given
in reading room of factory.
1904
Grand opening of factory
theatre and play “Forest”
directed by Stanislavsky
1907
Gold and silver business
declines and factory
changes to manufacture
of copper for telephone
line
1917
After Russian revolution
factory is Nationalised
in United Copper
Manufacturing Factories
1918
Stanislavsky establishes
first studies as school for
young actors and writes
My Life in Art and The
Actor
And His Work
He visits America and
becomes founder of new
‘realist’ school of drama
1938
Stanislavsky dies in 1938
just before WWII. The
factory continues and
is amalgamated into
“Elektroprovod” industries.
2004
Horus Capital aquires
factory buildings when
business is transferred
to town of Ivanteevka
2008-2010
2008-10
All phases of
Stanislavsky
Masterplan
completed
Lenin’s personal protection saved
Stanislavsky from being eliminated along
with Czardom. The USSR maintained
allegiance to Stanislavsky and his socially
conscious method of production and his
theatre began to produce plays containing
Soviet propaganda.
In 1918, Stanislavsky established the
First Studio as a school for young actors
and in his later years wrote two books,
My Life in Art and The Actor and His
Work. Both have been translated into over
20 languages. Throughout his earnest
professional and educational leadership,
Stanislavsky spread his knowledge to
numerous understudies, leaving a legacy
that cannot be overstated.
In 1938, just before the World War II,
Stanislavsky died holding on to the ideal of
a peaceful, socially responsible world.
Stanislavsky clearly could not separate
the theatre from its social context. He
viewed theatre as a medium with great
social and educational significance. During
the civil unrest leading up to the first
Russian Revolution in 1905, Stanislavsky
courageously reflected social issues on the
stage. Twelve years later, during the Red
October of 1917, Bolshevism had swept
through Russia and the Soviet Union was
established. In the violence of revolution,
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4.0 THE STANISLAVSKY FACTORY: MASTERPLAN
PUBLIC REALM
RETAIL
HOTEL
1. The Residential House The residential
development is a new exclusive living
quarter within the overall masterplan.
The complex consists of five villas varying
in height from three to six storeys and
contains fifty apartments with a variety of
layouts and panoramic views of local and
distant Moscow landmarks. The buildings
are finished in limestone and brickwork
and are designed to fit comfortably in the
historic context of the district.
a boutique-hotel. The four-star hotel is
equipped to accommodate guests from
all over the world and touring theatrical
troupes on daily basis.
2. The Hotel
In the historical architectural monument of
1840 belonging to the Stanislavsky Centre
a hotel for 26 rooms is situated. The hotel
recreates the spirit of the Stanislavsky
era with an inimitable atmosphere of
4. The Theatre
In 1898 the famous Moscow Artistic
Theatre founded by K. S. Stanislavsky
and V. I. Nemirovich-Danchenko was
opened. After only a few months, amateur
performances with the participation of
workers and Stanislavsky were held on
The Gold and Silver Thread Factory. In
1904 the building with a permanent stage
and containing all the latest improvements
of technology was constructed. One
hundred years later the theatre is being
revived! After a reconstruction the
historical building preserved in good
condition until nowadays is ready to
welcome the theatre-goers. The new
stage with 200 seats will host most of the
popular Moscow theatres.
3. The Restaurant
An exclusive 170 seats restaurant is
located in the historical building namely
architectural monument of the 19th
century which was reconstructed.
5. The Museum
Refurbishment of an iconic building
converted into a combined museum and
lobby, a café, and a business centre.
Ultra modern, multimedia installation
and general design of the Museolobby
will account for Stanislavsky’s life and
personality and will remind the visitors of
the fact that The Gold and Silver Thread
Factory which belonged to Stanislavsky’s
family was located in this unique building
many years ago.
THE STANISLAVSKY THEATRE
STANISLAVSKY RESIDENTIAL
STANISLAVSKY FACTORY
MASTERPLAN
6. The Business-centre
Another part of the Stanislavsky Centre
consists of office building dated from
1980s. This building is carefully
reconstructed, contrasting in the spirit of
time but at the same time creating the
integral architectural ensemble of the two
epochs.
THE BUSINESS CENTRE
GARDENS
PARKING
CAFE+RESTAURANT
MUSEUM
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Stanislavsky factory - AERIAL VIEW
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4.0 THE MASTERPLAN
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COMPUTER-GENERATED IMAGE OF RESIDENTIAL COURTYARD
RESIDENTIAL COURTYARD GARDENS
GARDENS SQUARE
MUSEUM
COURTYARD
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THEATRE SQUARE
The Stanislavsky Factory has an
extraordinary context. It is a complex
miscellany of different buildings from
different periods located in a large urban
block approximately 38,395m², (3.84ha.)
to the south west of the City core and the
Garden Ring.
Originally an industrial complex the site
is dominated by the original factory built
in 1912 and the original Stanislavsky
Theatre, birthplace of Konstantin
Stanislavsky’s original theatre ensemble
and the School of Method Acting.
Directly adjacent to the site there is also
the fabulous St Martin’s Church built in
1788 by Rodion Kazukov which is one
city’s finest Neo-Classical buildings justly
famous for its simplicity and elegance.
This span of nearly two hundred years of
architecture and culture anchors the site
in the history of the city and the proper
respect for the setting and significance of
these cultural icons is at heart of our work
on the new masterplan.
The initial brief at Stanislavsky was to
create elevational proposals for the
re cladding of existing rather poor
commercial buildings constructed in the
1950’s. This was an odd commission
in isolation but it quickly became a
larger project to produce a unifying
masterplan with proposals for landscape,
refurbishment of existing historic buildings
and the design of new buildings within the
entire estate.
routes and building entrances and the
greatest challenge of the landscape plan
was resolve the operational demands of
these functions without compromising the
bigger vision. Stanislavsky is much richer
than just a landscaped car park and this
human quality comes from the setting of
a series of landscape set pieces which
provide places to sit, chat with friends or
simply enjoy the plants and wildlife.
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There is no unifying geometry within the
development and without intervention the
sense of enclosure and spatial definition is
fractured and incomplete.
This circumstance led us to design a new
landscape within the site with its own
geometry and order to bring an identity to
its interior spaces. It is not an urban space
but rather a series of linked gardens and
the “greening” of the masterplan was an
important theme throughout the project.
These gardens are actually integrated into
a complex series of internal car parks,
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Stanislavsky factory - Site plan
KEY:
1. residential development
2. Hotel
3. Restaurant
4. Theatre
5. The Factory: Museum, Cafe, Lobby, and Offices
6. OfficeS
7. Boiler house
8. The pavillion
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5.0 STANISLAVSKy RESIDENTIAL
“The concept for these buildings has been to create a
series of linked Villa’s which step down the significant slope
of the site offering a varied silhouette and giving a natural
ascendancy and setting for the Church.”
The Residential Design - Continuity and Change
The most challenging part of the
masterplan was the design and integration
of the new residential buildings which
are directly adjacent to Kazukov's St
Martin's Church. The concept for these
buildings has been to create a series
of linked Villa's which step down the
significant slope of the site offering a
varied silhouette and giving a natural
ascendancy and setting for the Church.
The style is understated and simple. The
essence of the architecture is the quality
of the materials and the proportion of
individual parts within the composition.
The buildings are finished in a crisp
white limestone and a contrasting semi
vitrified brick. This considered essay of
textures, light and the creation of simple
cubic volumes to articulate the buildings
is really the essence of the design. The
buildings are arranged around a series of
stepping gardens and are linked through
a dramatic ramped sequence to the
Theatre Square and Cherry Orchard. The
residences at Stanislavsky are modern but
also timeless, they are properly respectful
to the Kazukov's masterpiece but they
also have a real individual confidence and
connection to the wider masterplan.
SOUTH ELEVATION
“In the creation of neoclassical Moscow, Matvei Kazacov was joined by
younger architects such as Rodion Kazakov (no relation), who distinguished
himself above all in the design of churches. The largest among them is
the church of Martin the Confessor (1782-93) in the Taganka district, a
monumental exercise in column and mass, that despite its luxury projects
a cold monochromatic impression - particularly in comparison with the
polychrome of the seventeenth-century churches in the same area. The
appearance of this superbly constructed church might suggest that Russian
Orthodoxy had indeed become the captive of the bureaucratic formalism of
the Holy Synod and of wealth without a popular spiritual following.”
William Craft Brumfield
A History of Russian Architecture
ST MARTIN’S CHURCH
R. KAZAKOV 1788
WEST ELEVATION
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SECTION AA
SECTION BB
RESPONDING TO SITE
TOPOGRAPHY
The development sits on three levels of
extensive basements providing dedicated
parking to all the apartments. The
formation of these basements and the
provision of stepping landscaped decks
between the buildings was a significant
technical and engineering challenge. The
articulation of the site topography and the
resolution of multiple movements between
levels was a key design feature of the
development.
SECTION AA
SECTION BB
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5.0 STANISLAVSKY RESIDENTIAL
Stanislavsky RESIDENTIAL - gROUND FLOOR PLAN
PHOTOGRAPH OF COMPLETED RESIDENTIAL
COURTYARD LOOKING THROUGH THE RESIDENTIAL
BUILDINGS TOWARDS ST MARTINS CHURCH
Stanislavsky RESIDENTIAL - TYPICAL FLOOR PLAN
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5.1 STANISLAVSKy RESIDENTIAL INTERIORS
The apartments are very high value given
the excellent location and quality of the
setting of the masterplan. The studies
below illustrate the key living spaces within
the development many of which will enjoy
fabulous views of the local and distant
Moscow landmarks. The approach has
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been to create modern living spaces to
suit the demand for contemporary open
plan design.
The apartments have high ceilings and
full height windows which maximise the
admission of natural light and the views
towards Moscow.
NEXT PAGE: PHOTOGRAPH
OF COMPLETED RESIDENTIAL
BUILDING FACADE
(WEST ELEVATION)
Stanislavsky RESIDENTIAL TYPICAL HOUSING BLOCK
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LIVING ROOM SPACE OF PENTHOUSE
DINING SPACE OF PENTHOUSE
RECEPTION SPACE
TYPICAL DINING SPACE OF THE TWO BEDROOM FLATS
LIVING SPACES OF TWO BEDROOM FLAT
TYPICAL BATHROOM
TYPICAL MASTER SUITE
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ADM TECHNICAL DRAWINGS OF BUILDINGS
ELEVATIONS FOR CONSTRUCTION
PHOTOGRAPH OF COMPLETED RESIDENTIAL BUILDINGS, COURTYARD FACADE (EASTERN ELEVATION)
The facades were constructed from
limestone and semi vitrified Wittmunder
bricks imported from Germany. Although
the elevation language is very simple the
buildings required detail coursing and
brick setting out construction drawings to
ensure alignment between the stone and
brickwork variants.
The above technical drawings prepared by
the executive architect ADM in Moscow
were part of their comprehensive suite
of production information which was
developed in a close and highly successful
collaboration with the JMP team in
London. ADM provided a well resolved and
crafted interpretation of the detail design
intent drawings and made all the statutory
submissions directed by Horus Capital /
Development Solutions.
TYPICAL BAY - STONE
TYPICAL BAY - BRICK
PREVIOUS PAGE: PHOTOGRAPH OF COMPLETED RESIDENTIAL COURTYARD
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5.2 STANISLAVSKy RESIDENTIAL CONSTRUCTION
These photographs show the extensive
basement construction that is located
beneath the residential buildings. These
basements provide secure car parking
for the apartments which minimises the
area of car parking at grade which created
more space for landscape. There was
a significant engineering challenge to
stabilise deep basements and maintain
continuity of services across the site.
The basement construction also had to
accommodate the increased loadings
required for extensive tree planting and
landscaping. The building frame and
structure were concrete offering flats slabs
throughout the internal spaces.
RESIDENTIAL DEVELOPMENT UNDER CONSTRUCTION 2007-2008
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ADM TECHNICAL DRAWINGS OF BRICK FACADE
SHOWING DIFFERENT TYPES OF BRICKS USED
AND THE LAYOUT ARRANGEMENTS
PHOTOGRAPH OF COMPLETED FACADE
SHOWING THE TWO MAIN MATERIALS:
STONE AND BRICK
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5.3 THE RESIDENTIAL COURTYARD
The residential courtyards are linked to
the main landscape spaces within the
masterplan with a series of ramps and
stairs. The significant changes in level are
articulated with planted retaining walls to
moderate the scale and provide outlook
from the lower apartments.
The landscaping within the courts was
designed to provide colour and form
throughout the years seasons with
particular attention paid to the gardens in
winter and the impact of extensive snow
cover.
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5.4 THE PAVILLION
PREVIOUS PAGE:
PHOTOGRAPH OF COMPLETED PAVILLION IN
TIMBER (WEST ELEVATION)
This small timber building sits on the
extreme corner of the site adjacent to St
Martin’s Church by Kazukov.
The site was originally occupied by a
single storey timber heritage building
and the initial condition of the planning
consent for the residential buildings,
involved the reconstruction of an exact
heritage facsimile on the site.
PHOTOS OF SOUTH-WEST ENTRANCE TO
THE RESIDENTIAL COURTYARD ADJACENT TO
THE PAVILLION
Further negotiations with the authorities
allowed this to be replaced with a
contemporary timber building which has
the same plan form and section but is a
modern construction.
The resulting building is a characterful
modern statement which defers to the
scale of St Martin’s but offers a vivid and
abstract counterpoint to its setting. The
building is to be occupied by a health club
and is part of an animated ground floor of
retail activities within the development.
WEST ELEVATION
GROUND FLOOR PLAN
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6.0 THE HISTORIC STANISLAVSKY FACTORY
These photographs show the condition
of the original historic properties at
Stanislavsky at the commencement of
the project in 2005. Many of the existing
brick facades were badly damaged where
successive years of neglect and the harsh
climate had caused significant spalling of
the brickwork surface.
An exact condition survey was undertaken
and a brickwork repair methodology
prepared that structured a major fabric
repair contract. In many respects the
transformation of the historic buildings
is the real triumph of Stanislavsky and it
offers a paradigm of adaptive reuse in the
city.
RESTORATION STRATEGY
Part rebuild brickwork
Repoint with lime mortar mix
Repair brickwork
Seal/paint brickwork
REPAIR
PARTIAL REBUILD
RENDER
CLADDING
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7.0 THE MUSEUM AND
THE BUSINESS CENTRE
The Stanislavsky Estate contains
many existing historic buildings with
different qualities and from different
periods. The centre piece is the original
factory constructed in 1912 located on
Stanislavskogo Street. This confident four
storey brick building is distinguished by
24 bays of a grand architectural order of
vertical pilasters which give an impressive
scale and presence to the Building. The
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strategy that was adopted for the partial
reconstruction of the business building
adjacent to the factory was to reproduce
the strong vertical rhythm but to express it
in a more abstract contemporary language.
This has created a modern but contextual
building that defers to the setting of the
original factory whilst providing a great
new identity for modern business units
within the masterplan.
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7.1 THE MUSEUM AND THE BUSINESS CENTRE
MAIN LOBBY
Many of the historic interiors within the
existing buildings have been retained and
refurbished. They often contain bold and
muscular structures which are a vivid
memory of the industrial legacy of the
Estate. These features have been carefully
integrated into the new commercial uses
and the resulting volumes are dramatic and
also highly flexible.
In the main entrance lobby of the original
factory building double height “gold”
metal mesh screens evoke the original
manufacturing output of the factory and
provide a wonderful introduction to the
masterplan.
The interior lobby of the main building was
designed by Casson Mann Architects and
was themed to be a celebration of the life
and work of Stanislavsky arranged within
a dramatic double height interior volume
which forms the entrance to the office
development.
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ENTRANCE LOBBY INTERIORS BY CASSON MANN ARCHITECTS
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7.2 the business centre
BUILDINGS
In the heart of the estate there were a
series of elemental industrial buildings
built in the 1950’s. These buildings had
interesting steel structures but were
completely dilapidated in terms of their
original external fabric and services.
The masterplan involved the adaptive
re-use of these ‘structures’ to create
characterful commercial space. The
building illustrated on this page was
transformed to provide a multi-volume
atria within which were located floating
platforms of meeting rooms and breakout
spaces.
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7.2 the business centre
LANDSCAPE GARDENS
The landscape is the glue that unifies the
parts of Stanislavsky into one continuous
spatial experience. The real intent was to
reintroduce “nature” into the heart of the
development with colour, textures, wildlife
and a registration of the change of the
seasons and time.
The key concept that structures this
approach is the use of a strong organising
geometry to provide a framework for
each of the linked green spaces within
the plan. This sliding arrangement of
linear planes of alternating hard and soft
landscape provides an identity to the
often discordant internal geometries within
the development and allows a “human
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measure” to be introduced into the large
anonymous spaces between the existing
buildings. Although there was a functional
requirement for large parking and
hard landscape areas for servicing and
congregation the fundamental objective
has been to ‘green’ and soften the internal
space through extensive tree planting and
the introduction of contrasting evergreen
shrubs and biannual planting.
The resulting landscaping is very much
a series of linked gardens. It offers a real
sanctuary to the workers, visitors and
residents of the local neighbourhood and
is a setting and back drop for all activities
that occur within the masterplan.
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7.2 the business centre
LANDSCAPE GARDENS
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acer autum blaze
acer saccharinum
panicum vergatum heavy metal
cornus stolonifera
amelanchier lamarckii
honey locust red
veronica spicata glory
prunus avium plena
wild cherry
euonimous europaeus
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8.0 THE MUSEUM COURT
The courtyard space is located directly
adjacent to the Theatre Square. The
original brickwork facades were very badly
damaged and were simply refurbished
using insulated render. This gives a
different character to the spaces and the
white finish allows for more daylight to be
reflected into the narrow confines of the
courtyard. The court is “softened” through
the use of a timber seating deck which
links the court to the Theatre Square and
provides a lunch time destination for the
office workers.
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9.0 THE Stanislavsky THEATRE
The Theatre Square
and Adaptive Reuse
of Historic Structures
The conservation and repair of historic
properties is a key part of the masterplan
at Stanislavsky Factory.
At the heart of masterplan is the
refurbishment of the original Stanislavsky
Theatre and the creation of a new public
space dedicated to its setting and access.
The Theatre is the primary cultural centre
piece and destination within the scheme.
It is also a beautifully repaired historic
building and its adaptive reuse both as
building and as a new theatre is the very
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soul of the development.
The approach has been to repair fabric
but also to ensure that all historic buildings
are brought back into active reuse.
This has given vitality to the project as
History comes alive and the counterpoint
between new buildings and new uses
adjacent to old buildings and new uses is
a wonderful quality of the development.
In this regard Stanislavsky is a highly
sustainable project where every part of the
existing fabric has been re-used whenever
possible to minimise waste and costs of
reconstruction.
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10.0 THE Theatre square
The timber stage in the Theatre Square
is a focus to the public space. It provides
seating for the use of space by the public
and is an external performance space for
events and exhibition.
The key landscape spaces feature the
extensive use of timber decks and
pergola’s. The intention was to soften the
predominantly hard landscape spaces
with a natural material and colour. The
decking in the theatre square provides a
setting for external performances and an
informal seating focus to the space during
the working day. Particular case was given
to the selection of native species of birch
trees which have been integrated into the
seating to add a naturalistic setting for
space which reinforces its continuity with
the overall masterplan.
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10.0 THE THEATRE SQUARE
“All the world’s a stage, And all the men and women
merely players: They have their exits and their
entrances; And one man in his time plays many parts,
His acts being seven ages.”
William Shakespeare
(from As You Like It 2/7)
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“Love art in yourself and not yourself in art.”
Konstantin Stanislavsky (in My Life in Art)
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The redevelopment of the historic Stanislavsky factory and
theatre site in Moscow has unquestionably been
John McAslan + Partners’ most unusual and challenging
city centre regeneration project. Within a 4ha area of
thoroughly degraded building stock and urban junk-space,
it required a meticulous stitching together of building repair,
new landscaping, and newbuild to create a now vivid mixeduse environment that is unique in the city.
Design architect + masterplanner
EXECUTIVE architect
DEVELOPMENT MANAGER
John McAslan + Partners
7 William Road
London NW1 3ER
United Kingdom
T +44 (0)20 7313 6000
F +44 (0)20 7313 6001
E [email protected]
www.mcaslan.co.uk
adm architects
121360, Russia, Moscow,
Petrovka Street, 17, stroenie 2
T +7(495) 625-27-79
+7(495) 628-49-50
+7(495) 621-14-77
+7(495) 625-24-89
E [email protected]
DEVELOPMENT SOLUTIONS
125047, Russia, Moscow,
Ducat Place III,
Gasheka str. 6
T +7(495) 287 0777
F +7(495) 287 0775
E [email protected]
www.developmentsolutions.ru