It's soooo colorful! Architectural "Oscar" for "Comfort Town"

/ Architecture /

Receive an award at the World Architecture Festival - it's like winning an Oscar, but architectural. Since 2008, WAF has been considered the largest international platform, which hosts dozens of presentations, seminars, lectures and meetings with the participation of the world's top architects. And of course, the WAF competition is a benchmark in terms of professionalism, a competition where the best architects-judges choose the best projects. The WAF-2019 award in the nomination "Best use of color" went to Ukrainian architects from archimatika for the "Comfort Town" project.

What exactly made the WAF judges like the Ukrainian project, which turned exactly 2019 years old in 10? We are looking for an answer in the stories about how and what this colorful puzzle was made of, and we are trying to take a look inside the World Architecture Festival 2019 together with the co-founders of the archimatika company Alexander Popov and Dmitry Vasiliev, the head of the competition direction of the archimatika company Alexander Simonov and Marcos Rosello, a British architect, general director of the aLL Design studio, member of the WAF-2019 jury.

 

Alexander Popov

Co-founder and director of the archimatika company

Alexander Popov, co-founder and director of the archimatika company

PRAGMATIKA.MEDIA: It is symbolic that "Comfort Town" received an anniversary award: 10 years have passed since the beginning of work on the project. But, we are sure, you remember how it all started. How did the archimatika team come up with the idea to paint the whole neighborhood in bright colors?

Alexander Popov: It is more correct to start with the prerequisites that led to the appearance of "Comfort Town". In 2009, after the crisis, almost all construction in Kyiv stopped. The housing that was built earlier was designed for a prosperous pre-crisis buyer who, thanks to a mortgage, could buy any apartment, even at speculatively rising prices, regardless of functionality. But the demand fell sharply. For 2009, this was natural, since the situation in the country's economy and the real estate market changed, people had less money and stopped buying apartments. We were just building Park City, and it was one of those rare projects that didn't stop. Our partner and customer, the KAN development company, approached us with a new order. But the attitude was: "Let's do something that corresponds to the current situation on the market." On the one hand, new quality was needed, because most of the Kyiv projects then belonged to what we call the "discomfort class", and on the other hand, we had to fit into a smaller budget. And so we tried to find a balance between these two tasks, which essentially contradicted each other. After all, when you do something new, you always spend more money and resources, and the budget is smaller.

PM: At that time, archimatika had already started developing a line of PRO apartments?

A.P.: Then there were neither PRO-apartments nor this name itself, but there was our desire to go beyond the standard, typical, post-Soviet apartmentography. We developed new layouts and proved their qualitative advantage to customers. Before each new turn of both "Park City" and "Comfort Town", we upgraded the layouts. So this was the path to PRO apartments, which lasted almost 10 years, until 2017, when we already announced the new quality of PRO apartments.

In Comfort Towne, color worked as a filter — it formed a community

So, while thinking through the concept of "Comfort Town", we found a special format. They abandoned the high-rise in favor of an average one, because, firstly, 9 floors are cheaper to build than 25, and secondly, it allows you to create a comfortable, human-scale space. A quarter building is both a comfortable space and a small economy. When we block a section with a section, we save a little on the facade. The courtyards are a pedestrian zone, and we have placed parking lots along the perimeter on the outside. By the way, quarter-scale development allows for the creation of a much larger number of parking spaces than the micro-district model inherited from the times when cars were a luxury and there were few of them.

First, we created a master plan, and this was a logical part of the process. And then they began to look for an image. Considering the budget, they understood that it was necessary to make a flat facade without excesses and without using too expensive materials. The search for an image was very long, because it is difficult to move from logic to an image, to emotions. The opposite is easier, of course, but then our artistic images would not have a solid basis.

Party devoted to the opening of WAF-2019. Image source: WAF

Once again, passing by our site, we drew attention to the Soviet mosaic on the facade of the Institute of Chemistry on Kharkov highway. The mosaic panel was created in 1970 by Stepan Kyrychenko, Roman Kyrychenko and Nadezhda Klein. This bright color spot stood out in contrast against the surrounding grayness as an optimistic accent. During the period when this mosaic was created by Ukrainian artists, the district was already a gray and dreary sleeping bag. And the bold challenge that the artists threw at this grayness seemed very close and understandable to us. We wanted to continue this colorful story. Yes, the panel has a scientific plot, but the color solution itself is an expression of the dream of a full-color, full-blooded, happy life. The political system may change, but people's dreams remain. And what the artists aspired to in the 70s turned out to be understandable, close, and relevant for us living in the XNUMXs.

We wondered: what if this authentic color code became the starting point of an architectural image? Since we planned a plaster facade, we could give it any color. And this allowed us to create a colorful, optimistic space. Space of hope.

Now it was necessary to decide, how exactly will we include color in our architecture? The search team consisted of ten people. They searched during the day, in the evening, at night. And one day Dima Vasiliev came up with the idea of ​​highlighting each section with a color and completing each house with a matching roof. Literally in one evening, we made a 3D sketch of the first quarter and applied color to the roofs.

The first impression was this: something is missing. It looked too unusual. Once upon a time, something similar was implemented in Holland, but there the same material was used for both the roof and the facades. We were planning corrugated metal roofs and plastered facades. And with such a feeling of slight bewilderment, we parted, and in the morning we gathered again and evaluated our sketch with a fresh head. And they understood: this is what is needed. The architecture took shape. We approved this project with the customer from the first time.

The authentic color code became the starting point of the architectural image

At the next stage, certain technical difficulties have already arisen. Yes, the color of the facade can be made in any color, but it is necessary to choose paints that are resistant to burning. Not all contractors were ready to give us a guarantee. I must mention Baumit as the strongest technical company with a large palette of facade paints. They helped us reach the shades we needed, and their paint turned out to be stable. Another problem we faced is the limited color palette of the folded roof. We chose some colors from the standard palette, and some had to be made to order.

PM: Didn't these technological problems complicate your relationship with the customer? There were no complaints, they say, what did we get into?

A.P.: It must be said that Igor Nikonov personally and his team immediately believed in the idea and supported us. This can be called a full-fledged collaboration, a joint effort. Together with us, they were looking for manufacturers of roofing materials, and eventually found the Metal Roofing company, which had previously performed volumes for small cottage villages, but was able to rebuild itself and reach an industrial scale. Such a large order was also a serious test of durability and technology for them. At that time, these were the first pitched roofs in modern mass housing in Kyiv. And in fact, thanks to their reliability and the contractor's technologies, our project was successfully implemented. The new roofs did not burn out and, most importantly, did not leak.

Mosaic panel on the facade of the Institute of Chemistry of High Molecular Compounds of the National Academy of Sciences of Ukraine. Artists: Stepan Kyrychenko, Roman Kyrychenko, Nadezhda Klein. Photo: Vladimir Filippov. Photo source: filippov1983.livejournal.com

PM: Did sales start already at the final stage of implementation or at the foundation stage? And what was the feedback from the sales department? It is clear that archimatika was not involved in sales, but you were probably aware.

A.P.: We were in very close contact with the sales department, as we depended on this process. The starting point can be considered the construction of a pavilion for the sales department. We just experimented on it, made a folded roof and a plaster facade in the same color, constructed a drainage system, which was then used in residential buildings.

PM: What color was this pavilion?

A.P.: Yellow By the way, it is still standing, and the entire folded wall that we brought to the ground. This is also a kind of demonstration of the reliability of the material. In our sales department, we have provided a place for a layout. And the architectural model workshop "Model ART" made us a beautiful model. It was the largest in Kyiv, before us no one had presented projects of residential microdistricts in such a fundamental way. Visitors to the sales department saw the layout and could imagine how it would all look.

The second powerful push for sales was the opening of the first phase with the first square, in which we preserved adult trees. And when people were able to appreciate the new quality in reality, a new wave of sales immediately began.

And if the complex is sold quickly, the developer starts rushing the architects. After all, we bet on individual planning solutions. I still remember that in the first phase there were 1 apartments of 200 types. That is, every second was at least somewhat different. And such acceleration forced us, in turn, to more actively study BIM design, work with 600D models to digitize processes. Usually, when it comes to large volumes, they try to unify and typify everything. And new 3D technologies, BIM and the next step, parameterization, allow us to work quickly and at the same time not sacrifice individuality. We strived to make good architecture, so we accelerated the transition to new design technologies.

PM: Returning to color. Did you involve professional colorists to work on the project? Who actually developed the combination?

A.P.: Expert colorists? No. Color in architecture does not work the same way as it does on a plane, not the same way as in painting. Yes, we could find colorists-artists, but they would hardly give us an exhaustive recipe. They could share the principles, but we also studied them as part of academic training, we know the theory. Therefore, it can be said that we have brought up colorists in our team. The main color expert, the main tuning fork was Maryna Nesteruk (Bosenko). Yes, each of us had our own taste preferences, but Marina could explain why one combination is good and the other is bad. Everyone was looking for solutions and offered options, but Marina gave an expert assessment.

PM: Let's move to the present. How did you prepare for the defense of the project at WAF and what did you focus on during the preparation of the presentation of the "Comfort Town" project in the nomination "Best use of color"?

A.P.: We focused on the social significance of expressive architecture and color architecture in particular. We already have 10 years of operating "Comfort Town" behind us and personal experience of life inside for many of our team. We have accumulated a huge database of opinions, received many reviews, including on social networks. It became obvious to us that this is exactly what we did. In Comfort Towne, color worked as a filter. He formed a community — united people who like bright colors and colorful architecture, with common values ​​and similar tastes. Unexpectedly, even for us, color turned out to be a powerful platform for community formation.

It is much easier for the residents of "Kofmort Town" to understand each other and unite for joint initiatives than for the residents of the second complex, which may be cool, but with neutral architecture. Because neutral architecture doesn't reject anyone, but it doesn't particularly inspire anyone. And in "Comfort Towne" apartments were bought only by those who really liked the hotel.

We opened this Pandora's box with bright colors

We received both positive and negative feedback on our project. And of course, it was necessary to react somehow to the negative ones. Jokingly, we decided among ourselves that, perhaps, in childhood, some people had their paints taken away and they formed the belief that it is impossible to use bright colors in life, and even more so in architecture, everything should be restrained. There are simply no such people in Comfort Town. When intelligent, well-educated people, but with different tastes, come together in one community, they have to tolerate each other and come to some kind of compromise. Compromise is always inexpressible. The creation of a community of like-minded people in such a delicate matter as color perception made it possible to gather completely special people. I remember a dialogue with one of the developers when we gave the example of "Comfort Town". Our interlocutor says: "You gather such people who are ready for bold ideas. And they don't come to me." I object: "Let's think, why don't they come to you?"

Award presentation at WAF. In the photo from left to right: Axel Demberger, Olga Chernova, Alexander Simonov, Peter Cook, Alexander Popov, Kristina Malyyova

So architecture is a filter, a tool for creating a community. In this case, people who know what they want and can afford it. Active people who listen to themselves and have inner freedom.

Yes, the next question is how to organize these people for positive initiatives. As in any large community, "Comfort Town" has enough problems. 18 thousand people live there. человек, and the residential complex is still serviced by the ZHEK. In fact, 18 thousand — this is already the population of a small town, which needs its own self-government apparatus, its own municipality, its own council, which will search for, generate, and formulate solutions.

But, of course, color is only one of the techniques. In our architectural practice, we create not only colorful houses. For example, we made "Fine Town" just for those who don't like "Comfort Town". Do you not like bright colors? Okay. Here are restrained colors, stylish, well-directed volumes, here are materials, textures, and textures for you. Architecture can be any. But the main thing is that it should inspire. If architecture leaves a person indifferent or close to it, then it does not work. So, the notorious magic characteristic of outstanding architecture is absent. An engineer can build a house. The architect adds some magic to the space. An engineer will play a scale from seven notes, an architect will compose music. We wondered what the meaning of architecture is? I think - in enthusiasm. As I remember from the time of the institute, Buckminster Fuller said that the role of an architect is to connect everything with everything.

Yes, the architect ties everything together — the social component, sopromat, and coloristics. And the customer, and the consumer, and money. But the question is why do it? And for inspiration!

Residential complex "Comfort Town", aerial view

Earth's gravity affects us all. But when you enter a quality space, you feel that it has become easier. It may not be much, by one percent, but still relief is coming. Everything is easier for you - to run, jump, think, create. Life becomes easier. Architectural masterpieces make us literally fly. And vice versa. Bad architecture physically puts pressure on you, causes despondency and longing. Yes, nothing cancels life scenarios, and a person is able to rejoice in the most terrible environment, living in dark sleeping bags. But in a quality space, all feelings will be brighter.

Architecture affects each of us differently. It is impossible to create an architectural object that will be liked by everyone. But the correct one, as it seems to me, will not be a politically correct, one-size-fits-all architectural solution, but one that is radical and 100% corresponds to the tastes of a particular category. Let us, just 5% of the city's residents, raise the mood and lighten the burden. Great! What to do to everyone else? Don't go there. There are other residential complexes. Thus, on the one hand, we bring variety to the city space, on the other hand, we make people happy.

Replication is evil. You cannot step into the same river twice

PM: And yet, what played a decisive role, what exactly influenced the WAF jury members — a colorful picture, a concept or a well-prepared presentation?

A.P.: Here you can only guess. The presence of Peter Cook, a famous British architect, at our defense was a surprise for me. He is a world-class star, on our previous trips to the WAF, I listened to his lectures with interest every time, and then I saw him and realized that this time Peter Cook would listen to me. And he, like other members of the jury, asked many very demanding questions. For example: "Why didn't you make smooth color transitions, but chose such color chaos?" We answered that we did not have a palette for creating smooth transitions and gradients, so we decided to play with color contrasts. And since, in addition to color, we operated with different volumes, we were able to make the streets diverse. And Peter Cook asks more and more new questions. To be honest, I thought he was overwhelming us. It shows us how far we are with our district mentality from the world level. And I left the defense confident that Peter would vote against our project, especially since the works of our competitors were more than worthy. And when we were suddenly released on stage and Cook presented the award, it was unexpected. Already later, over a glass of champagne, we talked with Axel Demberger, a representative of the EASTMAN company, which is a partner in the "Best Use of Color" nomination, and he said that it was Peter Cook who was our main supporter. Although the disputes were so hot that the walls of the pavilion were shaking. And this moment of recognition became the climax in the history of the project. Yes, we made a high-quality project, and this has now been confirmed at the world level. This is important! After all, for 10 years we fought off the criticism of those whose paints were taken away in childhood.

Drawing of a section from the "Comfort Town" residential complex project by archimatika. Image source: archimatika

But if you still assume that what was decisive was a successful presentation, the project itself or its idea, then I will say this: if the idea is worthy, clear and clear, it unites everything. When the idea is controversial, there are already nuances, a lot depends on the presentation. And it was very easy for us to prepare the presentation, since the idea crystallized. And although I call my English "tourist", it was easy for me to explain it. And Sasha Simonov and I put together the presentation in a matter of time. The WAF award is primarily an idea evaluation. Heroes are all who implemented the project. But the main character is Dima Vasiliev, who came up with the idea.

PM: Let's imagine that this world recognition provokes developers to turn to you with proposals: "And design another colorful residential complex!" What will you answer them? Is it possible to replicate an idea that is so successful both commercially and conceptually?

A.P.: Replication is evil. Impasse. And this is the past. Replication is based on unification. Unification as one of the methods of standardization is necessary in order to save money. Create a prototype - and replicate it ad infinitum. Yes, business scaling allows you to earn money, but the key point is that there are much more ways to standardize than just unification. There is no sense in cloning identical apartments, identical sections, identical housing complexes, identical quarters, districts — this is all evil. It is necessary to standardize in a different way, and modern technologies allow it. It is necessary to standardize first of all by analyzing references, studying similar situations and solutions. This is a complex analysis, but it allows finding solutions that are reliable and suitable for people.

Residential complex "Comfort Town"

An ugly, aesthetically uninteresting architectural solution is already unreliable, unstable, as it is now commonly said. So, repetition is already ugly. Yes, Andy Warhol replicated images, just trying to understand unification, typification and the world in which we found ourselves. But even so, each of the portraits of Marilyn Monroe, Che Guevara or Mao Zedong has a difference. Therefore, Warhol's works are art.

You cannot make a second "Comfort Town". You cannot step into the same river twice. Here in 2009, it was a Wednesday, there was a request, because grayness reigned. And today this grayness is gone. Yes, it is possible to build complexes with pitched roofs, it is possible to create complexes with quarter buildings - that's what we do, because these are good solutions. Yes, you can use color in architecture. But to clone "Comfort Town" is the extreme degree of absurdity.

PM: And yet, you will probably be imitated. Especially after the WAF award and recognition.

A.P.: We have been imitated for a long time. For this, it was not necessary to wait for a WAF solution, it was enough to see a line in the sales department to start using similar solutions. But color is a dangerous tool. To use the ego, you need a sense of color, talent. Yes, we opened this Pandora's box with bright colors, with which other developers and architects actively began to paint the facades. But if your colors were taken away from you in childhood, if you are color blind, after all, don't take color as the main tool! If you are not an artist, do not paint pictures, including painted ones on facades. Usually, developers who, out of reasons of economy, choose imitative architects, systematically save on everything, including paints, which fade over time, and the unpleasant, unfortunate contrast of colors disappears. Smoothes over time.

PM: And if "Comfort Town" is suddenly repainted in one tone, will its architecture lose its qualities?

A.P.: There is an artist Hristo Yavashev, who wraps famous historical objects with film, even the Reichstag building...

"Gymnasium A+" is a school of grades I-II on the territory of the "Comfort Town" residential complex, Kyiv. Photo: Alexander Angelovsky. Image source: archimatika

PM: Yes, by the way, he plans to wrap the Arc de Triomphe in Paris in 2020.

A.P.: But even if they wrap the Arc de Triomphe with a film, it will still remain recognizable. This is how our memory works. Therefore, "Comfort Town", even painted in white, will still remain "Comfort Town", we already remember it as such.

And on the other hand, 10 years have already passed. And even our tastes have changed over time. We felt this when we designed the building of the "A+ Gymnasium". We made the first elementary school, kindergarten bright. And I wanted more and more color. But as a result, we have already made 50 hectares colorful, how much more? At first, we wanted to choose one color from our palette for "A+ Gymnasium". All options seemed inexpressible. But when the volume series was used, it became accented on a bright background. And we came to the conclusion that it's time to reincarnate and return to "Comfort Town" the color series that was excluded 10 years ago. But we are bringing it back in new materials, in new shades and in a new architecture. In new quality.

 

Dmitry Vasilyev

Co-founder and chief architect of the archimatika company

Dmitry Vasiliev, co-founder and chief architect of the archimatika company

PRAGMATIKA.MEDIA: Your colleagues argue that it is Dmitry Vasiliev who is the main hero of "color history" and who brought the decision to the team. What provoked this "moment of truth"?

Dmitry Vasiliev: There were many prerequisites. First, we clearly decided for ourselves that we were going to create a flat facade. At that time, they had already had a sad experience when, after handing over the object, tenants start glazing balconies, terraces and everything that can be glazed. Therefore, they decided: a flat facade, no balconies, which incite the imagination of residents to architectural "improvements". How will this flat facade be revived? They tried to use different European "grids" on the facades, shifted windows, but this is too replicated a technique. At some point, the idea of ​​a graphic solution came: "Let's add pitched roofs!" At first, they doubted whether it was worth it, because a flat roof is reliable and cheap. But we realized that pitched roofs are an opportunity to get a rich, unusual silhouette, and it is also economically justified, since it allows you to make more interesting layouts, using additional space.

PM: Additional area due to spaces under the roof?

D.V.: Yes. In some places, the rooms were high enough to make one more level in the apartment. And since our people really like bonuses, it subsequently helped a lot in sales. The managers said that, for example, in this apartment it is possible to increase the total area due to the high ceiling, sometimes even to the size of a full room. So the idea with pitched roofs took off. And in principle, this volumetric solution made it possible to cover the entire plot with prism houses with different tops - the complex would already have its own special character.

We needed to find a single architectural and design solution for the entire territory of 50 hectares at once. After all, initially the customer, fearing that the market will continue to fall after the crisis of 2008, made it a condition to provide for the possibility of assembling buildings from factory panels. Of course, we immediately moved away from the classic "window in a square" panel, envisioning narrow and tall windows, which are perfectly combined with sharp roofs. Yes, the market held up and did not fall, so it was not necessary to switch to panels, but the general planning solution - to assemble a puzzle, creating similar but atypical sections from a combination of repeatedly used and individual elements - remained. And it was important to us as architects that the building did not turn out to be boring, monotonous, banal and reminiscent of standard panel buildings. Therefore, we decided to use color.

I admit, for Europeans, our project is a little crazy

PM: As Alexander Popov told us, the idea of ​​making color the basis of the image was inspired by a vintage mosaic panel. But how did you come to the practical decision to paint the walls and roofs in tone, and then create such a colorful chaos on the scale of the entire site? What kind of reference, perhaps, suggested?

D.V.: Indeed, when Sasha and I found a mosaic, I would say, we found the "color code of a dream", which led us to a general artistic image, and even individual combinations of colors. But this code is outside the architectural plane! And as for architectural practice, there were no references, because no one had ever done anything like that. CT architecture is the pure result of many hours of brainstorming, consideration and rejection of options.

PM: We somehow saw how in the courtyard of the office you and your colleagues placed samples of paintings on the walls, looked at them, changed places, discussed, chose. Was the process of selecting colors and color combinations for "Comfort Town" exactly like this?

D.V.: Yes. First of all, it was necessary to correctly assemble each prism house. A pitched metal roof and a vertical plastered wall are two completely different materials that work completely differently under natural lighting. The metal is "glossy", it reflects, takes on the color of the sky. When you look at such a sample indoors, the color rendering is distorted under warm light, and the metal reflects all the brightly colored objects in the room. If you take it outside, you will see one color in a vertical position, and another color in an inclined position. Plaster, on the contrary, is matte and does not reflect anything. And these manipulations, which you observed in the yard, are carried out with the aim of adjusting the color of one material, taking into account all the reflections under the other. At Comfort Town, we had to match these colors, taking into account not only the difference in materials, but also the angle of the roof. It is approximately the same, plus or minus 30 degrees, we selected it, trying to reduce the snow load on the roof.

PM: What was the reason for choosing the color palette?

D.V.: First of all, we tried to avoid excessive pastels. In 2008-2009 Kyiv was built up with buildings in beige, brown, light yellow and peach colors. They were afraid to use something brighter. Well, facing brick was, of course, used. As a result, all objects looked the same. Therefore, we decided to create open, clean and brighter colors. But when they tried to use the most saturated color range from the pure tones of the spectrum, it became obvious that it overloads perception. We divided the colors into two groups - bright and pastel. Bright ones were supposed to dominate, work as accents, and pastel ones will dilute this brightness. And since we intended to fit into the budget, we focused on the standard color line of metal manufacturers. They chose yellow, orange, burgundy and blue from their, to be honest, poor palette. The rest were made to order.

Pitched roofs are an opportunity to get a rich, extraordinary silhouette

PM: After all, it was necessary not only to match the color of the roof and the facade, but also to create a harmonious overall composition. How did it happen?

D.V.: The logic was this: accent sections, corner or occupying the most distinctive positions became bright. Sections are ordinary — mixed. We deliberately painted the tallest buildings in pastel colors so that they would not dominate the composition. If you pay attention, they are light terracotta, light green, light blue. The general combination was made purely intuitively, choosing from different options. Our Marina Nesterenko, who has perfect taste, helped a lot in this.

PM: Still, coloristics is almost a science. The entire Panton Color Institute is engaged in choosing the "color of the year", which is then used by designers around the world. And yet you made the decision on your own. Were you not afraid to miss such a delicate question?

D.V.: Probably, if we had the task of choosing the "color of the year", it would be worth founding an institute and consulting with colorists for a whole year. But we worked within a very strict framework. Both temporary and budget. And in the conditions of a limited choice of materials.

PM: In foreign large architectural bureaus, perhaps whole dedicated departments solve similar issues?

D.V.: To be honest, I was never interested in this. Perhaps, if the resource is larger or the task is more difficult. In foreign teams, the specialization of all employees is usually very clearly defined. We also had a collective team of specialists and, most importantly, there was Marina.

PM: Recognition at WAF, one might say, nullifies all doubts of previous years. But if you recall the criticism that you had to listen to for 10 years, including from members of the professional community, what exactly did it boil down to?

D.V.: "Too bright." I think this applies both to the general palette and to the combination. Yes, for those who like pastel colors, "Comfort Town" is too bright. But making another object "a la Kievgorstroy" in a beige-brown scale made no sense. Such colors are good when used in combination with high-quality artificial materials. Where the aesthetics of the material itself, clear edges, and the elaboration of knots are the main ones. This is what Rybalsky is doing now. Beautiful, expensive materials are used - there is no need to fight for color anymore. But when you only have plaster and a white metal-plastic frame at your disposal, try playing with them! Yes, when we designed the "Respublika" residential complex, we were able to implement an even more complex color solution, combining four colors, and three shades for each color. But by this time, it was already possible to cover the first floors with mosaic plaster, to apply rust and lath. And at the time of designing Comfort Town, we did not have a diverse palette or materials at our disposal. And if everything were done in pastels, it would be boring.

Residential complex "Comfort Town"

PM: Well, you didn't just play with the suit, you ended up winning. And 2019, the jubilee year for the project, turned out to be a busy one — the image from the drone was used in the presentation of the new Apple tablet, and you received a prize in the most prestigious WAF architectural competition. And in the spring, the Los Angeles Times published a whole article about Comfort Town. And as far as we understood, LA Times journalists also reacted precisely to the color? Did they like it?

D.V.: Journalists are usually not engaged in evaluation. Readers rate. And LA Times journalists told about an extraordinary, in their opinion, fact. I think they were provoked to come and look at "Comfort Town" by our Kharkiv colleague Oleg Drozdov, who cited our work as an example of "anti-Soviet residential construction". I'm not sure that Oleg meant "it's good", but such a characteristic forced journalists to pay attention to the object. I don't think that guests from the more developed countries of Europe and America can really "like" our projects. Rather, they react to what, in their opinion, looks extraordinary, non-trivial. They are used to more restrained, high-quality, more expensive architecture. So, if you came to Thailand or Cambodia, would you like their villages? It is unlikely, but you will appreciate their originality, originality, local flavor.

PM: Nevertheless, the WAF jury highly rated your project. Don't you think that, perhaps, the WAF judges are already a little tired of the high-quality and fairly homogeneous architecture of successful countries, of the restrained and laconic colors that have dominated for decades?

D.V.: I will tell you two stories. Recently, Kyiv hosted a developer forum (III Residential Development Forum. — Ed. Ed.), which was organized by Red Community. They decided to show the Polish developers what has been built in Kyiv in recent years. They were given a tour of the territory of several complexes, in particular, the "Faina Town" residential complex. There is restrained architecture, clinker bricks, in a word, a completely European level of architecture and landscaping, with underground garbage bins and pedestrian yards. The Poles looked, nodded and admitted: "It's the same with us." One of our architects understood that they were not surprised yet, and showed them photos of the "Respublika" residential complex, where color was also used. And then the Polish developer perked up and said: "That's creative!" Now Ukrainian developers are trying to copy European projects. But for Europe, all this has long been perceived as a basic, generally accepted level. For them, what is interesting first of all is what stands out from the crowd.

And the second story. At the first defense of "Comfort Town" at WAF, where we also reached the finals in the Housing — Completed Buildings nomination, one of the judges asked us a question: "Tell me, did you have to somehow coordinate with your municipality the use of such bright colors in this district?" I think our situation, when we are not bound by similar restrictions, causes Europeans some confusion. Because it would be very difficult for them to implement a similar project due to the long procedure of approval, town-planning restrictions that also apply to color codes. I admit that our project looks a little crazy from the point of view of a European architect.

Bright colors dominate, work as accents, and pastel colors reduce this brightness

PM: It can be considered that with the award received at the WAF, the color story is logically completed, the project is completed, the gestalt is closed. There cannot be a second "Comfort Town". And what now — in what direction will Ukrainian architects be creative?

D.V.: "Comfort Town" really became a trigger in the history of the use of color in Ukraine. After us, they began to actively use color. More often, it is used randomly. In 2010-2012 many residential complexes appeared, decorated beyond any concept and it is not clear why.

Now in Ukraine, the most accurate copying of either American or European projects or trends is considered a trend in architecture. The more accurately some European building is copied, the cooler the architect is considered. We are turning into a country of copying, taking tracings and trying to adapt them to ourselves. On of the Architecture of the Future conference there was a discussion between representatives of two large development structures, who discussed whether Kyiv needed symbolic buildings. The "City of Arts and Sciences" by Santiago Calatrava, the Guggenheim Museum in Bilbao by Frank Gehry were remembered. Lukasz Platkowski, principal and design director of the Gensler company, commented on it as follows: "Guys, do you know, of course, the famous MahaNakhon skyscraper in Bangkok with a very unusual "pixel" facade? But almost no tourists come to see this skyscraper. Everyone goes to see the slums, where they trade from tents, where there are unusual cafes. They come there for color, for authenticity. What kind of authentic direction should be developed in Kyiv in order to attract tourists?"

Residential complex "Comfort Town"

PM: And what was the answer?

D.V.: Unfortunately, none of the developers could give a substantive answer. For me, the question can be rephrased as follows: "What should distinguish us from the rest of the world in our architecture?" If you can clearly formulate what can be called Ukrainian authenticity, then this will simultaneously be an answer to the question "In what direction is creative?" It seems to me that the answer must be sought among the local context — conditions, technologies, limitations. Yes, limitations, even mental ones, even ridiculous ones, even those due to poverty, we can turn into values. It is only necessary to formulate the answer correctly.

 

Alexander Simonov

Head of the competitive direction of the archimatika company

Oleksandr Simonov, head of the competitive direction of the archimatika company

PRAGMATIKA.MEDIA: You prepared presentations of projects from the archimatika company at WAF, but did you manage to personally participate in the design? Or at the time of your arrival at archimatika, "Comfort Town" had already been completed? How exactly did this colorful story begin for Alexander Simonov?

Alexander Simonov: I joined the archimatika company 3,5 years ago, but before that I bought an apartment in the "Comfort Town" residential complex. It turned out that this is exactly what brought me here. I remember that when I went up to the 22nd floor of the "Mega-Sity" residential complex, I saw the bright color spot "Comfort Town" from the balcony. And I thought: "Oh, colorful houses, let's go and see!" Arriving at the residential complex, I saw local landmarks - "Melnytsa", "Olenya", "Tyubiky", "Pryshchepka". I saw well-kept yards without parked cars. And caught fire. Even then, I studied at an architectural university and understood what was good and what was bad. The choice in favor of "Comfort Town" residential complex was completely logical.

R.M.: Didn't the bright colors of the facades confuse the architectural student? After all, both then and now, asceticism, restraint, and laconicism are in trend in mass residential architecture.

A. S.: No, absolutely. From the same balcony, I noticed that these houses (and at that moment the first three rows were ready) had already formed a complex, non-trivial color scheme. And against the background of the environment - and it was March, when everything around is gray and dirty - "Comfort Town" looked very advantageous. So the color did not confuse, but just attracted. Even then it was important to choose the color of the house in which to live. I wanted to live in yellow. Or in peach. Orange - definitely not. There was also a rich red, Marsala - I thought it was possible... So I studied the layout and chose it. Then, of course, it turned out that the main thing is not what color your house is, but what color the building opposite is.

The main thing is not what color your house is, but what color the building opposite is

R.M.: How was your arrival at archimatika connected with this story?

A. S.: I met Alexander Popov at the Fedoriv Hub hearing. At that time, I had been living in "Comfort Town" for about a year, and all I knew about the Archimatika company was that they designed everything. And at this meeting I figured out Alexander Popov, approached him with a question. That's how we met. This was the beginning of cooperation.

R.M.: How exactly did you choose the projects to submit for participation in the WAF 2019 competition, according to what principle?

A. S.: There are clear and detailed conditions for participation in WAF. "Comfort Town" met all the rules in the "Best Architecture" nomination, since it is a fully completed project. We studied works that won earlier. There was a factor of surprise, such an aftertaste: "What, it was possible?" I thought that, most likely, Western architects would be interested to see how 50 hectares can be filled with colorful houses. Within Ukraine, "Comfort Town" played as a trendsetter, demonstrating that landscaped courtyards are possible without cars. For Europe, of course, this is completely standard. But this amount of color is quite atypical. And I remembered that my American colleagues, when they saw Comfort Town, were inspired and said: Wow, it's so fucking colorful!

Residential complex "Comfort Town"

And so we declared "Comfort Town" in the "Best Architecture" nomination. And passed to the final! But when you fill out an application, you can go through a number of additional options-nominations, including "Best use of color". And I just ticked the box. Sasha and Dima (Popov and Vasiliev. — Editor's Note) did not even know that we had applied for this nomination as well.

In the application, we described in detail the courtyards without cars, the low height, the layouts, all the public areas that were created, and the demarcation of pedestrian and car routes. As a result, "Comfort Town" and our project for New York Snail-apartments (submitted in the Future Project nomination) successfully passed the competition finals in mid-summer and were shortlisted. And a little later, in August, we were notified that "Comfort Town" advanced to the final in the "Best Use of Color" nomination.

R.M.: You were responsible for preparing presentations for the defense of projects in Amsterdam. According to what principle were the accents placed, what was the emphasis on?

A. S.: In one of the presentations, we focused in detail on the quality of residential architecture. They described all the benefits, history, how it became a trend in Ukraine. And they said that today thanks to us, housing with cars in the yard has already become unpopular. For the defense in the "color" nomination, we used part of the standard program, but the main thing was to talk about the fact that the main thing was to create contrast. We selected the most eloquent photos of the panels located around the murdered yards. They showed photos of Poznyakov from a copter with scary skyscrapers and buildings painted in toxic colors. All these "humans" began to be built in the same 2009, but their quality is completely different.

So at first we intimidated the international jury with our realities, how bad, scary, depressing everything was. And they played on contrasts, because our goal is to challenge this despondency and create something in an absolutely unfavorable environment that would fundamentally change the perception of the area. Now "Comfort Town" is a colorful landmark of the entire Left Bank. When I fly in a plane over Kyiv, I can clearly see my home.

Now "Comfort Town" is a colorful landmark of the entire Left Bank of Kyiv

RM: Usually the members of the jury do not reveal the motives of their decisions, but perhaps it was possible to get some insider information about what was the main argument in favor of "Comfort Town"?

A. S.: Immediately after the defense, we were approached by Axel Demberger from the EASTMAN company, which is a partner of the competition in the "Best Use of Color" category. He said that the jury had a very heated discussion about who would become the winner. As we understood, the opinions of four members of the jury of this nomination were divided. Among our competitors, a school in China stood out, where the designers used color very appropriately. And a hospital in Australia is a green public building. Everything is also logical and appropriate. And when we were already presented with the award, Axel spoke with us once more, congratulated us and said that Peter Cook personally voted for us. In the nominations, in addition to the winner, the jury sometimes chooses the Highly Commended Buildings project — highly appreciated, but not close to winning. And when it was announced in our nomination that one of the projects was awarded the title of Highly Commended, we hoped that it would be us?... That would have been a major victory. But the award went to a hospital in Australia. We tensed up. And suddenly "Comfort Town" is announced!

Even if you repaint "Comfort Town" in white, it will not lose its quality

R.M.: Your personal opinion: what made such an impression on the jury? The reception with the contrast of the color complex with the concrete gloomy ghetto, or did the Europeans just miss the color a little?

A. S.: There is little color housing in the world, usually it is neutral tones. But I believe that in our case the main role was played by the story of how we brought hope to this area. Because "Comfort Town" was immediately overgrown with some businesses, infrastructure, markets, car washes. Life is bubbling around the beginning. So this is a story about hope. I'll be honest: we pressed for pity. 10 years ago there was only one color spot in this area - a mosaic on the wall of the Institute of Chemistry. And we decided to tell that we need hope for a better future, for a brighter life.

Peter Cook believed us. He really likes stories, as I noticed. The members of the jury, it seems to me, had a "mental gap": well, what is it - colorful houses on 50 hectares! They simply did not expect that somewhere in the post-Soviet space, someone could use color so openly, so brazenly, and at the same time it did not work. It seems to me that the Europeans were simply interested in looking at us - at architects crazy enough to paint 50 hectares in crazy colors.

R.M.: But this card with the multi-colored residential complex in the gray area can be played only once. Can't there be several "Comfort Towns" in Kyiv?

A. S.: No. "Comfort Town" appeared at the right time and in the right place. The jury also asked us the question: "Did many colored houses appear in the city after your project?" If you look at what happened in Kyiv after the appearance of "Comfort Town", many new buildings began to be painted. But the use of color turned out to be wrong.

Residential complex "Comfort Town"

This is a one-time promotion when the bold, open use of color worked and the combination of shades turned out to be correct. Yes, there were those who wanted to repeat this technique, but it didn't work out that way. There was no scale, no parcelling. In Comfort Towne, color is one of the key factors, but not the only one. And many, having seen the success and speed of selling apartments, thought: "Oh, now anyone will buy a colorful house!" They decorated the panel in bright colors, but sales did not go well. Because there is no landscaping, no green courtyards, low floors, good layouts, sloping roofs, French balconies. Color is just one of the factors that influenced the success of "Comfort Town" both as a commercial project and as an architectural one. Even if we now repaint this residential complex in white, it will not lose its quality.

 

Marcos Rosello

Director and founder of the architectural studio aLL Design, member of the WAF jury

Marcos Rosello, director and founder of aLL Design architectural studio, member of the WAF jury

PRAGMATIKA.MEDIA: Architects are always cautious about the use of color in residential architecture, usually applying it in the projects of accent buildings. We reviewed the history of WAF awards and shortlists over the past 3 years and did not find among the winners of the Use of Color Prize residential projects. What exactly did the project of the archimatika company attract the attention of the judges and what became the decisive argument in its favor?

Marcos Rosello: It was so bold that it immediately attracted attention. We liked the project as a whole. The color gives it a sensuousness that favorably distinguishes the project and makes it noticeable even in the midst of a dynamic community. Color was successfully used in all the competition works, but we decided that archimatika reached a qualitatively new level.

PM: Can we say that the centuries-old dominance of white color in world architecture has led to some "fatigue" and now we are all looking for a new leading color?

M.R.: I do not agree with this. Color is a subjective instrument that is used in completely different ways in different cultures. Therefore, such a general statement is too simplistic.

It was so bold that it immediately attracted attention. We liked the project as a whole

PM: Is it possible to apply a color dictate to architecture, an influence similar to what the Pantone Institute has on design? Or does architecture remain more fashionable?

M.R.: I think that there are certain trends in architecture, and you see how certain colors are used in different periods. At the moment I find an interesting freedom in the use of color. In my opinion, this is positive, as many cities have been gray for too long. We need color to cheer us up, especially on a dreary gray morning.