The New Tretyakov Gallery Building: What Failed in Moscow's Long-Term Construction Project? / ITech content

Contents:

• Outdated design
• Controversial design of the Tretyakov Gallery façade
• Problems with communications
• Examples of successful solutions with communications
• Problems with composition in the new Tretyakov Gallery building
• Fake ceiling
• Minor repair defects
• Why was the design of the new Tretyakov Gallery building such a failure?

The construction of the new building of the State Tretyakov Gallery on Kadashevskaya Embankment was a large-scale and complex project, implemented in several stages. Work began in 2007 and continued until the spring of 2024, which led to delays and the transformation of the project into a protracted project. The new building is intended not only to expand the gallery's exhibition space, but also to improve conditions for visitors and the storage of works of art.

The building has attracted considerable criticism. Art critic and art project promotion expert Ksenia Korobaynikova compared it to a shopping mall, noting that "if this building had been built 20 years ago, it could have been justified. Today, even small European cities are opening impressive museums, both architecturally and in terms of content. "Given our resources and the acute shortage of high-quality modern museums, the emergence of such a facility next to the Kremlin is a real disgrace." Former Deputy General Director of the Gallery Andrei Vorobyov expressed his point of view more softly. He believes the new space is the result of work begun almost 25 years ago. Vorobyov emphasizes that many of the decisions made by Andrei Bokov, the primary architect of the museum's interior design, were already outdated by 2000. In this analysis, we will examine the project from an architectural perspective, focusing on those aspects that were not properly implemented. We will compare it to more successful architectural examples, such as GES-2 and the General Staff Museum, to identify key flaws and shortcomings in design and functionality. This will allow us to better understand which elements of architectural design were missed and how similar projects can be improved in the future.

A lecturer in the undergraduate program at the MARCH School of Architecture and a practicing architect with extensive experience in the field of architecture. In his work, he combines theoretical knowledge with practical experience, which allows students to better understand the realities of the architectural profession. The main focus is on current trends in architecture, design and urban development. The teacher is actively involved in professional projects, which ensures the relevance and applicability of the knowledge imparted to students.

Outdated design

The overall impression of the project is that the set goal is extremely ambitious and requires significant effort and time. However, there is a feeling that the implementers did not show due interest in achieving the results, which may be due to various factors. As a result, the impression of a confusing and disorganized space is created, which is unacceptable for a facility of such a high level. More targeted effort and attention to detail are needed to achieve the desired result and create a quality product.

There is a feeling that this space and its design seem outdated. Conceptually, it is reminiscent of German museums of the early 2000s. This isn't necessarily a problem, but it's an obvious fact.

The problem with outdated design also lies in the length of the construction process. This influences the choice of solutions. In the mid-2000s, architects sought to create a new design language based on simple technologies and cost-effective materials. As a result, a multitude of patterns, rhythms, and gradients emerged, making architecture more diverse and adaptable to modern requirements. Given these changes, it's important to analyze how old approaches can be updated using modern capabilities to ensure the longevity and relevance of design.

Current technological and economic conditions have changed significantly, and facades based on fashionable graphic solutions of the past have lost their relevance. When designing a museum, it's important to consider that it will be visible to the public for many years. Therefore, it makes more sense to use more universal and timeless approaches in architectural design. Such solutions will not only retain their appeal over time, but will also allow the museum to blend harmoniously into the urban landscape, creating a durable and aesthetically pleasing space.

Controversial facade design

The Tretyakov Gallery

The framed paintings on the building's façade are disturbing. They are not presented in a museum format, but rather as posters or magnets. This appears somewhat offensive, as the artworks are cropped to fit the frames, as if they were simply wallpaper rather than finished works with specific proportions. This presentation of art diminishes its value and distorts the original intent of the artists. It is important to preserve the integrity of the works and respect their form to ensure the proper perception and appreciation of art.

It is advisable that qualified curators handle the placement of paintings on the walls of an outdoor museum. The incorrect approach to this decorative solution, implemented without due respect for the material, creates a feeling of forgery. It is not a stylish or modern fake, but rather something executed at a low level.

The new building of the Tretyakov Museum immerses one in the atmosphere of contemporary postmodernist architecture. The design was initially based on the idea of ​​decorativeness, imitation, and fakery, as well as the use of classical techniques. However, for the building to become a truly outstanding postmodernist work, it lacks a key element: irony and humor, including self-irony. Nevertheless, the concept of the Tretyakov Gallery building remains serious, which makes it unique in the context of modern architectural solutions.

Problems with Utilities

There are two opposing approaches to organizing utility systems in an interior: either make pipes and other structures visible or hide them from view. In the case of the Tretyakov Gallery, neither method proved effective. Engineering details have become noticeable, but not as a result of a conscious design decision, which negatively affects the perception of the space and violates its integrity.

The museum's central atrium is designed as a continuation of the street, but with a unique glass ceiling that creates a lantern effect. The entrances to the exhibition halls are located along this "street." This space is a unified organism, capable of adapting to various event formats. Currently, only a small part of the building is accessible, which limits the ability to fully appreciate its functionality and architectural solutions.

The utilities indicated by arrows cannot be hidden. However, it's worth noting that the structural elements often look rather untidy. This is often due to insufficient coordination between the design and engineering departments. Engineers are responsible for the placement of utilities, and aesthetics are not their responsibility. It's important for designers and engineers to work more closely together to achieve a harmonious blend of functionality and visual appeal in the project.

A professional designer must work closely with engineers to effectively arrange elements, select colors, and textures. It is important to consider the possibility of moving elements, which will significantly simplify the project implementation process. Ideally, the designer should create a design project that allows engineers to integrate all the necessary components without unnecessary effort. This approach ensures a harmonious combination of aesthetics and functionality, which is the key to the successful completion of the project.

Examples of successful solutions with communications

There are counterexamples related to architectural communications, such as the GES-2 building in Moscow and the General Staff building in St. Petersburg. These objects demonstrate successful solutions in the field of integration of modern technologies and historical architecture, which makes them important objects for study in the context of architectural design and urban planning.

In the design of the hydroelectric power station, all engineering elements naturally fit into the overall design, creating a harmonious space. The hydroelectric power station is a museum of contemporary art, where every design detail serves not only a functional but also an aesthetic purpose. This approach may seem inappropriate for more traditional museums, but it emphasizes the uniqueness and relevance of the works on display.

The General Staff Building is indeed reminiscent of the Tretyakov Gallery in its typology and purpose. Both institutions possess unique architectural aesthetics that may seem dated, but at the same time are entirely appropriate to their context. This creates a harmonious perception and emphasizes their significance in the cultural and historical environment.

Compositional Issues in the New Tretyakov Gallery Building

The atrium covering of the new Tretyakov Gallery building doesn't form a unified, harmonious composition. The main load-bearing beams, which are thick and massive, don't draw attention to themselves. This creates the impression that they are simply present, without any sense of their functional purpose. Instead of conveying the idea of ​​lightness and a floating structure, the beams are perceived as heavy elements, which detracts from the overall aesthetics of the space.

The main atrium with its "lantern" in the General Staff building is an example of a successful architectural solution. It features a unique proportion of glazing, which creates a clear gradation between primary and secondary elements. This creates a compositional unity that lends harmony to the space. In addition, the pipes, including the noticeable large round pipe, fit organically into the overall design, becoming an integral part of the interior aesthetics.

Fake Floor

The Tretyakov Gallery building has niches in the floor, similar to fragments in the General Staff Building, where the floors are torn from the walls. Such architectural elements are usually used to create a sense of weightlessness or to provide a glimpse of the lower level. However, in the Tretyakov Gallery, these niches serve neither of these purposes. One can hope that they are temporarily boarded up and will be opened in the future to reveal their true purpose.

Minor repair defects

The Tretyakov Gallery building lacks baseboards, resulting in uneven joints. Modern designers often create projects without baseboards, and this is considered a perfectly acceptable solution. However, this approach requires careful consideration of the combination of materials, their layout, and all joints. In this situation, this was not done, which creates an impression of poor quality. The materials appear too thin, as if two pieces of paper are trying to join at an angle. As a result, the joints are covered with caulk everywhere, giving the overall appearance an unfinished and sloppy look.

Why was the design of the new Tretyakov Gallery building such a failure?

Problems related to deadlines, project management, and budget are key factors influencing the successful completion of projects. Clients may have actively pushed the team to meet deadlines, but poor integration of design with other departments could have led to delays. This, in turn, creates the risk of sabotage by employees, negatively impacting the overall progress of the project. Effective project management requires not only clear planning but also well-established communication between all participants, which can help avoid such difficulties and ensure the successful completion of projects.

The story of the protracted construction of the new Tretyakov Gallery building serves as an important lesson for designers, emphasizing the need for a clear concept at all stages of the project. It is clear how the concept evolved, leading to inconsistencies among numerous elements. The designer must have a complete understanding of the associated equipment and workflow, making their role particularly responsible. High-quality design requires an attentive approach to detail and collaboration with other stakeholders to avoid errors and achieve a harmonious outcome.

Based on my experience working on government projects, the events surrounding the new Tretyakov Gallery building are likely the result of a systemic failure in project management. This occurred due to the lack of a specific, responsible client who would be committed to a successful outcome. Having clear leadership and accountability throughout all stages of the project is key to achieving the desired outcome and minimizing potential risks.

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