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Pioneers' palace on Lenin’s hills
The complex of low buildings standing in the middle of a landscape park is the most successful construction of Khrushchev's "thaw" and one of the symbols of postwar modernism.
Resolution of November 1955 "On the elimination of excesses in design and construction" caused a shock for the architects and throughout the second half of the decade, Soviet architecture painfully develops a new architectural language. This coincided with the change of generations, and the architectural authorities, to the surprise, did not always hinder the creative search for young people. Four (V.S. Egerev, V. S. Kubasov, F. A. Novikov, I. A. Pokrovsky) from five authors of the new building of the Palace of Pioneers were accepted first by a competitive project approved by K.S. Alabyan himself - almost all-powerful architect- a functionary who only strengthened the group, adding to them Hajakian - the architect of the older generation.
As a result, the construction quickly turned into an object of union value, for which personally scrutinized Khrushchev. The complex was designed and built, almost without knowing the difficulties, however, the carte blanche given to the young architects was compensated with a huge responsibility.
The building became the epitome of the new architecture, inspired by the Constructivist avant-garde searching in something - modern Western architecture. Glass walls open to new kinds of beautiful park surrounding the building, which had a free plan connected to each other with low buildings. Only on the high side of the hill from the main entrance and the profiles Monument Malchish – Kibalchish (the hero of communist tales) natural landscape was a clear violation of the rulers of concrete paths and a swimming pool. Concrete paths, drawing through the front yard used to construct lines, but other than that, the obvious function allows you to ground green.
The close connection with the landscape, the openness, the "honesty" of the transparent architecture that does not isolate public spaces from the outside world was supplemented by a truly Russian specificity - the artist's immense contribution to the solution of interior and exterior decoration of buildings. Dozens of young artists were drawn - painters, mosaicists, metal artists and sculptors. Deaf end walls received expressive panels, the wall of the portico of the main entrance received a bright geometric design. All internal premises have been solved also in a combination of simple forms and small plasticity of monumental art.
In 1967, the architecture of the Palace was awarded the State Prize of the RSFSR and became one of the symbols of Khrushchev's "thaw". Nowadays the building has retained its function, although some of the decoration has been lost.