Trick of vision
Natali a Shustrova
Baroque time
«Whatever what we plan, anyway it turn out like in Russia» - self-critical and at the same time presumptuous statement. In fact, it is all wrong. Baroque element rejected by the famous architect is no less, and maybe even more close Eugeny's heart. First, because he values aesthetic luxury, including old-fashioned synthesis of arts, like combination of architecture and sculpture. In the second place, unlike reckless Italian, not that he has to look around, but with his eyes closed he feels senses accomplishments and failures of his deceased associates. In the third place, due to vulnerability of classicism's philosophy itself, obvious to an intelligent Russian. Hope for clear and ultimate triumph of enlightened rationalism is not yet snatched away, but also there is a more ancient enthusiastic horror of the mysterious universe. Methodologically the architect is inclined to classicism, but emotionally he suffers from any peremptoriness, whether classical or modernistic. Unexpected at first glance baroque inclusions turn up in his projects no out of respect to the past, but as heralds of the future, where there is always a place for storms. Some people think that Gerasimov is behind. One can't say for sure, but probably, he runs ahead...
Mask and dictatorship
Mask - for pane stylists, derivated structure - for modernists, and sculpture portrait of the building - for Gerasimov. It can be and should be viewed not only en face; each object has as many panes, as can be seen, and sometimes even more. The architect rejects on principle the contrast between representative and «mundane» appearance, typical for Petersburg guest houses: decorative richness can gradually lessen when moving away from the front door, however, the precision remains. Simultaneously relations with architectural environment are formed. And besides, in a different way. Context - that is on the first place a queue, tempo of the street, quay, square or, for example, a wasteland. Where the construction, derived in a red line, merges into a solid fancy wall, Gerasimov catches up a general pattern and even dematerializes the top floor, in spite of constitutional bias towards materialization. He attempts to equilibrate a staringly incoherent environment so that successful and not very successful constructions of his predecessors are seen as entourage - old frame for a new picture. And finally, when speaking about eminent and dominant «neighbors», the designer obeys town-planning logic, but in all other aspects he remains completely independent. He knows what exists on Ostrovskiy square, and deliberately constructs something that does not exist yet: Rossi introduced model Classicism in Petersburg, while Gerasimov brought model Neo-Renaissance. However Carlo di Giovanni had stylistic rivals, and our compatriot does not have them. Anyway, competition on Neva banks is limited. Our masterpieces, as well as geniuses are local, and only the city itself is world-famous. The dictatorship of Petersburg, loathed for many others, for Gerasimov serves a support. That is why even outside of scrupulously measured construction spots he seeks for architectural impulses, hidden amongst late formations, and erecting together with Segruei Choban «The house by the sea», he interprets modern composition techniques as a part of the dream about sea residence that became true three centuries later. Its extent and European spirit fit to fashion trends of 17th century. Its colour solution reminds on Mediterranean reveries long since characteristic for influenzal Petersburg. Its stingy expressiveness comes very opportunely in the new millennium, but also can be associated with Russian baroque. Context limits are extended, but its essence remains.
Products of «Evgeny Gerasimov and partners» workshop are recognizable in the broadest sense of the word. First of all, in a literal sense: they can be easily identified by carefully adjusted proportions and consistent scale. Inalienable display of professionalism, as it was discovered for the last decades, vanish on its own when somebody tries to pull pseudohistorical suits on contemporary buildings. This is not the case with Gerasimov, because we talk about continuation, and not about imitation. Lesser mortals will derive from his works a dose of habitual visual information required for tranquility. However the memories-based recognition is merely a focus in this case: there was nothing of this kind in Petersburg before, and there could not be. It's another matter that new signs as well easily compose words, like old ones; that unsuspecting conservatives do not notice that architect turn entrance arcs into arcs of triumph, window openings - into visual navigation system, and practical glazed balconies - into pompous facade components. Thus, each object embraces at the same time feudal, imperial, and capitalist city. Romantic world perception of pioneers, complacency of victors, and adventure flush of Fortune benevolence merge into composition and form a whole - like in the mind of contemporary Russian. In this sense and because of it all buildings erected by Gerasimov's projects are modern. Regardless of the stylistic vector, they represent a true, though improved by the art, a portrait of the period that maybe one day will be called an epoch. God knows what epoch, and it is not so important at the end. What is more important - that is motivation. For Gerasimov it is purely architectural. In the house on Staronevsky avenue he designed an arc with height a fortiori greater than dimensions of movable machines, including fire-fighting vehicles with ready for operation ladders. In elite «Sea star», erected on the bank of Malaya Nevka, he implies a nonexistent inner yard - virtual alternative of hidden real narrow street. In «The house by the sea» he used terraces perfectly fit into landscape and spirit of chic seashore residence, but not too practical in consideration of unkindly climate. Finally, in the hotel on Ostrovsky square he applied such a powerful rustication of the first floor that brand-new building seems to be a superstructure over the ancient foundation. Quite theatrically but convincingly and sometimes - pedagogically. Investors are trained not to sacrifice architecture to a few extra meters of useful space. Rich buyers of sea-view apartments break a habit to store skis and bikes on a balcony. Hierarchy, where any old construction is better than a new one, is adjusted. However, the illusion elevates us more than the author, who lacks for innovation according to present measures. Well, one is destined to be a revolutionary, another one - simply a pathfinder. Experience shows that the former leave mainly ideas for the progenies, after the later there are houses or even cities left. Like the one on the Neva bank.
Signs of the present
From the time of foundation Petersburg pretends that it is already built. Some architects believe it, others - don't. Evgeny Gerasimov relies on quality, and not quantity: he doesn't care much about petit and grand bourgeois city from the beginning of the century before last, so beloved by its inhabitants. Constrained by tightly built-up space, Gerasimov moves in time freely, not to retell something that has already been said, butto finish the unexpressed. In fact while designing a house or a bank he, like others, designs the city. However there is a principal difference: induction does not put pressure, general does not descend to particular, gathering on its way errors, not visible from a bird's eye view. On the contrary, self-sufficiency of each building comes up to the level of town-planning...