Place Charles de Gaulle located in Moscow, in the Alekseevsky district of the North-Eastern Administrative District (before).

The square is located on the territory of the Cosmos hotel complex.

Nearest metro: VDNH.

The square was named in 1990 in honor of Charles de Gaulle (1890-1970), military and public figure, President of France in 1959-1969.

Installed on the square Monument to French President Charles de Gaulle. The monument was opened on May 9, 2005, on the day of the 60th anniversary of the Victory in the Great Patriotic War. The 20-meter bronze monument to one of the leaders of the anti-Hitler coalition, the President of France, General Charles de Gaulle, was made by Z. K. Tsereteli. The opening of the monument was attended by Russian President Vladimir Putin and French President Jacques Chirac.

To the right of the monument is a fountain and sculpture of the ancient Greek goddess Kore. The goddess steps on the warrior's shield and holds a dove and an olive branch in her hands - symbols of peace.

The sculpture was made by the sculptor Stavros Georgopoulos, based on a sculpture from the 5th century BC from the Athenian Archaeological Museum (commemorative plaque). A memorial plaque with the words of Herodotus "" is installed on the pedestal of the statue.

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The center of Moscow is a great place for walking. There are many beautiful places and attractions. And if it is a pedestrian street, where the entry of vehicles is prohibited, then the pleasure of walking is twice as much.

The house at 19 Bryusov Pereulok became famous long before it was built - as soon as its first sketches with a strange grove facade were published. Once built, it intrigues even more. Firstly, this is the first residential building in Moscow with an atrium and an automated parking lot. Secondly, the very “woody” facade, which demonstrated a fundamentally new approach to the so-called environmental architecture. So far, context has meant something exclusivelyman-made: houses, streets, squares. Aleksey Bavykin expanded the list by turning the façade into a mirror of the park surrounding it.

An object: apartment building
location: Bryusov pereulok, 19, Central Administrative District, Moscow
developer: JSC "Usadba-Center"
architecture: LLC "Workshop of architect Bavykin". Arch.: Alexey Bavykin, Grigory Guryanov (GAP), Mikhail Marek, with the participation of Yulia Raneva and Dmitry Travnikov
designs: OOO "Finproekt" GIP: L. Korosteleva
engineering: Intertechproekt LLC
public interiors: Architectural Bureau "Three A Design". Arch.: Amalia Talfeld, Armen Melkonyan
general contractor: JSC "Usadba-Center"
design: January 2003 – May 2006
construction: August 2004 – February 2007
territory area, ha: 0,4
building area, sq. m: 1 472
total area of ​​the building, sq. m: 13 688
usable area, sq. m: apartments – 6,496.8
number of apartments: 27
infrastructure: sports and recreation complex with a swimming pool - 469.4 sq. m,
free-use premises with a separate entrance from the street - 219.3 sq. m
number of parking spaces: 78 seats
number of storeys: 8 floors

There is nothing more difficult for a Moscow architect than to bring the project in full compliance with urban planning standards. The problems that the creators of the house in Bryusov Lane faced seemed completely insoluble. The customer demanded that the area of ​​the house be at least 13,000 square meters. m. In this case, according to the rules, it should be surrounded by a huge adjacent territory - much larger than the entire territory of the site. In addition, far from all urban infrastructure facilities are schools, Kindergarten, clinic, pharmacy, etc. - were as close to the future home as required by the norms. But the desire of the investor to build a residential building in this picturesque corner of Moscow was so great that the necessary legal loophole was found. The building under construction has changed its purpose, turning from a residential apartment building into a house with apartments. The trick is that domestic legislation does not consider apartments as permanent housing, which means that social infrastructure facilities do not have to be within walking distance from home.

Where the house was built, Bryusov Lane makes a small turn. The Bavykinsky object could close on itself both perspectives of the alley - both from the side of Tverskaya and from the side of Bolshaya Nikitskaya - however, it is almost invisible from both points. The “wooden” facade is displayed in the same plane as the facade of the 19th century house, standing from it along right hand. Alexei Bavykin did not want to distract the attention of passers-by from the small old Church of the Resurrection on Uspensky Vrazhek, standing nearby, and he, so to speak, hid the house behind the back of another neighbor - a constructivist house designed by Alexei Shchusev. As a result, with its left edge, the house retreats from the red line, and then returns to it with a powerful semicircular ledge. This protrusion, like a hinge, connects two planes that enclose the chute of the alley from the north - the line of facades of old tenement houses, starting from Tverskaya, and the facade of the Shchusev house, which is displaced relative to it.

Since there was a strict height limit, the architect could create a house of the required area only by building on part of the yard. As a result, the side walls were about the same length as the street facade. The building could be called square if its walls were not slightly rounded. The architect gave them such outlines in order to “plant” the house on the site more densely: where there are no buildings nearby, the walls go almost to the boundaries of the site; and where there are houses in the neighborhood, they retreat to the distance provided for by fire safety rules. Inside the building there is an atrium with panoramic elevators, covered with a glass roof. The apartments open out onto the surrounding balconies. This planning principle, which is extremely common in hotels, has not yet been used in residential buildings in Russia.

The reason is all the same fire safety rules. Through the atrium, fire can easily spread from floor to floor. Firefighters allowed the atrium to be built only on the condition that the entire house was equipped with sprinklers. In the part of the building that faces the lane, the top two floors are occupied by a penthouse. It is shifted deeper in relation to the facade, due to which a wide terrace was formed on the seventh floor (on the first floor of the penthouse), covered with a "wing" of a metal canopy. Structurally, the building is a system of longitudinal and transverse walls with a step of 8.2 meters. In this it differs from most Moscow new buildings - "whatnots" with ceilings lying on separate columns. This system is the know-how of the Bavykin architectural bureau. According to its creators, such a system is optimal for residential buildings. An eight-meter span between the supports allows you to arrange a large living room inside, or a dining room with a kitchen, or two wide bedrooms. And in the underground parking it will fit three cars.

The “wood order” of the Bavykin house is a well-known and recently very (perhaps even too) common motif of windows with displaced axes in our architecture. The topic has been changed, but is recognized. Here, as, for example, in Sergey Kiselev, the openings have characteristic appearance a crack that cuts the entire floor vertically, from floor to floor. To understand the logic of this technique, one must imagine the walls surrounding the house in an extremely abstract way - as a membrane, which in its different parts, depending on the needs of the residents, should have a different degree of transparency. This can be achieved different ways. In particular, such: in the outer walls, standing along the edge of the ceilings, make gaps, the width of which depends on what “transparency coefficient” the shell should have in this place. There are no windows or walls in the usual sense: rather, it is a giant grid of variable density.

In most Russian buildings, the ideological basis from which this motif grew is emasculated. Windows that do not actually go down to the floor and do not rise to the ceiling are “finished” on the facade. And the rhythm of their straying step is dictated not by considerations of utility, but by compositional expressiveness. Bavykin is developing the theme in earnest. The stone "grove" is not a relief on the facade. She is voluminous. This is, in the truest sense of the word, a lattice placed at a short distance in front of the wall of the house (the wall in the usual sense, with piers and windows). And the width of the openings here is really due to the needs of the residents. In an effort to protect them from casual glances of passers-by, the architect on the lower floors made the piers wider than those on the upper ones. Therefore, the lattice membrane acquired the outlines of trees with trunks thick at the bottom and branching upwards.

"Trees" here, as in a real grove, stand unevenly. This also has a rationale. One part of the street facade looks at the square, and the other part looks directly at the windows of the House of Composers, which stands on the opposite side of the alley. It is this part that is most densely covered by stone "trees". And in front of those windows that face the square, they stand less often. However, it cannot be said that the stone visor pulled over the facade reliably covers the residents from outside looks - if this happened, it would be dark in the apartments. Rather, it is the architect's symbolic response to the challenge of context. Behind the house there is a yard, fenced on the sides with blank walls of neighboring buildings, and on the fourth side - with a courtyard facade of the Usadba-Center office center. You can get into the courtyard from Voznesensky Lane, passing through the office building. From its windows, the rear facade of the house is clearly visible - rounded, gleaming with an aluminum surface, with cheerful balconies running around the corner. There are no balconies on the main facade - not everyone dares to leave the apartment in the cramped space of a crowded alley.

And it is difficult for a stranger to get into the yard. Here are the balconies and migrated to the rear facade. However, one should not think that only its residents and visitors to the "Manor" can see the courtyard facade of the house. In this area, the ground level gradually decreases from Tverskoy Boulevard to Mokhovaya. The courtyard facade of the Bavykin house cannot be seen from the sidewalks, but from the windows of the houses standing higher up the slope, it can be seen very well. Tall buildings standing in the space between Voskresensky Lane and Tverskoy Boulevard, - as if the audience in the theater stalls, in front of which the house in Bryusov Lane acts like an actor. The house, proudly presented to the eye, fully armed with modern building technologies, looks like a stranger in the alley. And yet, oddly enough, this is a typical example of Moscow environmental architecture.

As we have said, the house is showing modesty by taking a step back from the red line and not flaunting itself. In addition, in its appearance there are many echoes with the surrounding buildings. From his neighbor, built by Alexei Shchusev, he borrowed the motif of balconies on the side wall. And the composition of the facade itself, with a heavy risalit on the side and swift horizontal lines running away from it, was taken from Shchusev. If you look deep into the lane from Tverskaya, into the opening of the Stalinist arch, the canopy over the penthouse terrace continues the line of its impost in perspective. The stone facing of the "trees" echoes the stones on the facades of Tverskaya. Yes, and the "trees" themselves with cut tops - aren't they Moscow poplars, exactly the same as in the square opposite?