Supermetall文化和商业中心是在Yauza河堤旁的Bardin黑色冶金研究所的领土上创建的，于2021年底开放。Supermetall综合体包括众多规模和布局各异的办公室，以及咖啡馆、餐厅和被称为 “车间 “的地方–一个斯大林主义建筑的纪念碑，在这个新项目中，它是整个综合体的代表大厅和主要公共空间。

The Supermetall cultural and business center, created on the territory of the Bardin Institute of Ferrous Metallurgy just off the Yauza river embankment, opened its doors in late 2021. The Supermetall complex includes numerous offices varying in size and layout, as well as cafes, restaurants, and what is referred to as the ‘workshop’ – a monument of Stalinist architecture, which in this new project serves as the representative lobby and the main public space of the entire complex.

这个项目的开发是由阿列克谢-卡皮塔诺夫领导的团队进行的，他们在莫斯科以振兴Khlebozavod 9号前面包厂和Krasnaya Strela住宅区的项目而闻名。建筑师Maria Yasko对车间建筑进行了重新诠释，并创建了一个占地2000平方米的多功能大厅，她的设计基于对粗暴的材料和体积的戏剧性综合，并刻意软化了可塑性。关于Supermetall这个名字：这是20世纪90年代的遗留问题，当时研究所的部分建筑被私有化并开始发挥商业功能。

The development of this project was carried out by a team headed by Alexey Kapitanov, well-known in Moscow for their revitalization projects of the Khlebozavod 9 former bread factory and the Krasnaya Strela residential complex. The reinterpretation of the workshop building and the creation of a multi-functional lobby spanning 2,000 sq m was the work of architect Maria Yasko, who based her design on a dramatic synthesis of brutal materials and volumes with deliberately softened plasticity. A few words about the Supermetall name itself: this is a legacy of the 1990s when part of the research institute buildings was privatized and commenced commercial functions.

就在那时，新的业主想出了Supermetall这个听起来很尖锐的名字–这个地方原本固有的冶金主题可以说是以一种新的语气重新铸造。当阿列克谢-卡皮塔诺夫的团队接管这个地方时，他们决定保留这个名字。风格化的元素周期表，这个名字现在已经成为新项目的可识别的品牌。

It was then that the new owners came up with the sharp-sounding name of Supermetall – the theme of metallurgy that was originally inherent in this place was recast so to speak in a new tone. When Alexey Kapitanov’s team took over this site, they decided to keep the name. Stylized as an element of the periodic table, the name now has become the recognizable brand of the new project.

Maria Yasko面临的任务是将办公室、零售设施、咖啡馆、几个公共会议室和协同工作场所有机地结合在一个屋檐下。所有这些都必须在一个长方形的建筑中进行，其特有的节奏是用垂直的塔架来分隔玻璃砖衬托的窗户开口。顺便说一下，这些玻璃砖被替换成了现代的玻璃砖，保留了这些元素的原始规模，但新的玻璃砖不是绿色的，而是完全透明的，以便为翻新的空间提供日光。

Maria Yasko was faced with the task of organically combining offices, retail facilities, a coffee shop, several public meeting rooms, and coworking places all under one roof. All of this had to fit in a rectangular building with the characteristic rhythm of vertical pylons separating window openings that were lined with glass blocks. The glass blocks, by the way, were replaced with modern ones that retained the original scale of these elements, but instead of green-colored glass, the new blocks are completely transparent in order to provide the renovated space with daylight.

混凝土结构和金属屋顶桁架本身在可能的情况下被最大限度地保留了下来；它们被清理得干干净净，以原来的粗暴形式出现。空间的布局设计从一开始就主要由客户的愿望驱动，即在这里创建两层的小型办公室，可供各种工作室、创意团队和机构租用。

The concrete structures and metal roof trusses themselves have been preserved to the maximum wherever this was possible; they have been cleaned up and appear in their original brutal form. The layout design of the space was from the beginning largely driven by the client’s desire to create two levels here with small offices that could be rented by various workshops, and creative teams and agencies.

由于从地板到桁架的高度达到约7米，这自然导致了做一个夹层的决定，一方面可以安排所需数量的工作场所，另一方面，可以保留原来的空间和光线的感觉，通过巨大的彩色玻璃窗射入。Maria Yasko给这个夹层特别设计了一个突出的平滑轮廓–基本上它是一个沿着后立面的波浪，我们看到它的几个圆形波峰向内转向车间的空间。可以理解的是，办公室本身位于墙边，而在它们前面有一条走道，由于建筑师提出的可塑性，它首先是一个相当长的，其次是一个视觉上壮观的穿过车间空间的路线。

And since the height from the floor to the trusses reaches approximately seven meters, this naturally lead to the decision to make a mezzanine floor, which on the one hand would make it possible to arrange the required number of workplaces, and on the other hand, would retain the original perception of space and light, which streamed through the giant stained-glass windows. Maria Yasko gave this mezzanine, in particular, an accentuated smooth outline – essentially it is a wave running along the rear facade, and we see several of its rounded crests which turn inward towards the workshop’s space. And understandably the offices themselves are located along the wall, while in front of them there is a walkway, which due to the plasticity proposed by the architect takes on the role of, firstly, a rather long, and secondly, a visually spectacular route through the workshop space.

从那里，可以看到屋顶桁架和第一层的一切。径向走道的总长度约为140米。在第一层，波浪主题被三个独立的办公单元的体量所拾起，建筑师赋予它们类似的可塑性；从侧面看，这些实际上是相同的波峰，现在在这一层形成了更复杂的路线和视觉连接。同一主题的其他发展可以在会议室的体量中找到，这些体量是使用沿两个平面变形的模板由混凝土浇筑而成的，还有圆形的混凝土花盆、带有来自研究所冶金历史的博物馆式机器的圆桌，以及圆形的简易椅子和沙发。

From there, there is a perfect view of the roof trusses and everything that goes on the first level. The total length of the radial walkway is around 140 meters. On the first floor, the wave theme is picked up by the volumes of three separate office units, to which the architect gave similar plasticity; in side-view, these are practically the same crests, which now on this level form more complex routes and visual connections. Additional development of this same theme can be found in the volumes of the meeting rooms which are cast from concrete using formwork with distortion along two planes, as well as round concrete planters, a round table with a museumified machine from the metallurgical past of the research institute, and round easy chairs and sofas.

但是，由于这里的空间很大，如果只用软化的、圆形的元素来装饰它是很奇怪的–它对单一的技术来说太大了–所以建筑师把它当作一个舞台，在这个舞台上发生了非常鲜明的对话。柔软的家具（在材料和形式方面）在这里与矩形桌椅并列，仿佛是金属雕刻出来的（实际上，它们是用钢板包裹的），并与原始混凝土结构的粗暴质地–建筑混凝土的精致表面、热轧钢包层–以及大量的绿色植物并列。

But since the space here is enormous, it would have been strange to decorate it exclusively with softened, rounded elements – it is too large for a single technique – so the architect treats it as a stage on which a very contrasting dialogue takes place. Soft furniture (both in terms of materials and in terms of forms) is juxtaposed here with rectangular tables and chairs as if carved out of metal (in reality, they are sheathed with sheet steel), and with the brutal texture of the original concrete structures – the delicate surface of architectural concrete, hot-rolled steel cladding – and an abundance of living greenery.

 内墙的内衬也使用了科尔登钢；有趣的是，这种钢在现场被氧化和 “老化”–这是一种节省成本的方式，并获得一个更有表现力和多样化的表面。这个空间的配色方案相应地发挥了作用：它以灰色、棕色和绿色的色调为主。唯一的例外是Chelovek-Parokhod咖啡店的明亮的红色角落，它从空间的任何一点都可以清楚地看到，并作为一个地标，包括标记它所在的建筑物的主要入口。所有这些共同构成了一个非常有魅力的空间，一方面，它的内容和特征明显是现代的，另一方面，它对它的过去非常委婉和诚实。

 For lining the internal walls corten steel was also used; it is interesting to note that this steel was oxidized and ‘aged’ on location – this was a way to save money and get a more expressive and diverse surface. The color scheme of this space played out accordingly: it is dominated by gray, brown, and green shades. The only exception is the bright red corner of the Chelovek-Parokhod coffee shop, which is clearly visible from any point of the space and serves as a landmark, including for marking the main entrance to the building next to which it is located. All this together forms a very charismatic space, which on the one hand is markedly modern in its content and character, and on the other hand, it is very tactful and honest with regard to its past.

Architects: YoYo Bureau
Area: 2000 m²
Year: 2022
Photographs: Ilya Ivanov, Artem Golyakov
Manufacturers: Delo design, Sixinch, Faldi, Zrobim
Construction Director :Leonid Chernikov
Landscaping Project :Evgeniya Ermakova, Kristina Reznikova
City:Moscow
Country:Russia