Surprising but true
Published: 22 April 2021 ~ Architectural Surprises on the Zelenogradsk Coast
The following photographs were taken whilst walking the Zelenogradsk coastal route, starting from the promenade end and heading away from the town. To the left lies the land; to the right, on the other side of the hedge, the Baltic Sea.
See: An Introduction to the Zelenogradsk Coastal Route
The route is divided into two sections, as indicated by different shades of block paving. One of these is the pedestrian walkway; the other accommodates all manner of locomotion. Which one is which is given away slightly by the presence of broken lane markings that run along the centre of the narrower strip.
Whilst this ‘road’ is closed to conventional vehicular traffic, among the roller bladers, skateboarders, bicycle and electric-powered scooter riders, small open-sided ‘buses’ can be seen trundling past at regular intervals crammed with tourists and those just unwilling to walk the not insubstantial distance that lies between the end of the prom and the white sandy beaches beyond. From one end of this route to the other is quite a trek, so if you are not much of a walker, all you need to do is hop onto one of these charabancs and away you go.
Architectural surprises on the Zelenogradsk coast
The first building to be photographed was this modern hotel peeping through the silver birch trees from behind a rather impressive wall of brick and granite construction, which has a wrought-iron railing top backed by translucent polycarbonate privacy panels. Such screens are ubiquitous in this part of the world, as is block paving. Whoever it was who introduced them it was not me, but, from a commercial viewpoint, I sincerely wished it had been.
I suppose as modern buildings go, from the angle of this first photograph it all looks fairly prosaic, the functional attraction lying in those long, sweeping, curved balconies, which, I should imagine, guarantees discerning hotel guests a magnificent sea view.
Moving along a little, it soon becomes apparent that what we have been looking at a moment ago is merely a wing extending from the main body of the building (photo 2).
Photograph 2 is a shot looking back at the wing, detailing both the curved balconies mentioned earlier and, above them, in the roof, recessed balconies of the sort that feature extensively in the design of the Hotel Russ, Svletogorsk’s premier hotel, which, sadly, if my informants do not deceive me, has recently closed.
Photograph 3 reveals the front of the hotel, a solid-looking establishment with large arched windows, a tier of ‘porthole’ windows above and a grand entrance extension, the curved top an enclosed balcony in glass and below a recessed entrance hall fronted by a colonnade which supports the upper balcony.
The fourth photograph shows the cloistered effect achieved by the colonnades and gives some indication of the not inconsiderable space occupied by this building.
Photograph 5 is taken looking away from the corner of the last building depicted. The brick pier wall continues and behind a solid gate, accessible via intercom system only (they like that sort of thing here, as well), sits another hotel, set back from the road, its central tower and turret paying appreciable homage to the architectural Gothic legacy from which it is descended, a striking feature reflected in and harmonised by the pitched window gables surmounting the rooftop balconies.
As in the first hotel, the second design also favours roundel windows, and these are apparent yet again, but on a much larger scale, in the massy and incomplete edifice looming out of the background.
Photograph 6 depicts the curvilinear glass and steel structure of the furthermost point of the first hotel, whilst 7 gives you a fuller perspective of the Gothicised structure as seen above the entrance gate.
The hulking monolith captured in photograph 8 reminds me of the J-hangar still resident on the site of Polebrook Aerodrome in the UK, a former US air base left over from World War II.
In this picture, the building takes on the appearance of two half segments of a giant arch but as a later photo reveals (photo 11), taken from the opposite end of the building, the effect is an illusory one, as the unfinished project is missing its central vertical section which, had it been in place, would have completed the visual aspect of single-span uniformity.
From the distance, it appears as if the hulk is wearing my Uncle Son’s string vest, but at closer quarters it looks the same. The green string undergarment, which must have once been used, I presume, to screen the unfinished structure, is somewhat tattered and torn and now simply hangs there, adding to the forlorn neglect with which the building is heavily imbued. There is little doubt from the round tower, half risen at the front of the building (photo 9), that at its conception ‘big’ had gone hand in hand with grand, but unless something dramatic happens and happens fairly quickly, call me presumptuous if you will, I feel that there is little chance of booking a room in this hotel at any time in the near future.
After this cavalcade of large and impressive, it is odd and oddly reassuring to discover that the landscape suddenly changes, revealing two normal-sized single residences, both senior in years to the previous buildings, sitting favourably in decent-sized plots behind a lush, green privet hedge. (photo 10)
The first house has had a recent makeover. Its original terracotta pantiled roof, which may have been replaced after the war with asbestos, as is the case on the house adjacent, having been fitted with a metal roof of tiled terracotta profile. Note the use of pretty carved edging boards, picking out the gradient of the Dorma windows and the nuanced roof levels, a theme accentuated by the blue and white fascia boards that run along the recessed gabled ends and emerge again in the blue window shutters, all of which make for an attractive cottage effect.
Photograph 11 also gives you an accurate idea of the scale differential between the J-hangar and the house I have just described.
The next house along (photo12) is obviously nowhere near as quaint and fetching as its neighbour, and may in fact be flats, but the roof format is novel and so far the building has survived land grab for development.
We now come to that part of the coastal route where a conglomeration of different buildings vie for visual attention, the scene dominated by one incredibly large but incomplete hotel, which out-scales everything else around it (photograph 13).
Disequilibrium of scale is nowhere more easily demonstrated than in the stark juxtaposition of the towering grey colossus with its single domicile rectangular neighbour (photograph 14).
Built in the contemporary Modernist style, David is to Goliath what light is to dark, and whilst I am only guessing mind, since the owners have not asked me round to consider the finer points of their property, from ergonomics to materials used, in fact everything about this house, speaks to me of ‘smart home’. Take the precedence, for example, of the cut around in the fence to make way for the pampered bough of that tree (photos 15 & 16). How many trees either have their more assertive branches lopped off or have to wait a100 years or more before they can force their will upon a constraining fence? Not many trees can boast the patronage of such an ecologically enlightened owner as the one who designed, planned, built or simply resides and enjoys this light, airy, modern abode.
Three paragraphs back I used the phrase ‘conglomeration of different’ buildings, and you can see what I am getting at in photographs 17 and 18. Photograph 17 reveals a building defined by steel, glass and cladding, which mixes its angles with its curves in such a way that it would not be out of place situated among the first of London’s Dockland’s building’s that popped up futuristically above the lines of Victorian terraces during Maggie Thatcher’s reign.
The commercial building in photograph 18 follows the lines of the former, but the brick fascia softens and traditionalises the general impression, and the pale colour scheme, quite by chance I am sure, falls satisfactorily into the company by which it is overshadowed.
Putting things into perspective, photograph 19 provides a view of the commercial building framed against the back of its ‘Dockland’s’ neighbour, whilst the long shot in photograph 20 freezes two people in time on their bicycles and pins down the scale differential of the adjacent buildings.
Next on the list, photographs 21 and 22 spell tasteful. This house, houses, apartments ~ what do you think? ~ synthesise modern lines with a diamond-shaped brick-infilled frieze, the type of which is evident on a number of Königsberg buildings extant in Kaliningrad.
The overall impression is an amalgamation of the past and the present; bold but not brash; and you have to like the look and feel of those three-section big arched windows.
Whilst there is no shortage of different, alternating, archaic, modern, breathtaking, surprising, lavish, opulent, historic and ‘you name it, it’s here’ type of architecture in and around Kaliningrad, what is surprising, given the rest of the prolificity and sweeping variation in design and style, is the indisputable fact that the region as a whole finds itself extremely fence-challenged ~ more about that in a later article.
I would like to think that the old, tin, corrugated fence that encloses the properties in photograph 23 is not a woeful misjudgment made both by restrictions of budget and limited DIY skills but is merely a temporary fixture, knocked up to conceal ongoing building or garden work. This may well be the case, although whilst construction site hoarding in this part of the world is commonly metal and corrugated, it is usually identified by rather garish alternating blue and white panels, whereas home-owners’ fences can be anything in the same material from glistening silver to chocolate brown. In this instance, along this exclusive stretch of beautiful coastline, let us pray for respect and sanity and keep our fingers crossed!
The first house that rises in tone as well as substance above the offending fence is not the heretic that you might think it is. It could be a remodelled German house or a new-build that has been given the half-timbered look, either by adding the requisite woodwork or painting it on to achieve the desired effect (photo 23). Along this coastal strip it is, by virtue of its standalone difference, yet another example of the energised eclecticism that devolves to the individual if left to his own devices, free, that is, from the overwhelming behests and underwhelming mediocrity imposed by stolid planning restrictions.
Whilst this may be the only example of a love affair with medievality on this particular route, it is not alone. A number of revamped and new-build properties in and around the Kaliningrad region are in receipt of half-timbered dressing, and even high-rise tower blocks have not been deemed exempt.
The house depicted here wears it well, and heralds at this point on our route a return to in-scale housing, as illustrated in photographs 24 and 25.
Admittedly, the intervening presence of a compact castle, built of or faced with red brick, intrudes somewhat (photograph 26), but for me and all like me who went Gothic when Goth subculture and steampunk were just a twinkle in a fad-fashion eye, the question what is not to like about a building overlooking the sea which has a tower to the front and flanking turrets on all four corners is one that need not be asked. One presumes, however, that the roofline has yet to be finished, and one would hope that such completion will entail the suitable erection of conical rooves on top of the central tower and the four adjoining emplacements. Photograph 27 shows the ‘castle’ from the return direction of the coastal route with the half-timbered residence to its left.
To end this tour, I include for your delectation three more photographs exemplifying the widely contrasting nature of architectural genres with which this magnificent stretch of the coast has been populated.
The first (photograph 28), is what I think of as the route’s halfway house. It is a hotel/restaurant/bar, whose architectural style is a flamboyant composite, a self-contained contrast that reflects the divergent compositions of which it is a part. For example, the balconies on the first floor could have mirrored those above them, not only in style but also in materials, but why not have Art Deco curves made from masonry on one level below a platform base supporting angled wrought-iron fencing on the next? More angularity is achieved in the vertical triangulated stairwell window, which is escorted on either side above eaves level by a pair of Gothic parapet piers surmounted with sloping tiles, whilst the roof itself manages a low pitch profile thanks to the two hulking chimney stacks that rise up from the back like mighty sentinels.
The penultimate photograph (29) shows what happens when true juxtaposition is given free reign. The neoclassical addition in the background, which rubs shoulders with the angular pastiche in photograph 28, is yet another surprise on the architectural catwalk along which we have walked together. It is referred to in a previous post: An Introduction to the Zelenogradsk Coastal Route.
And the last photograph in this post (30) is reserved for what used to be and thankfully still is — a survivor of the ever-changing present. It even has a proper wooden fence!
Copyright © 2018-2021 Mick Hart. All rights reserved.
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