«I combined the brand new plastic feature and had to work with no historic note» — writes Alexander Deyneka about his early works «Runners» and «Football Players» in 1924.
It is quite understandable: sport as the form of social practice, was formed just a century ago having become the powerful tool to form the New Human in the young Soviet country. The art immediately started realizing this practice as the opportunity to bear down bounds of the body and gravity expressing it through intense forms, collage, and extraordinary composition.
WIth the lapse of time, sport lost its competitiveness replacing it with high theatricalization by virtue of physical culture parades of 1930s and shined on posters of social realists being militarily interpreted as indirect preparation for defense; and in 1960, it was associated with conformism. By the end of the 20th century, elite sport had unfortunarely been radically commercialized and politicized.

It were sports brands but not physical culture propaganga that brought back the spirits of self-transformation and broadening of reality to the sport. A sports suit has been on the frontline since the beginning of the previous century, all world-known coutures started with sports-clothes collections then, and it was like a first subculture for youth. In 1980s, Lycra gave the the burst of popularity to such a lifestyle.

Today, the history of attitude to sports clothes meets the cycle again, while brands assigned themselves responsible for broadcasting of the lifestyle and setting goals for their customers. Nike is the undoubtable leader here, and the new site in Gorky Park seems to be a place to give the sport the feel of challenge, capability to inspire and encourage, with brand support, physical exercises, and team games.
As the sport cannot grow a human new limbs but can gradually enhance the body from the inside, we in our project do not fall back on too pretentious forms and materials but build the space and facilities as equal-value compositions elements, step-by-step.

Two aspects played the key role in location of pavilions: necessity in visual spearation from the building on the south border (with the mediapavilion), and the eagerness to turn the entrance of the main pavilion toward the key flow of park visitors.
Considering the specific form of the project area and pre-determined dimensions of sports grounds, there was made the decision to stress the priority on full preservation of borders of bearing walls and changing of fields' orientation. Lighting and shadowing issues are resolved with sheds and tree natural shadows.
Totally, deployment of facilities provides for fitting all essential sites, preservation of desired place and structure of the pavilion, and organization of variousprivacy areas - open entrance area and intimate zones for individual training.

As the complex is 2/3 plain, the space here is the same composition element as facilities. From the entrance ground, starts the running track weaving across the area and separating the football zone from the basketball playground with trees and bushes. Along the east-border bearing wall, there are podiums with sheds and a long bench to rest on during training on warm-up sites. Entrances and exits of the pavilion are located in the fashion to easily pass it across or open it toward the square and to playgrounds.

A hall event visitor
came to the pavilion, registered at the reception, and came to the hall opened toward the entrance
A lady came to NTC+ training entered the pavilion, egistered on the iPad, left belongings in the locker, changed clothes in the dressing room, and came to the hall
A basketball guy entered the pavilion, registered at the reception, left belongings in the locker, changed clothes in the dressing room, came to the square through the gallery
A competition visitor,
first time at the site, observed the complex having passed along the running track, came to podiums

Main facade material is the rolled silicone on the metal framework. Its properties are perfectly suited for outside use: wide temperature range (from 0°C to +300 °C), high water, saline solution, oil, acid, etc. resistance, long life and ecological compliance. Opaque diffusing surface comes over the anoramic glass and blank walls creating the gentle lighting.
White glossy ceramic tiles Vitra Arkitekt in the size of 150x150 are used on the blind facades as a facing material. The apertures are filled with anoramic windows in aluminum binder with powder coating. A neon tube in a metal frame is used for navigation and signage.
Beyond the facade, LED illuminators are scattered: spot lights and lines. At night time, the facade "wakes" - dim lights and words run across the erimeter.