{"id":59419,"date":"2026-07-17T08:41:36","date_gmt":"2026-07-17T06:41:36","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/sujet-libre\/anastasiia-gulai\/tarilka\/"},"modified":"2026-07-17T08:41:36","modified_gmt":"2026-07-17T06:41:36","slug":"tarilka","status":"publish","type":"project_type_2","link":"https:\/\/diploma.ecolecamondo.fr\/en\/sujet-libre\/anastasiia-gulai\/tarilka\/","title":{"rendered":"Tarilka"},"content":{"rendered":"\n

In Kyiv, modernist buildings are increasingly marginalised and threatened by commercial pressure. Florian Yuriev\u2019s Flying Saucer, a protected monument since 2020, has lost its original function as a colour-music theatre. Now surrounded by a shopping centre, it awaits a second life.
My project reactivates the building as a community hub, responding to the lack of non-commercial public spaces for young people in the city. A reversible interior intervention introduces, on the ground floor, a caf\u00e9, a library open to everyone and available for use by schools, and a multipurpose space that extends Yuriev\u2019s chromatic identity. This model of partial revenue generation ensures the project\u2019s long-term viability without allowing commercial activity to take over.<\/p><\/div><\/div><\/article>\n\n

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d\u00e9gradation du patrimoine moderniste<\/p><\/div><\/div><\/article>\n

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180 rue Antonovycha, Kyiv, Ukraine\n<\/figcaption>\n <\/article>\n\n\n\n

Le b\u00e2timent de l’Institut de l’information technique a \u00e9t\u00e9 construit en 1971 par Florian Iouriev et Lev Novikov.
La Soucoupe refl\u00e9tait l’engouement pour l’espace de son \u00e9poque, en pleine r\u00e9volution scientifique et technique.<\/p><\/div><\/div><\/article>\n

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Photo de \u00abLa Soucoupe Volante\u00bb en 1973 (en haut \u00e0 gauche). Photo de 2016 (en haut \u00e0 droite).\nInt\u00e9rieur du hall principal en 2018 (image en bas \u00e0 gauche). Int\u00e9rieur de l’amphith\u00e9\u00e2tre en 2018 (en bas \u00e0 droite).\n<\/figcaption>\n <\/article>\n\n\n\n

Avec le temps et les changements politiques, le b\u00e2timent \u2014 \u00e0 l’instar de nombreux autres monuments de l’\u00e8re moderniste \u00e0 Kyiv \u2014 a commenc\u00e9 \u00e0 perdre sa fonction et, faute d’une r\u00e9int\u00e9gration appropri\u00e9e, son architecture a commenc\u00e9 \u00e0 se d\u00e9grader.<\/p><\/div><\/div><\/article>\n

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\u00c9tat actuel en novembre 2025, photo retouch\u00e9e\n<\/figcaption>\n <\/article>\n\n\n\n

En r\u00e9ponse \u00e0 la construction de l’Ocean Mall, qui devrait inclure la \u00abSoucoupe Volante\u00bb en le transformant en une simple entr\u00e9e d\u00e9corative, ma th\u00e8se soutient que seule une r\u00e9activation par le biais d’une utilisation active peut v\u00e9ritablement pr\u00e9server un monument con\u00e7u pour \u00eatre habit\u00e9.<\/p><\/div><\/div><\/article>\n

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le dessin axonom\u00e9trique du b\u00e2timent actuel\n<\/figcaption>\n <\/article>\n\n\n
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la meilleure protection passe par l\u2019usage<\/p><\/div><\/div><\/article>\n\n

Ma position se r\u00e9sume \u00e0 formule \u00abUn tiers-lieu dans un objet du patrimoine moderniste\u00bb
Elle porte deux actes en m\u00eame temps: un acte de sauvegarde patrimoniale, et une proposition critique face aux dynamiques urbaines actuelles.<\/p><\/div><\/div><\/article>\n

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Quatre publics que rien ne r\u00e9unit aujourd’hui \u2014 adolescents en qu\u00eate d’un lieu o\u00f9 \u00eatre sans consommer, \u00e9tudiants en manque d’espaces de travail flexibles, producteurs culturels en qu\u00eate de lieux d’exposition modulables, riverains en qu\u00eate d’un espace public gratuit \u2014 se croisent ici \u00e0 \u00e9galit\u00e9, selon la politique du tiers-lieu.<\/p><\/div><\/div><\/article>\n

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L’enveloppe ext\u00e9rieure est restaur\u00e9e selon les principes de la fid\u00e8le restoration – mat\u00e9riaux contemporains \u00e0 l’aspect identique, mais aux performances am\u00e9lior\u00e9es.\n<\/figcaption>\n <\/article>\n\n\n
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\u00c0 l’int\u00e9rieur – la micro-architecture: des objets d\u00e9montables qui ne touchent pas aux structures porteuses. Tout ce que j’ajoute peut \u00eatre retir\u00e9.\n<\/figcaption>\n <\/article>\n\n\n
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Programmation<\/p><\/div><\/div><\/article>\n\n

Rez-de-chauss\u00e9e et amphith\u00e9\u00e2tre reconstruit. Trois blocs reli\u00e9s par un passage int\u00e9rieur qui traverse le b\u00e2timent comme une rue.

L’espace libre est la fin \u00b7 l’usage culturel en est le contenu \u00b7 le commerce, la condition financi\u00e8re. <\/em>

Chaque pilier supporte le suivant.<\/p><\/div><\/div><\/article>\n

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La fa\u00e7ade principale du b\u00e2timent 1:250 (image 1); RDC plan general 1:250 (image 2)\n<\/figcaption>\n <\/article>\n\n\n
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CAF\u00c9T\u00c9RIA<\/em><\/p><\/div><\/div><\/article>\n\n

Plac\u00e9 au centre et non cach\u00e9, le caf\u00e9 assume \u00e0 vue son r\u00f4le commercial \u2014 on peut s’asseoir sans consommer, le mobilier encourage \u00e0 rester \u2014 et c’est lui qui paie le droit du plateau de rester gratuit: l’inverse exact de l’\u00e9thique d’un centre commercial.<\/p><\/div><\/div><\/article>\n

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D\u00e9couvrir cet endroit est d\u00e9j\u00e0 une belle r\u00e9compense en soi, mais les programmes de fid\u00e9lit\u00e9 qui encouragent ce choix rendent l’exp\u00e9rience encore plus agr\u00e9able.<\/p><\/div><\/div><\/article>\n

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m\u00e9diath\u00e8que<\/em><\/p><\/div><\/div><\/article>\n\n

Face aux \u00e9coles et universit\u00e9s de Kyiv, chroniquement surcharg\u00e9es depuis les bombardements russes de 2022, la m\u00e9diath\u00e8que propose des capsules r\u00e9servables pour le travail de groupe et des niches pour la lecture silencieuse.<\/p><\/div><\/div><\/article>\n

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Les Capsules. Ce sont des \u00ab bo\u00eetes-dans-la-bo\u00eete \u00bb en verre acoustique feuillet\u00e9, pos\u00e9es sur des pieds m\u00e9talliques avec isolation en caoutchouc. Elles ne touchent pas aux structures porteuses, et s’inscrivent de mani\u00e8re compacte entre les colonnes.<\/p><\/div><\/div><\/article>\n

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Plateau<\/em><\/p><\/div><\/div><\/article>\n\n

C\u0153ur politique du projet, le plateau reste disponible sans obligation environ 70 % du temps et bascule selon quatre r\u00e9gimes \u2014 libre, location scolaire, exposition, \u00e9v\u00e9nement \u2014 pour prouver qu’un grand espace public int\u00e9rieur peut exister sans programme impos\u00e9.<\/p><\/div><\/div><\/article>\n

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Le plateau rend l’\u00e9galit\u00e9 spatiale architecturale: les quatre publics \u00e9tudi\u00e9s \u2014 adolescents, \u00e9tudiants, producteurs culturels, riverains \u2014 s’y croisent sans hi\u00e9rarchie, sans obligation d’achat. Rester disponible sans justification \u00e9conomique est, dans le Kyiv du commerce agressif, un geste politique en soi.<\/p><\/div><\/div><\/article>\n

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Ce travail n’est pas r\u00e9actif \u2014 il vise l’apr\u00e8s-guerre, un futur apais\u00e9. Mais quand les bombes cesseront, \u00e9coles et logements ne se r\u00e9pareront pas d’eux-m\u00eames: ils auront besoin de solutions temporaires, que le patrimoine moderniste peut offrir, tout en affirmant la valeur patrimoniale et l’expression singuli\u00e8re de chaque lieu.<\/p><\/div><\/div><\/article>\n\n

On ne sauve pas un h\u00e9ritage en le mettant sous vitrine. On le sauve en lui donnant un r\u00f4le dans la vie contemporaine.<\/em><\/p><\/div><\/div><\/article>\n

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My project reactivates the building as a community hub, responding to the lack of non-commercial public spaces for young people in the city. A reversible interior intervention introduces, on the ground floor, a caf\u00e9, a library open to everyone and available for use by schools, and a multipurpose space that extends Yuriev\u2019s chromatic identity. This model of partial revenue generation ensures the project\u2019s long-term viability without allowing commercial activity to take over.","_metafield_image_toggle":false,"_metafield_image_legend":"","_metafield_gallery":[50678,49917,49414,49027,49053,49055,48899,48740,48783,48784]},"keywords":[108,101,111],"teachers_list_2":[70],"class_list":["post-59419","project_type_2","type-project_type_2","status-publish","has-post-thumbnail","hentry","keywords-heritage","keywords-public-spaces","keywords-restoration","teachers_list_2-emmanuel-benet"],"acf":[],"_links":{"self":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_2\/59419","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_2"}],"about":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/types\/project_type_2"}],"author":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/users\/84"}],"version-history":[{"count":0,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_2\/59419\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media\/59427"}],"wp:attachment":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media?parent=59419"}],"wp:term":[{"taxonomy":"keywords","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/keywords?post=59419"},{"taxonomy":"teachers_list_2","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/teachers_list_2?post=59419"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}