Legend has it that when renowned architect Alexey Shchusev approached Stalin with plans for the Hotel Moskva, he presented a single drawing depicting two distinctly different design concepts that met in the middle of the page. Not realising a choice existed, the Russian leader signed his name at the central base, leaving no clear indication as to his preference. Even with Shchusev’s reputation, questioning Stalin wasn’t an option, so the building was constructed as drawn, asymmetry and all.
Though the veracity of this apocryphal tale is questionable, the hotel’s iconic status in Russia is not. When the project to transform the Hotel Moskva into the Four Seasons Moscow began nearly a decade ago, it was technically classified as a restoration. After numerous complications, an ownership change and several years, the original building was razed, and work began recreating it entirely from scratch. But a return to the drawing board, delays and a demolition were not the only challenges those working on the project faced while in Russia.
The hotel was fully demolished in 2004, and the architects behind its reconstruction made sure to replicate the exterior as close to the original as possible, despite the juxtaposed facade; however, for Richmond International – the hospitality design firm chosen to create the hotel’s public areas and guest rooms – simply recreating the original was not an option.
"We drew most of our inspiration from Russia itself, rather than Shchusev’s hotel," says Fiona Thompson, principal at Richmond International. "Honestly, the original was a bit old and tatty, probably because it had no money spent on it over the years. But that 1930s Stalinist period had some very powerful buildings; the metro for example has some stunning stations, so we tried to reference aspects like these instead."
"For a start, only in Russia would you find yourself having to restore something that actually doesn’t exist anymore," she continues. "It’s also much more of a closed shop; everything has to have a Russian stamp of approval, even the carpets. Importing and exporting is quite complicated; it’s a country where you don’t really ever know what’s going on – and to be honest, you probably don’t want to know. But actually, this can encourage you to work in a positive way.
"For example, rather than use artwork from all over the world, which a lot of hotels tend to do, all of the pieces in the Four Seasons Moscow are by young Russian artists, forming a collection as a result. In the end, it’s got more of a story, one that’s relevant to the location."
Red-carpet treatment
Set in the heart of Moscow, steps away from the Red Square, Kremlin and State Duma, Richmond International’s plans for the hotel have had to evolve along with the city. The local dining and bar scene has exploded and become more sophisticated since the project began, and one of the nearby streets has been pedestrianised to create a more vibrant social scene. This meant updating plans for the hotel’s restaurants to more accurately reflect the local area.
"We did design it quite some time ago," says Thompson. "We’re fortunate in that a lot of what we were doing originally, hotels weren’t doing at the time, but they are now. For example the rooms are very spacious, and have big bathrooms and walk-in dressing rooms, we’ve got lots of large, free-standing feature bathtubs, which many hotels have only just started using. We’re lucky that this has all stayed relevant in hotel design."
As well as finding ways to connect with the surrounding community and national sentiment, efforts were also made to ensure the new contemporary interior referenced Shchusev’s design and Moscow itself, while still offering a guest experience relevant to the modern day.
"The heritage people wanted us to ‘keep’ some of the original elements from the building interior," says Thompson. "Because the building is classically proportioned, it wasn’t difficult to add aspects that just twisted it very slightly to a more traditional feel.
"So the ballroom is very much modelled on the Shchusev design, and the restaurant at the top of the hotel is very grand and classical, with Corinthian columns made from stone that really hark back to the original. Most of the other public areas, and certainly the guest rooms, are more contemporary, but even in the entrance lobby, we introduced references in the detailing in some of the columns and frieze work."
Even in elements entirely new to the hotel, Thompson’s team were keen to ensure they were designed with the local culture in mind. "There is a very strong spa and bathing heritage in Eastern Europe, so we tried to incorporate that as well," she explains. "We’ve put a spa in on the fifth floor that has a pool in the middle of the courtyards and a glass roof on top. That didn’t exist at all in the original, but it has a lot of beautiful mosaic work that narrates Russian folklore and explores the textile industry, giving it a unique, grounded feel."
Creating a sense of theatre
Acting as what Thompson describes as a "theatre set", the ballroom is the exception to the rule of modernity in the Four Seasons Moscow; built with plenty of ornate marble panelling and detailing, it appears as a stand-alone feature that pursues social glamour and nostalgia in its look, rather than just another generic venue for corporate functions.
While the ballroom’s strict traditionalism is what sets it apart from the hotel’s modern design, it was its sense of openness that gave it distinction in its first incarnation. Though the powerful exterior of the original hotel may have expressed the sense of grandeur and masculinity often associated with Soviet architecture, much of the interior was built with low ceilings, lacking volume and scale. For Thompson, it was important to open up the hotel and connect it to the outside square.
"If you look at the public areas, there’s a lot of room, and it feels very open and airy," she says. "The main entrance has two big fire places and double-height spaces either side of the lobby with galleries all the way around, so it interacts with the rest of the hotel. It’s very grand, and has a sense of quality aesthetically and proportionally. The main public areas are the heart and soul, and have quite a nice dynamic; it’ll be a lively, bustling space that I think will give the hotel a nice anchor."
Since Shchusev first opted for opposing wings, one of the hotel’s recurring themes has been contrast – something that hasn’t subsided with the Four Season Moscow’s recent opening. "The people of the city think it’s much fresher and brighter than anything else in the city at the moment, and they view it as very contemporary, while we still think it’s very classical," says Thompson.
"It does have a very different feel to other hotels in Moscow though, a lot of which are still overly detailed and ornate, very dark and heavy. Because we started designing it ten years ago, we were concerned it wouldn’t feel up to date and relevant when the time came to open it, but I think – because the internal volumes are nicely proportioned, and the finishes have real quality and attention to detail – it’s got a great feel and a special sense of place. It still feels relevant to the city, but there’s no real reference back to the original, which was very old and tired. It’s a very different proposition."
Whether the design is contemporary or classical is perhaps debatable, but the hotel’s success in re-establishing itself as one of Moscow’s most iconic buildings isn’t. And while the precise origins of its juxtaposed facade may be lost to the annuls of history, there’s little doubt that this recreation, with its special sense of place and design, will help carry on the legacy for years to come.
