About the project
The architectural marvels of the Archangel Gabriel and Theodore Stratilates temples showcase their rich history spanning centuries. The wooden church in the name of the Archangel Gabriel on Pogany (now Chistye) Ponds was first mentioned in 1551, and since the 17th century it has been associated with the name of Alexander Menshikov, an associate of Peter I, when, on his order, the temple was rebuilt under the icon of the Mother of God, believed to be painted by the Evangelist Luke, and the ponds into which waste from nearby butcher shops were dumped have been cleaned and renamed Chistye (Russian for Clean). The Temple of the Archangel Gabriel is made in the Peter the Great Baroque style. Its walls are decorated in a classical order with white stone stucco, sculptures, and garlands of flowers and fruits. The main entrance is decorated with massive volutes. Standing at 84 meters, it was once the tallest structure in Moscow, earning the church the nickname Menshikov Tower. The Temple of the Great Martyr Theodore Stratilates, constructed in the 18th century within the Archangel Gabriel Temple's courtyard, served as a warm sanctuary. Although closed in the 1930s, the churches were later designated a metochion of the Antiochian Orthodox Church in 1947 and the services resumed.
Lighting concept and tasks
According to the architectural design, we opted for an accentuating grazing lighting technique as the primary method for illuminating the entire group of buildings. Every detail of the churches is meticulously emphasized with subtle, gliding light.
Implementation
Special focus is dedicated to the bell tower and entryways. Linear luminaires are strategically placed along the octagon's edges to enhance the tower's appearance and volume, while low-power spotlights with narrow beams, mounted on the structure, illuminate the dome. Inside the entrance portals, backlighting creates an inviting effect. Flexible linear strips highlight the volutes. The bell tower is set back, overshadowed by the church, directing attention to the upper section and entrances visible from the road. The church is subtly illuminated with linear fittings in the arched windows below creating a glowing effect and the cornice defining the building's proportions. The belvedere is illuminated both internally and externally, with the different colours of the surfaces enhancing the volume rather than diminishing it.
