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​The Ring on the Saisara Lake

The building of the Philharmonic Hall and the Theater of Yakut Epos, standing on the shore of the sacred lake, is inscribed into an epic circle and contains three volumes, reminiscent of the traditional national housing. The roof is akin to the Alaas – a Yakut village standing around a lake. In spite of its rich conceptual agenda, the project remains volumetrically abstract, and keeps up a light form, making the most of its transparency, multiple layers, and reflections.

27 January 2020
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The project of the building that unites the State Philharmonic Hall of Yakutia and the Arctic Center of Epos and Fine Arts was commissioned to Reserve Union by the republic administration a little less than a year ago, in the end of February 2019. One of its prime movers and the heart and soul of the project is Andrey Borisov, the former C.E.O of the Sakha theater, the former C.E.O of the Olonkho theater, named after the Yakut epos, the former minister of culture and spiritual development of the republic in 1990-2014, and now a State Councilor.

By May 2019, the first versions of the concept were ready; in summer, a second version was discussed, and, finally, in mid-October, the project got an architectural and urban planning image, which made it possible to publish relatively extensive information about it. Nevertheless, the project is still being developed and updated, and the architects are promising to show a more detailed version later on.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The complex is situated in the southern part of Yakutsk, not far away from the city center, on the shore of the legendary Saisara Lake. The lake is considered to be sacred; the cape, where the Philharmonic Hall and the Arctic Center are about to be built, up until the 1990’s, was the place where Ysyhakh, the main national festivity, took place; in 2014, they also planned to build here a complex named “Zemlya Olonkho” – but back then they considered a much larger territory of 47 hectares. Today, the building occupies 2.2 hectares in the triangle between the Oikunskogo Street leading to the city center, the Dezhneva Street, and a sprout of the lake.

Location plan. International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The plan is based on a circle – a perfect shape that has an extremely important meaning in the Yakut mythology: the circle is the sun, the floor plan of a hut built around a fire, and the symbol of the yearly cycle – and it is not by chance that when Reserve Union took part in the competition for landscaping the Lenin Square in Yakutsk last summer, the main shape of the project was also a circle, the traditional protective charm with lots of superordinate ring openings.

There are two main parts inscribed into the circle of the plan – the philharmonic hall and the theater of Yakut Epos, with a common entrance zone, yet separate foyers, which allows them to function independently. Due to the fact that because of permafrost underground construction is not feasible, the mechanical rooms underneath the stages could not be deepened, and all of the spectator halls had to be elevated rather high up – 6.6 meters above the ground level – there are two broad staircases, flanked by escalators, leading upwards from the entrance zone and the reception area with the ticket offices.

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    Section view 1-1 along the Theater halls. International Center of Epics of Eurasian peoples in Yakutsk
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    Section view 3-3, longitudinal. International Center of Epics of Eurasian peoples in Yakutsk
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    Section view 2-2 along the Philharmonic Hall. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 1st floor at the elevation +0.000. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 4th floor at the elevation +9.900. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 2nd floor at the elevation +3.300. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 5th floor at the elevation +13.200. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 6th floor at the elevation +16.500. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 7th floor at the elevation +19.800. International Center of Epics of Eurasian peoples in Yakutsk
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    Master plan (simplified). International Center of Epics of Eurasian peoples in Yakutsk
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The Center of Arctic Epos consists of three pavilions, whose shape is inspired by the traditional Yakut summer house – Uras. The pavilions are interconnected, two of them including stage spaces with spectator seats arranged in a circular order, the third one being a rehearsal studio. The central and the biggest pavilion of the Olonkho theater is united with the drama theater Sakha, which occupies the eastern sector of the circle: here, the spectator seats continue higher and further. The spaces can be divided and merged with the help of mobile partitions.

Plan of the 3rd floor at the elevation +6.600. International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


One of the schemes for positioning the halls of the Olonkho and Sakha theaters. International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The roof is designed as an operated one; there will be festivals organized upon it; the circular skylight, which lightens the entrance zone by day, symbolizes the lake, while the whole roof is likened to Alaas – a giant meadow amidst the Taiga, the result of melted permafrost with a peat lake in the middle and arable land around it; historically, alaases were the basic units of Yakut agriculture and settlement. By the way, the glacier lake, also circular, as a rule, and the circular meadow with tasty grass for the horses – explain to a large extent the meaning of the circle for the Yakut culture and mythology.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


Here, on the roof of the philharmonic hall and the theater, the lake is just tiny, and the “uras” huts are larger, yet the picture is still recognizable: one can see the “lake”, the “meadow”, and the hipped roofs, and the picture becomes part of the scenario of the entire building. It may seem as if a perfect cylinder were cut out from the permafrost – with some space-age laser, for example – and was pushed up from the ground, so the village ended up on the roof, while the chthonic forces that supported it turned into the power of theater and music; gods, and especially shamans in many cultures travel towards the underground fire, while in this specific instance it turns out that it was taken out from the earth and laid as the basis of, let’s say, performative creativity.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The cylindrical volume of the complex rises slightly eastward, where the entrance is situated, oriented, in full accordance with the cultural patterns of the Yakut epos, towards the sunrise. The facades are double bound: on the inside, the walls are made of glass, which is meant to ensure plenty of light in the foyer and the lobby; on the outside, the walls are covered with a mounted casing. Down below, its contour rises in large waves that look like arches – everything works together to create a hovering effect, responding to the theme of water, at the same time strengthening the “iceberg” effect – the likeness to the fragment of permafrost cut out from the soil. The building is icy and iridescent; the glass in its basement looks like pure ice that trapped the outlines of the floors and pillars, clearly discernible from the outside.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The entrance is made deeper by a smooth parabola – a volumetric wave that recedes before the small plaza. The outlines of this plastique depression behind the screen of the outside casing look like yet another linear wave, kicking into play, based on the gauze semi-transparency and visual permeability of the building. We will note here that the outside casing does not bend at the same time, “holding” the diameter; the waves are pretty geometric, the shape is large, yet at the same time delicate and pure, all of the analogies and parallels staying within the confines of the abstract, and not indulging into any literal interpretations.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


There will be a broad wooden boardwalk running along the shoreline, and a small venue for open air events. At some point, the architects were considering the construction of a full-fledged stage next to the water, yet later on they refrained from that idea.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


In the first May version, the structural and ethereal character of the solution – the glass cylinder with a wavy ribbon cast over it, hovering in the air – could be read ever more clearly: the casing was composed of white vertical lamellas that formed clear and transparent strokes, reflected in the curves of the glass surface, resonating with the lines of the framework of the glass walls with a rhythm of pillars inside. All of this served to create a “mirage” image, and, to a certain extent, “dematerialized” the building, setting at the same time the appropriate tone of the graphic discipline and completion. The bands were rather large to be seen from a distance, yet still thin enough to hold the volume together. This version also provided for a thin cornice line on top, marking the edge of the roof.

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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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Also, in the first version, the mutual positioning of the spectator halls in respect to one another was different: the group of theaters was lined up in one row right of the entrance, the philharmonic hall was on the left; the two modules were separated by the ravine of the atrium, elongated and overlooking the sacred lake with its end opposite from the entrance. As a result, the lobby was getting more ambient light from above and could claim a more important role of the indoor plaza, something like a covered public space between the theater and concert halls.

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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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However, one of Andrey Borisov’s requirements was about creating a panorama of all the three uras pavilions from the side of the lake, and the theater was moved from the north over to the west, the arrangement of the elements inside the circle changing, and the plan getting a configuration looking like an hourglass: one trapezoid part from the entrance is narrowing, the other, closer to the lake, is widening.

The facade with vertical lamellas was also another point of concern of the client’s – due to the fact that nearby, eight hundred meters away from the philharmonic hall, the building of the complex “Russia, My History” was built, whose facades also sport light-colored verticals, even if differently constructed. Then the client had a desire to include in the project, in addition to the already-employed imagery, rather rich as it is, a reference to the Lena Pillars, the most magnificent natural monument in the Sakha Republic. This is how two more versions of the project came about: one with an opaque golden pattern resembling, albeit remotely, the famous rocks, like a pixel picture, the other – with a media screen, which would broadcast the images of this natural sight, along with billboards and live broadcasts. 

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    International Center of Epics of Eurasian peoples in Yakutsk, Version 2, 06.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 2, 06.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 2, 06.2019
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In fall, the “orange” version with the Lena Pillars was replaced by a lighter one – now the outside screen of the facade consists of aluminum ovals, mounted diagonally on the grilled octahedral structure, which makes it possible to mount the outside surface at a rather large distance from the glass of the main volume.

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    The facade solution formed on the volumetric shaft system with a rectangular module. International Center of Epics of Eurasian peoples in Yakutsk
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    The facade solution formed on the volumetric shaft system with a triangular module. International Center of Epics of Eurasian peoples in Yakutsk
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    A fragment of the facade (a volumetric shaft system with a triangular module). International Center of Epics of Eurasian peoples in Yakutsk
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    A fragment of the facade. The perspective view (a volumetric shaft system with a rectangular module). International Center of Epics of Eurasian peoples in Yakutsk
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    A fragment of the facade. The perspective view (a volumetric shaft system with a rectangular module). International Center of Epics of Eurasian peoples in Yakutsk
    Copyright: © Creative Union ‘Reserve’


The resulting structure must show glitter, yet not like in the first version, where it looked like ice with organized streaks, but rather like snow or cloud. And transparent, too: from the side of the lake one can clearly see the imposing, slightly bent, buildings of the theater, belted by a glass floor and something like a scarf or a necklace rising up towards the east. The picture is half traditional, half cosmic.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’



27 January 2020

Headlines now
Birds and Streams
For the competition to design the Omsk airport, DNK ag formed a consortium, inviting VOX architects and Sila Sveta. Their project focuses on intersections, journeys, and flights – both of people and birds – as Omsk is known as a “transfer point” for bird migrations. The educational component is also carefully considered, and the building itself is filled with light, which seems to deconstruct the copper circle of the central entrance portal, spreading it into fantastic hyper-spatial “slices”.
Faraday Grid
The project of the Omsk airport by ASADOV Architects is another concept among the 14 finalists of a recent competition. It is called “The Bridge” and is inspired by both the West Siberian Exhibition of 1911 and the Trans-Siberian Railway bridge over the Irtysh River, built in 1896. On one hand, it carries a steampunk vibe, while on the other, there’s almost a sense of nostalgia for the heyday of 1913. However, the concept offers two variants, the second one devoid of nostalgia but featuring a parabola.
Midway upon the Journey of Our Life
Recently, Tatlin Publishing House released a book entitled “Architect Sergey Oreshkin. Selected Projects”. This book is not just a traditional book of the architectural company’s achievements, but rather a monograph of a more personal nature. The book includes 43 buildings as well as a section with architectural drawings. In this article, we reflect on the book as a way to take stock of an architect’s accomplishments.
Inverted Fortress
This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.
Transformation of Annenkirche
For Annenkirche (St. Anna Lutheran Church in St. Petersburg), Sergey Kuznetsov and the Kamen bureau have prepared a project that relies on the principles of the Venice Charter: the building is not restored to a specific date, historical layers are preserved, and modern elements do not mimic the authentic ones. Let’s delve into the details of these solutions.
The Paradox of the Temporary
The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.
The Forum of Time
The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.
Mirrors Everywhere
The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.
The Steppe Is Full of Beauty and Freedom
The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.
The Snowstorm Fish
The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.
The Mirror of Your Soul
We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.
Part of the Ideal
In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.
The Fortress by the River
ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.
In the Rhombus Grid
Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.
​Generational Connection
Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.
Three Dimensions of the City
We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived
New “Flight”
Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.
The Yauza Towers
In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.
Arch, Pearl, Wing, Wind
In the social media of the governor of the Omsk region, voting was conducted for the best project for the city’s new airport. We asked the finalists to send over their projects and are now showcasing them. The projects are quite interesting: the client requested that the building be visually permeable throughout, and the images that the architects are working with include arches, wings, gusts of wind, and even the “Pearl” painting by Vrubel, who was actually born in Omsk.
Architecture and Leisure Park
For the suburban hotel complex, which envisages various formats of leisure, the architectural company T+T Architects proposed several types of accommodation, ranging from the classic “standard” in a common building to a “cave in the hill” and a “house in a tree”. An additional challenge consisted in integrating a few classic-style residences already existing on this territory into the “architectural forest park”.
The U-House
The Jois complex combines height with terraces, bringing the most expensive apartments from penthouses down to the bottom floors. The powerful iconic image of the U-shaped building is the result of the creative search for a new standard of living in high-rise buildings by the architects of “Genpro”.
Black and White
In this article, we specifically discuss the interiors of the ATOM Pavilion at VDNKh. Interior design is a crucial component of the overall concept in this case, and precision and meticulous execution were highly important for the architects. Julia Tryaskina, head of UNK interiors, shares some of the developments.
The “Snake” Mountain
The competition project for the seaside resort complex “Serpentine” combines several typologies: apartments of different classes, villas, and hotel rooms. For each of these typologies, the KPLN architects employ one of the images that are drawn from the natural environment – a serpentine road, a mountain stream, and rolling waves.
Opal from Anna Mons’ Ring
The project of a small business center located near Tupolev Plaza and Radio Street proclaims the necessity of modern architecture in a specific area of Moscow commonly known as “Nemetskaya Sloboda” or “German settlement”. It substantiates its thesis with the thoroughness of details, a multitude of proposed and rejected form variants, and even a detailed description of the surrounding area. The project is interesting indeed, and it is even more interesting to see what will come of it.
Feed ’Em All
A “House of Russian Cuisine” was designed and built by KROST Group at VDNKh for the “Rossiya” exhibition in record-breaking time. The pavilion is masterfully constructed in terms of the standards of modern public catering industry multiplied by the bustling cultural program of the exhibition, and it interprets the stylistically diverse character of VDNKh just as successfully. At the same time, much of its interior design can be traced back to the prototypes of the 1960s – so much so that even scenes from iconic Soviet movies of those years persistently come to mind.
The Ensemble at the Mosque
OSA prepared a master plan for a district in the southern part of Derbent. The main task of the master plan is to initiate the formation of a modern comfortable environment in this city. The organization of residential areas is subordinated to the city’s spiritual center: depending on the location relative to the cathedral mosque, the houses are distinguished by façade and plastique solutions. The program also includes a “hospitality center”, administrative buildings, an educational cluster, and even an air bridge.
Pargolovo Protestantism
A Protestant church is being built in St. Petersburg by the project of SLOI architects. One of the main features of the building is a wooden roof with 25-meter spans, which, among other things, forms the interior of the prayer hall. Also, there are other interesting details – we are telling you more about them.
The Shape of the Inconceivable
The ATOM Pavilion at VDNKh brings to mind a famous maxim of all architects and critics: “You’ve come up with it? Now build it!” You rarely see such a selfless immersion in implementation of the project, and the formidable structural and engineering tasks set by UNK architects to themselves are presented here as an integral and important part of the architectural idea. The challenge matches the obliging status of the place – after all, it is an “exhibition of achievements”, and the pavilion is dedicated to the nuclear energy industry. Let’s take a closer look: from the outside, from the inside, and from the underside too.
​Rays of the Desert
A school for 1750 students is going to be built in Dubai, designed by IND Architects. The architects took into account the local specifics, and proposed a radial layout and spaces, in which the children will be comfortable throughout the day.
The Dairy Theme
The concept of an office of a cheese-making company, designed for the enclosed area of a dairy factory, at least partially refers to industrial architecture. Perhaps that is why this concept is very simple, which seems the appropriate thing to do here. The building is enlivened by literally a couple of “master strokes”: the turning of the corner accentuates the entrance, and the shade of glass responds to the theme of “milk rivers” from Russian fairy tales.