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​Parallel Universe

In the “Parallel House” residence that he designed in the Moscow metropolitan area, the architect Roman Leonidov created a dramatic sculptural composition from totally basic shapes – parallelepipeds, whose collision turned into an exciting show.

19 May 2020
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It was not by chance that Roman Leonidov named his creation Parallel House. Armed with a minimum range of techniques, by using only parallels and perpendiculars, squares and rectangles, cubes and parallelepipeds, without any diagonals or curves, the architect was able to create an extremely powerful “rock-n-roll” image. “My houses make aggressive and modern statements – Roman Leonidov proudly explains – In addition, in this particular instance, this laconic house is a portrait of its owner, a self-sufficient person who stands firmly on his two feet, who knows what he wants, and, most importantly, knows what he can or cannot do.”

The house is a large one – its total area is over 800 square meters plus a basement floor with a billiard room and a wine cellar. The position of the house on the land site was conditioned by the client’s desire to shut off from the highway, at the same time leaving enough space for a beautiful landscape. The plan of the house remotely resembles the U letter; it is turned to the meadow and tall trees, the side wings embracing the grand yard and forming a natural shelter for the privacy of its residents.

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    Parallel House private residence. The yard facade
    Copyright: Photograph © Aleksey Knyazev
  • zooming
    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev


From the side of the road, the house and garage entrances are situated, the grand facades being the side one and the one overlooking the park. The house is conditionally divided into the central unit with a triple-height public area and the master’s block, the left wing with a swimming pool and a spa in the first floor, the staff apartment on the second floor, and the right wing with four children’s rooms on the second floor, along with the master’s study and the guest room on the first.

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    Parallel House
    Copyright: © Studio of Roman Leonidov
  • zooming
    Parallel House
    Copyright: © Studio of Roman Leonidov


As for the bearing structures of the building, Roman Leonidov opted for the time-tested and easily implementable ones: the foundation is a concrete slab; the walls are brick with reinforced-concrete intermediate floors. The solid brick is finished off with natural materials: slate, larch, and travertine.

The composition is based on the idea that the parallelepipeds are bumping into one another, some of them even hanging above the ground as cantilevered structures. Hence the feeling of power and motion, curiously combined with an impression of balance. There are a total of six parallelepipeds: two black slate ones, two red larch ones, and two white travertine ones. The black parallelepipeds are the main ones; they are higher than the rest. One of them contains half of the public area and the master’s section: the bedroom, the wall-in closet, and the bathroom. This “slate” parallelepiped looks at the park with two symmetrical stained glass windows, while from the side of the road its top part is slit with ribbon windows that create dramatic lighting in the interior (more of which later).

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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
  • zooming
    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev


The other black parallelepiped contains two – double-height! – children’s rooms, forming the side facade, the most representative one, if we are to speak about the image of the house. Its wall, just like the first one’s is pierced by symmetrical stained glass windows, yet with a horizontal divided glazing (the principle of parallels is observed even in the transom pattern). This heavy slate volume “levitates” a few meters above the ground, resting on the ethereal glass wall of the study, at the same time bumping, like an ice breaker, into the lower larch parallelepiped. Which, in turn, hangs in an imposing heavyweight cantilever, even if lightened up a bit by avant-garde glass corners. And, finally, the white travertine vertical looks as if it “presses” the entire composition to the ground. 

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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
  • zooming
    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev


The larch red parallelepipeds are more horizontal and more elongated. The left one (plan-wise) includes a swimming pool that is turned with its glass wall to the grand yard.  

As was already said, the first floor of the right-hand parallelepiped is occupied by the study and the guest room, while the part that is nearest to the garden is essentially an open air hearth. The barbecue kitchen utensils look quite flashy: it is also a system suspended cubes – the artistic principles of the building are repeated even on a miniature scale. 

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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
  • zooming
    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
 

The low-rise travertine parallelepiped, visible from the yard, marks the “fireplace” part of the public area. Yet another travertine vertical adds stability to the levitating forms, tying them to the ground. The connection between the house and the nature is achieved not only thanks to the glazing but also thanks to other decoration materials: the travertine finish literally continues into the interior design. 

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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
  • zooming
    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev


One cannot help mentioning a very flashy design solution of the public zone. This is a complex, multilevel, almost Piranesian space, traversed by bridges and staircases, where the streams of light coming from all sides intertwine. It consists of a kitchen, a dining room, and a room with a fireplace, the dining room being the highest part, the other two rooms single-level. From the garden side, the living room is adorned by an incredibly tall stained glass window, while on the opposite side, in the anteroom and staircases area, there is yet another stained glass window, and the space works peek-a-boo.

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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
  • zooming
    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev


On the second-floor level, the public space is surrounded by a gallery with a glass barrier. The gallery bleeds into a “bridge” that leads to the children’s rooms on the second floor. In addition, directly underneath the ceiling the space is belted by the ribbon windows of gallery light. Being in the living room, one can cast his eye over the space as a whole, with all of its intersections, its second and third levels, bridges and overpasses, as well as canyons and caves. Curiously, the spacious double-height master’s bedroom overlooks the main park facade with its taller stained glass window – it is situated not in a secluded but in the representative part of the house, being, as was already said, a part of the central parallelepiped. All of this really gives a grand look to it. 

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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev
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    Parallel House private residence
    Copyright: Photograph © Aleksey Knyazev


Up in the air, behind the double-height stained glass window, there is a terrace handing on the level of the second floor – from the living-room side, people who stand on it, as if hovering between earth and sky, will look like actors in a constructivist theater setting or like stuffage figures in a Piranesi print, understood in a whole new way.

Parallel House private residence
Copyright: Photograph © Aleksey Knyazev



19 May 2020

Headlines now
The Fulcrum
Ostozhenka Architects have designed two astonishing towers practically on the edge of a slope above the Oka River in Nizhny Novgorod. These towers stand on 10-meter-tall weathered steel “legs”, with each floor offering panoramic views of the river and the city; all public spaces, including corridors, receive plenty of natural light. Here, we see a multitude of solutions that are unconventional for the residential routine of our day and age. Meanwhile, although these towers hark back to the typological explorations of the seventies, they are completely reinvented in a contemporary key. We admire Veren Group as the client – this is exactly how a “unique product” should be made – and we tell you exactly how our towers are arranged.
The Secret Briton
The house is called “Little France”. Its composition follows the classical St. Petersburg style, with a palace-like courtyard. The decor is on the brink of Egyptian lotuses, neo-Greek acroteria, and classic 1930s “gears”; the recessed piers are Gothic, while the silhouette of the central part of the house is British. It’s quite interesting to examine all these details, attempting to understand which architectural direction they belong to. At the same time, however, the house fits like a glove in the context of the 20th line of St. Petersburg’s Vasilievsky Island; its elongated wings hold up the façade quite well.
The Wrap-Up
The competition project proposed by Treivas for the first 2021 competition for the Russian pavilion at EXPO 2025 concludes our series of publications on pavilion projects that will not be implemented. This particular proposal stands out for its detailed explanations and the idea of ecological responsibility: both the facades and the exhibition inside were intended to utilize recycled materials.
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.