Pogodinskaya
Copyright: © GAFA Architects
The site was acquired in 2021 by the developer Vesper, one of the most serious players in Russia’s deluxe residential real estate market. The plot is currently occupied by a business center – a 1930s building that was originally two stories high but gained height and volume during a reconstruction and buildup in 2000. Nearby stands one of the buildings of the Yushkov family estate, a regional cultural heritage site awaiting restoration. A less presentable but still high-status neighbor across the street is University Clinical Hospital No. 1. And, as Wikimapia users note, Vladimir Zhirinovsky once lived in the “House on Devichye Pole”, even though we cannot independently verify this claim. You never know.
Pogodinskaya
Copyright: © GAFA Architects
After acquiring the site, Vesper “tried on” several concepts from well-known and established architectural companies, but ultimately opted for GAFA’s proposal. The company’s team agreed that it might be best not to orient the project toward the obvious centerpiece of the surroundings – the Novodevichy Convent – and instead focus on the “here and now”, answering the question: what can a contemporary architect offer one of the most beautiful places in the city, backed by the developer’s almost unlimited support? Is it possible to persuade someone who came to see historic architecture to also pay a quick visit to Pogodinskaya Street?
Pogodinskaya
Copyright: © GAFA Architects
Pogodinskaya
Copyright: © GAFA Architects
Project ideologist Tatyana Morozkina spoke about her personal impressions of the place: crowds of tourists, students painting en plein air, artists with sketchbooks who immediately paint views of the Novodevichy Convent and sell their works, stalls with souvenirs and vintage trinkets. From these memories, an image gradually crystallized – namely, that of a glazed figurine or an enameled casket.
According to Grigorios Gavaldis, the references also included something quite the opposite: Peter Cook’s Kunsthaus in Graz, Austria. The museum was apparently used by the project team as an example of an object that deliberately contrasts with its surroundings. The same approach seems to have suggested the “metabolic” bay-window cells. Because of them, the casket expanded into a cabinet – a popular piece of furniture in the 17th-18th centuries, with numerous drawers decorated with painting, embroidery, or beautiful inlays.
Pogodinskaya
Copyright: © GAFA Architects
The façade material proved decisive both for the building’s class and for embodying the image of a vintage casket. The architects chose glazed volumetric ceramic – an expensive, technically complex material requiring handcraft, among other things. In terms of the volume of material used, this will be the first project of its kind in Russia. The supplier has yet to be selected, but the colors have already been approved: pearl white, referencing the convent walls, and emerald-jade, echoing the proximity of the picturesque Novodevichy Park and hinting at noble patina – a witness to time and change. Color is not the only thing that distinguishes the towers, which, in the context of local toponyms, one feels inclined to call sisters.
The project’s master plan is fairly simple: it essentially repeats the composition of the existing building on the site, only with the side risalits rising to 46 meters, while the central one, by contrast, is lowered to form the lobby uniting the two towers. The “tower in green” is set slightly back from Pogodinskaya Street, complicating the perception of the silhouette and freeing space for a ceremonial entrance zone: a car pulls into a small lay-by directly to an entrance protected by a canopy.
Pogodinskaya
Copyright: © GAFA Architects
The white tower is somewhat more square, both in plan and in the treatment of its bay windows. Its top-floor terrace faces the Novodevichy Convent. The green tower is more “rectangular”, elongated and fragmented; the angle of the bay windows is sharper, and its terrace opens toward Pogodinskaya Street.
Despite their obvious differences, what reads first and foremost are the shared “family traits” of the two towers. The most expressive of these is the sculptural, checkerboard grid of balconies and screen-like bay windows with panoramic glazing free of mullions. The regularity and rigidity of this rhythm are significantly softened by streamlined, rounded spandrels, which form “hinged axes” and lend the façades the flowing quality characteristic of glazed surfaces. The corners of all elements are smoothed both vertically and horizontally, allowing the facades to catch and reflect more light. This sense of fluidity carries over into the interiors as well, where one room flows seamlessly into the next.
Pogodinskaya
Copyright: © GAFA Architects
The entrance zone plays a crucial role in a high-status residential building: it shapes the first impression and becomes a kind of calling card, demonstrating the project’s values and those of its residents. In this area, GAFA brought together nature, history, and art.
The entire ground floor is occupied by retail, while the connecting volume between the towers houses a shared lobby reminiscent of an art gallery. Panoramic curved glazing opens views toward an intimate, picturesque garden.
Pogodinskaya
Copyright: © GAFA Architects
Despite the compact size of the courtyard, the architects managed to make it perform several functions. Tall, lush greenery planted along the perimeter screens the garden from the neighboring House XXII. Additional privacy is provided by geoplastic landscaping and by the courtyard’s elevated level relative to the street, formed by a stylobate with a parking garage inside.
The obvious playground and sports facilities were deliberately abandoned in favor of more greenery, timeless elements, and “visual calm” – especially since a fitness center will operate within the building itself. The first thing a person stepping into the courtyard sees is a dense mass of greenery. It can be admired from one of two viewing platforms or from a more secluded corner.
All the three ambitious projects in the block – by ODA, SKiP, and GAFA – make no false show of modesty: they assert their status and seek visibility. The house on Pogodinskaya Street, however, follows the concept of “quiet luxury”. A square meter of its façade made of volumetric glazed ceramic will likely be among the most expensive in Moscow, yet its true value lies above all in its uniqueness, timelessness, and its ability to age gracefully.
Pogodinskaya
Copyright: © GAFA Architects

