Archi.ru:
What do you think is the most important solution in the ZILART Museum project?
Sergei Tchoban at the presentation of the museum building. 02.10.2025
Copyright: Photograph © Julia Tarabarina, Archi.ru
Sergey Tchoban:
I would say the comfortable exhibition space. It is a true machine for exhibitions – a machine in the best possible sense of the word. First of all, in terms of spatial organization: each hall can be divided into four independent sections, which makes it possible to host very small exhibitions and, conversely, very large ones, if needed. The height of over five meters allows you to display virtually any kind of contemporary art. The loading areas, storage boxes for exhibition equipment, and other museum needs are also worked out in minute detail. There is also a special large lift for handling bulky exhibits.
Second, the navigation has been carefully thought through. To be honest, I personally really dislike confusing navigation in museums, and, unfortunately, this happens quite often – not only in Russia, but worldwide. When, in order to find the one thing you came to the museum for, you have to walk through twenty-one halls, and then, when you finally reach it, you are so exhausted that you no longer care for that thing all that much… Many outstanding museums function exactly like that. The Florence Uffizi Gallery, in my opinion, is arranged best of all: you always enter each room from the gallery, and this makes it very easy to get your bearings in the building. I wanted to get at least a little closer – by some tiny, nano-measure – to this ideal. In the ZILART Museum, we managed to make it so that once visitors enter, they immediately understand where they can go next, both within the ground floor and within the building as a whole.
COLLECTION Museum
Copyright: Photograph © Andrey Belimov-Gushchin / provided by SPEECH
And finally, the entrance space of the museum is conceived and functions as a sheltered extension of the boulevard – this is where the public areas are located. They include conference rooms, a library, a shop, and children’s spaces, which means families can come here and spend time unhurriedly and with interest. In this sense, the museum also resembles the loggias of Italian cities. This is also why works by street artists, specifically by graffiti artists, appear as a key element of the main atrium’s interior – a continuation of the boulevard’s urban space.
How did you select the artists?
The escalators, which connect the galleries on all floors, face the atrium space. By definition, these are fairly large and noticeable elements – engineering equipment, if you will. Naturally, the question arose of how to highlight them so that they would become an integral part of the museum space without looking obtrusive. We considered various approaches, but ultimately the idea of inviting graffiti artists seemed the most successful. Among other reasons, because street art in contemporary Moscow plays a key role in shaping the character of an increasing number of public spaces. For the works created in the ZILART Museum atrium, we invited leading representatives of the street art genre. Some of those artists I knew personally, while others were recommended to us by Liza Savina and the curatorial team of the “No Walls” festival led by Sabina Chagina.
All the walls and structural lintels in the museum are made of aging “non-stopped” copper. Why copper?
I believe that in contemporary architecture, in the absence of any pronounced order or ornament, the sheer “material character” of a building acquires enormous significance. Today, it is the choice of material that determines how a building will behave over time – how it will age. Materiality has two equally important parameters: the first is the quality of the material’s surface, and the second is its physical thickness. It is clear that stone ages in the most noble way you can imagine, but I did not want to use it here, because natural stone, to me, is above all about thickness – not the thin shell we put on buildings today, with insulation layers hidden underneath it. We also rejected the idea of black metal: it, too, can age beautifully and naturally, but it would stain visitors’ clothes. Copper turned out to be the best option.
COLLECTION Museum
Copyright: Photograph © Andrey Belimov-Gushchin / provided by SPEECH
It is also important that copper not only visibly changes over time, but also allows for an architecture that preserves traces of its creators – the fingerprints, the marks of hands, the dirt, the accidents of fabrication. When I saw the statue of Ramses in Abu Simbel, I was struck by how the inscriptions made over the past few hundred years – various “So-and-so was here, 19th century” – had become part of its substance. They effectively made that substance an inseparable part of the flow of time. For an institution like a museum, this seems to me completely organic!
Sergei Tchoban at the presentation of the museum building. 02.10.2025
Copyright: Photograph © Julia Tarabarina, Archi.ru
Did the clients agree with all of your decisions?
Andrey Molchanov is an exceptional client in terms of understanding and co-creation. A true driving force in the field of architecture. Implementing the entire ZILART district with such a huge number of architects – I don’t think anyone besides him has ever managed anything of that scale. The museum is the most important building in this district, and Andrey’s personality and opinions, his deep and sincere love for art and collecting, as well as the role of Elizaveta Molchanova, were key.
Was there a brief, any specific wishes?
In terms of exhibition spaces, of course there was a technical brief – that’s completely natural – and we provided as comprehensive a response to it as possible. And in terms of architecture, I proposed certain ideas, we discussed everything, and eventually arrived at the solution we are presenting to you.
I wish the museum a smooth voyage, and I want to express my deep gratitude to Elizaveta and Andrey Molchanovs for entrusting me with this work. It is a tremendous honor and a very important stage in life for me and my team.
