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Multicolored Barcode

Late last year, yet another medical institution in the southeast of Moscow got positively-looking multicolored facades that inspire confidence in the art of healing and the triumph of life. The project of reconstruction of Research Center for Obstetrics, Gynecology and Perinatology named after Kulakov, situated on Akademika Oparina Street, was developed by the author team led by Alexander Asadov.

06 February 2013
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The architects got this order thanks to the successful implementation of their project of Federal Scientific and Research Center of Pediatric Hematology, Oncology and Immunology whose dazzling facades beautified the crossing of Leninsky Avenue and Miklukho-Maklaya Street. The reconstruction and remodeling of its interior premises had been carried out in the center a few years back - now it is not only Moscow's but the whole Russia's most advanced clinic in its class - but from the outside it still looks like a rather ordinary gray volume. Its image is in fact a nutshell of the basic principles of Soviet modernism - simplicity and harshness of composition, laconism of decoration, minimal plastics - and it is probably the length of its main building alone that makes it stand out against its surrounding background. After the Center of Pediatric Hematology, Oncology and Immunology was built nearby, the management of the center got a vivid example of how bright and unconventional the architecture of a medical institution could be. The decision to commission the development of the project of facade reconstruction to the same team of architects made perfect sense, even though the immediate vicinity of the already implemented "prototype" created a few extra challenges.

 

The thing is that Akademika Oparina Street runs parallel to Leninsky Avenue and stops dead crossing that same Miklukho-Maklaya Street. In fact, it is the same block that the Center of Pediatric Hematology, Oncology and Immunology has already been built in. The crucial difference in the location of the two medical centers consists in the fact that the Daedalus Prize winning children clinic building stands with its main facade turned to the multilane carriage way, while the Obstetrics Center is flesh and blood of the tensely populated residential area. It is specifically because of the density of the housing that the two medical buildings do not interact with one another - but once you exit the maternity home and walk just a few meters away, you start seeing time and again, in the clearances between the houses, the bright colors of the pediatric center. This is why the architects got the task of coming up with a fundamentally different "color code" - the renewed facades of the Maternity Center were to be different from those of Pediatric Center but be as optimistic-looking.

 

Working on the new image of the facades, the architects looked not only to refresh them but also to develop the building's intrinsic principles of modernist architecture and highlight the strong points of the latter. This is why as the starting point of the reconstruction project was chosen the layout of the complex built back in 1979. On the plan it looks like a hair comb and consists of the main longitudinal building and five transverse ones, the length of them varying and the height being twice as little (three floors versus six in the main building. The longest "tooth" that is turned to the crossing of Akademika Oparina and Ostrovityanova Streets, plays the part of the main facade of the entire complex - it is here that the main entrance is situated, manifested by brutal triangular pillars and rectangular bay windows. So it was this fracturing into separate bulky segments that became the main theme of the new "color code".

 

Totally, there are five bay windows, each of which the architect painted into a distinct color of its own - red, yellow, blue, dark green, and bright green. The latter becomes the leitmotif of the decoration of the entrance group - it bleeds onto the long horizontal beam above the main entrance porch and the pillars flanking it from the opposite side. The niche itself, in turn, is painted yellow. Highlighting the main plastic elements with color and coating them with Kraspan panels fundamentally changes the image of the facade: what used to look like a mono-texture light-gray mass, now has become a canvas with bright strokes that not only make the building look more dramatic but also help the visitors find their bearings a lot easier.

The five basic colors that are brought to the surface of the entrance facade form the color palette off the complex. One could compare them to a set of magic markers or maybe to a barcode that bears the encrypted information about this building, or, rather, about the changes that the obstetrics center underwent in the course of the reconstruction. And while the facades of the pediatrics center are surfaces painted with bright optimistic colors, this building, on the other hand, is dominated by white color - possibly, the most appropriate metaphor for the birth of a new life and the aseptic conditions in which it must take place. Apart from the already-mentioned bay windows, only the side walls of the transverse buildings are executed in full color - all the other facades present snow-white surfaces, over which the colorful strokes (or "splashes", as the architects themselves call them) are thrown. What is interesting is the fact that their length varies from floor to floor which helps avoid the trivial "striped pattern" and make each part of the facade look individual. This technique looks particularly striking on the facades of the longitudinal building - the multicolored barcode visually fractures the elongated volume, at the same time keeping its linear character.

Apart from "sanitation" of the existing facades, the reconstruction project developed by Asadov team and "Transumed" company provides for the construction of a whole new building on the territory of the complex - the contemporary perinatal center. The architects plan to position it in the yard in such a way that three transverse buildings out of five became the overpasses from the old building into the new one - the connecting galleries are going to be built on the roofs of the three-storey volumes. And, since it makes little sense to start a reconstruction just because of but one overpass, the authors propose to use its space for the conservatories, meeting rooms and recreation areas for the patients. On the plan, the new volume has the shape of a tick mark - one wing of the building is located parallel to the main building of the center, and the other one is turned at a 45-degree angle to it. "Such positioning lends us the opportunity to make the most of the land site allotted to us and maximally expand the area before the main entrance to the future perinatal center", - the designers explain. The architectural solution of the new building develops the theme given by the following volume: the terminal laconism of the parallelepipeds is softened by the multi-corner side walls, and the color barcode is added by a frieze with stained-glass pieces with colorful inserts between them.

And, while the the construction project of the perinatal center has entered the concluding stage of obtaining the final permissions, the reconstruction of the facades of the center is already complete - the snow-white 290 meter long building, dissected with multicolored vertical stripes, has really made a difference in the outlook of Akademika Oparina Street, bringing into the rather faceless and aggressive visual environment a bright and dramatic centerpiece that symbolizes the purity and joy of a new life being born.




06 February 2013

Headlines now
The Big Twelve
Yesterday, the winners of the Moscow Mayor’s Architecture Award were announced and honored. Let’s take a look at what was awarded and, in some cases, even critique this esteemed award. After all, there is always room for improvement, right?
Above the Golden Horn
The residential complex “Philosophy” designed by T+T architects in Vladivostok, is one of the new projects in the “Golubinaya Pad” area, changing its development philosophy (pun intended) from single houses to a comprehensive approach. The buildings are organized along public streets, varying in height and format, with one house even executed in gallery typology, featuring a cantilever leaning on an art object.
Nuanced Alternative
How can you rhyme a square and space? Easily! But to do so, you need to rhyme everything you can possibly think of: weave everything together, like in a tensegrity structure, and find your own optics too. The new exhibition at GES-2 does just that, offering its visitor a new perspective on the history of art spanning 150 years, infused with the hope for endless multiplicity of worlds and art histories. Read on to see how this is achieved and how the exhibition design by Evgeny Ace contributes to it.
Blinds for Ice
An ice arena has been constructed in Domodedovo based on a project by Yuri Vissarionov Architects. To prevent the long façade, a technical requirement for winter sports facilities, from appearing monotonous, the architects proposed the use of suspended structures with multidirectional slats. This design protects the ice from direct sunlight while giving the wall texture and detail.
Campus within a Day
In this article, we talk about what the participants of Genplan Institute of Moscow’s hackathon were doing at the MosComArchitecture booth at the “ArchMoscow” exhibition. We also discuss who won the prize and why, and what can be done with the territory of a small university on the outskirts of Moscow.
Vertical Civilization
Genpro considered the development of the vertical city concept and made it the theme of their pavilion at the “ArchMoscow” exhibition.
Marina Yegorova: “We think in terms of hectares, not square meters”
The career path of architect Marina Yegorova is quite impressive: MARHI, SPEECH, MosComArchitectura, the Genplan Institute of Moscow, and then her own architectural company. Its name Empate, which refers to the words “to draw” in Portuguese and “to empathize” in English, should not be misleading with its softness, as the firm freely works on different scales, including Integrated Territorial Development projects. We talked with Marina about various topics: urban planning experience, female leadership style, and even the love of architects for yachting.
Andrey Chuikov: “Optimum balance is achieved through economics”
The Yekaterinburg-based architectural company CNTR is in its mature stage: crystallization of principles, systematization, and standardization helped it make a qualitative leap, enhance competencies, and secure large contracts without sacrificing the aesthetic component. The head of the company, Andrey Chuikov, told us about building a business model and the bonuses that additional education in financial management provides for an architect.
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.
Crystal is Watching You
Right now, Museum Night has kicked off at the Museum of Architecture, featuring a fresh new addition – the “Crystal of Perception”, an installation by Sergey Kuznetsov, Ivan Grekov, and the KROST company, set up in the courtyard. It shimmers with light, it sings, it reacts to the approach of people, and who knows what else it can do.
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.