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Nikita Biryukov: "Moscow has long since become unfit for bringing up self-sufficient people".

The leader of "ABV Group" on the contemporary Moscow, the profession of an architect, and the absence of hopes for a better future

07 June 2013
Interview
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Archi.ru: It has been over four years since the global economic crisis of 2008. How do you think architecture changed over these years?

Nikita Biryukov: I think it is still too early to judge whether or not the architecture changed after the crisis. The "medical" results of the architectural development will manifest themselves in a pretty long while. In fact, the crisis is still there, and architecture is a pretty inert process. And - today's situation is hardly better than the one that we had back in 2008. Yes, things are getting livelier a little bit but even if they are it is only because this process is by definition a long-term thing - most projects that are under construction today had been launched still before the crisis.

Archi.ru: How would you describe today's vector of development for the architecture in this country?

Nikita Biryukov: Sadly, I cannot say that it is satisfactory - in fact, this vector points in the completely wrong direction. I only see how things stand in Moscow; in the other cities things must be still worse. Architecture is a cost demanding business that requires serious investment. Today, for obvious reasons, everybody is trying to save up. Virtually all of the assets that were in the developers' hands have moved to the banks now, and the charismatic leaders have been replaced by crisis managers whose primary objective is implementing budgets. Most of them do not know a thing about the essence of the process, and this is why they are totally incapable of building up new venues or generating a scenario of developing this or that area. As a rule, they work with the already-formed and partially developed sites only to bring them to some kind of an end result - which is not even always positive. With such a background, one can hardly speak about any serious architectural movements or achievements.

Archi.ru: And what does this "background" do to the architects?

Nikita Biryukov: I can only speak for myself - life in the profession has become boring these days. The work in this city is being monopolized. Ever so often I get the feeling of a déjà vu, like we're back in the 90's. And this is disappointing because for more than 20 years, we have been growing together - both architects and developers. When we were just entering this business, we knew very little about it ourselves. Over the years, however, what we did was learn and grow. During all these years, when an educated customer came to the architect, he would know in advance what he was capable of, what was his personal potential. What we have today, however, is complete substitution of values - everything is gained through a tender. And look who is winning all those tenders? Great architects? Gosh, no! The tenders are won by the cheapest offers that are often made by companies with a shady past. Look at what is going on with "Slavyanka" shopping mall! First they hired the "Russians" of Turkish make, and they got what they got. And now they are hiring a couple of companies to do the facades. I think that signing up for such a job must be below one's dignity. And it is not just about the facades - it is about careless attitude towards the place. This complex should have been at least half its actual size - and then everything else would come out splendidly.

Archi.ru: Still, I wouldn't go as far as to claim that today's architecture can be compared to what they were building in the 1990's.

Nikita Biryukov: Of course, there is a difference, everybody has got more experience now. There are also new technologies and new materials. But the core of the profession is still the same, isn't it? Those who worked responsibly before, they work just as responsibly now. There was, after all, great architecture before the 1990's, wasn't there? There is but one formula: quality of solutions and quality of implementation.

Archi.ru: Today, Moscow is undergoing a change of power, new people have been appointed to the key positions, and the city itself has changed - it is more than double its recent size. How can you comment on the change of the architectural image of our capital?

Nikita Biryukov: I have no illusions as far as the new power is concerned. People come and go - the government remains the same. Moscow is still the same milking cow that it used to be. I am appalled to look at our city that has been damaged, and the damage is long-term. I enjoy watching old movies where Moscow is still green, where there are few cars in Moscow, and people walk the sidewalks and parks undisturbed. Today's Moscow is not a city for living - it is a city for making money, and not for making joy and happiness. Granted, my opinion may not be objective but, sadly, I am not the only one who thinks that way. The city has become angry and mean. And this dark and dangerous energy goes a long way to shape up the way we think and the way we live. In my opinion, Moscow has long since become unfit for bringing up self-sufficient people. This city is ruled by frightening vulgarity. I would never have thought that I would live into the day that I want to leave this city - but today it is just disgusting to live here. And we destroyed this city with our own hands - we have only ourselves to blame.

Archi.ru: What do you think of active participation of foreign companies in the architectural life of our country and our capital?

Nikita Biryukov: Yes, there is indeed a plague of foreigners living and working in Russia now. They are numerous, and they are different - just as we are. As a rule, the commissioner invites them at the initial design stages, when architectural proposals and concepts are developed, and then the project is fine-tuned by the domestic architects. Today, this workflow is quite common. Our company is doing a few such projects. For example, to work on the project of the business park in Skolkovo we were invited as the general planner, when the architectural proposal by the British company Scott Brownrigg was already approved. Working with this company was quite comfortable for us. When still at the stage of development of working documents we invited them to participate in the development of the project. Generally, however, as far as the presence of the western architects on the Russian market is concerned, I should point out the following: our foreign colleagues offer a product that is quite competitive but, at the same time, is not something that is out of the ordinary. If this same task had initially been assigned to our studio, we would have handled it just as well.

Archi.ru: If our homeland specialists are capable of doing the same job just as well, then why does the customer opt for the foreign architects?

Nikita Biryukov: The commissioner that invites the western specialists because of their different mentality, different educational background, and different approach to designing things - I cannot blame him, really, because over the last 20 years our architects brought discredit upon themselves. I am not speaking about EVERY designer. There are a small number of industry professionals that has been successfully working on the Russian market for quite a while now. The overall trend, however, is quite saddening - simply because the Russian architects do not get the slightest chance to redeem themselves. There was quite a situation with the tender for the renovation of the Polytechnic Museum when the Russian architects - both individual persons as well as whole Russian companies that had no foreign specialists working for them - were simply deleted from the list of the participants.

Archi.ru: What do you think is the main reason for such a precarious position of architects and architecture in this country?

Nikita Biryukov: Today, they are constantly holding up the constructivism as a model and as our national pride and lament the fact that it just slipped through our fingers. But what we need to realize is the fact that the constructivists were brought up by the powerful Russian culture. And then the entire cultural layer of this country was just severed out - some people emigrated, some died in World War Two, then there was Khrushchev's persecution... Today's generation is incapable, though hard it tries, of creating something of real value. An architect does not live and create in a vacuum. He is part of our society - just like our medical care system, education, industrial enterprises... The profession of an architect is, sadly, as under-respected as it has always been. 

I can hardly imagine that our architects and engineers will be trusted to built, say, "Burj Dubai" in the United Arab Emirates. And it is all the more saddening because of the fact that before the October Socialist Revolution of 1917 the Russian architects did create things that made history. Back then, the architects were trusted with the construction as well as with the budget. Now such a system successfully operates in Switzerland, where the architects hire the architects hire the contractors, form their team, and supervise their work from beginning to end.

Archi.ru: Well, but if there is no making amends, as you say, then perhaps some mechanisms must be developed so as to prevent things from going from bad to worse? How would you describe a perfect architect of today? Perhaps, we should start with education?

Nikita Biryukov: The "mechanism" is always the same. It is the law and its strict implementation instead of a variety of interpretations. The architect is always doing somebody's commission. We all are dependent people. As for the education... Russia has no comprehensive architectural education today in it. Moscow Institute of Architecture as a professional higher education institution has virtually been destroyed. All the attempts by all the high-brow people to open "schools of architecture" of their own can only make me smile. If you want to bring up a new and talented generation, some certain selection must be made over a considerable period of time. Today, the young kids get their real education after they graduate and start working with architectural companies. What will become of them is a matter of luck, to a large extent.



07 June 2013

Headlines now
A New Path
The main feature of the Yar Park project, designed by Sergey Skuratov for Kazan, is that it is organized along the “spine” of a multifunctional mall with an impressive multi-height atrium space in its middle. The entire site, both on the city side and the Kazanka River embankment, is open to the public. The complex is intended not to become “yet another fenced enclave” but, as urban planners say, a “polycenter” – a new point of attraction for the whole of Kazan, especially its northern part, made up of residential districts that until now have lacked such a vibrant public space. It represents a new urban planning approach to a high-density mixed-use development situated in the city center – in a sense, an “anti-quarter”. Even Moscow, one might say, doesn’t yet have anything quite like it. Well, lucky Kazan!
Beneath the Azure Sky
A depository designed by Studio 44 will soon be built in Kenozersky National Park to preserve and display the so-called “heavens” – ceiling structures characteristic of wooden churches in the Russian North, painted with biblical scenes. For each of these “heavens”, the architects created a volume corresponding in scale and dimensions to the original church interior. The result is a honeycomb-like composition, with modules derived directly from the historic monuments themselves, allowing visitors to view the icons from the historically accurate angle – from below, looking upward. How exactly this works is the subject of our story.
​The Power of Lines
The building at the very beginning of New Arbat is the result of long deliberations over how to replace the former House of Communication. Contemporary, dynamic, and even somewhat zoomorphic in character, it is structured around a large diagonal grid. The building has become a striking accent both in the perspective of the former Kalinin Avenue and in the panorama of Arbat Square. Yet, unfortunately, the original concept was not fully realized. In 2020, the Moscow ArchCouncil approved a design featuring an exoskeleton – an external load-bearing structure, which eventually turned into a purely decorative element. Still, the power of the supergraphic “holds” the building, giving it the qualities of a new urban landmark with iconic potential. How this concept took shape, what unexpected associations might underlie the grid’s form, and why the exoskeleton was never built – all this is explored in our article.
Resort on the Kama River
Wowhaus has developed a project for the reconstruction of Korabelnaya Roshcha (“Mast Grove”), a wellness resort located on the banks of the Kama River.
Nests in Primorye
The eco-park project “Nests”, designed by Aleksey Polishchuk and the company Power Technologies, received first prize at the Eco-Coast 2025 festival, organized by the Union of Architects of Russia. For a glamping site in Filinskaya Bay, the authors proposed bird-shaped houses, treehouses, and a nest-shaped observation platform, topping it all with an entrance pavilion executed in the shape of an owl.
The Angle of String Tension
The House of Music, designed by Vladimir Plotkin and the architects of TPO Reserve, resembles a harp, and when seen from above, even a bass clef. But if only it were that simple! The architecture of the complex fuses two distinct expressive languages: the lattice-like, transparent, permeable vocabulary of “classical” modernism and the sculptural, ribbon-like volumes so beloved by today’s neo-modernism. How it all works – where the catharsis lies, which compositional axes underpin the design, where the project resembles Zaryadye Concert Hall and where it does not – read in the article below.
How Historic Tobolsk Becomes a Portal to the Future
Over the past decade, the architectural company Wowhaus has developed urban strategies for several Russian cities – Vyksa, Tula, and Nizhnekamsk, to name but a few. Against this backdrop, the Tobolsk master plan stands out both for its scale – the territory under transformation covers more than 220 square kilometers – and for its complexity.
St. Petersburg vs Rome
The center of St. Petersburg is, as we know, sacred – but few people can say with certainty where this “sacred place” actually begins and ends. It’s not about the formal boundaries, “from the Obvodny Canal to the Bolshaya Nevka”, but about the vibe that feels true to the city center. With the Nevskaya Ratusha complex – built to a design that won an international competition – Evgeny Gerasimov and Sergei Tchoban created an “image of the center” within its territory. And not so much the image of St. Petersburg itself, as that of a global metropolis. This is something new, something that hasn’t appeared in the city for a long time. In this article, we study the atmosphere, recall precedents, and even reflect on who and when first called St. Petersburg the “new Rome”. Clearly, the idea is alive for a reason.
On the Wave
The project of transforming the river port and embankment in the city of Cheboksary, developed by the ATRIUM Architects, involves one of the city’s key areas. The Volga embankment is to be turned into a riverside boulevard – a multifunctional, comfortable, and expressive space for work and leisure activities. The authors propose creating a new link with the city’s main Krasnaya (“Red”) Square, as well as erecting several residential towers inspired by the shape of the traditional national women’s headdress – these towers are likely to become striking accents on the Volga panorama.
Valery Kanyashin: “We Were Given a Free Hand”
The Headliner residential complex, the main part of which was recently completed just across from Moscow City, is a kind of neighbor to the MIBC that doesn’t “play along” with it. On the contrary, the new complex is entirely built on contrast: like a city of differently scaled buildings that seems to have emerged naturally over the past 20 years – which is a hugely popular trend nowadays! And yet here – perhaps only here – such a project has been realized to its full potential. Yes, high-rises dominate, but all these slender, delicate profiles, all these exciting perspectives! And most importantly – how everything is mixed and composed together... We spoke with the project’s leader Valery Kanyashin.
​The Keystone
Until quite recently, premium residential and office complexes in Moscow were seen as the exclusive privilege of the city center. Today the situation is changing: high-quality architecture is moving beyond the confines of the Third Ring Road and appearing on the outskirts. The STONE Kaluzhskaya business center is one such example. Projects like this help decentralize the megalopolis, making life and work prestigious in any part of the city.
Perpetuum Mobile
The interior of the headquarters of Natsproektstroy, created by the IND studio team, vividly and effectively reflects the client’s field of activity – it is one of Russia’s largest infrastructure companies, responsible for logistics and transport communications of every kind you can possibly think of.
Water and Light
Church art is full of symbolism, and part of it is truly canonical, while another part is shaped by tradition and is perceived by some as obligatory. Because of this kind of “false conservatism”, contemporary church architecture develops slowly compared to other genres, and rarely looks contemporary. Nevertheless, there are enthusiasts in this field out there: the cemetery church of Archangel Michael in Apatity, designed by Dmitry Ostroumov and Prokhram bureau, combines tradition and experiment. This is not an experiment for its own sake, however – rather, the considered work of a contemporary architect with the symbolism of space, volume, and, above all, light.
Champions’ Cup
At first glance, the Bell skyscraper on 1st Yamskogo Polya Street, 12, appears strict and laconic – though by no means modest. Its economical stereometry is built on a form close to an oval, one of UNK architects’ favorite themes. The streamlined surface of the main volume, clad in metal louvers, is sliced twice with glass incisions that graphically reveal the essence of the original shape: both its simplicity and its complexity. At the same time, dozens of highly complex engineering puzzles have been solved here.
Semi-Digital Environment
In the town of Innopolis, a satellite of Kazan, the first 4-star hotel designed by MAD Architects has opened. The interiors of the hotel combine elegance with irony, and technology with comfort, evoking the atmosphere of a computer game or maybe a sci-fi movie about the near future.
History never ends
The old railway station in Kapan, a city in southern Armenia, has been given new life by the Paris-based design firm Normal Studio. Today, it serves as a TUMO center.
A Deep, Crystal Shine
A new luxury residential development by ADM architects is set to rise in the Patriarch’s Ponds district, not far from Novopushkinsky Square. It will replace three buildings erected in the early 1990s. The project authors, Andrey Romanov and Ekaterina Kuznetsova, have placed their bets on the variety among the three volumes, modern design solutions, and attention to detail: one of the buildings will feature smoothly curved balconies with a ceramic sheen on their undersides, while another will be accented by glass “sculpture” columns.
Grigory Revzin: “What we should do with the architecture of the seventies”
Soviet modernism came in two flavors: the good, author-driven kind, and the bad, standardized kind. The good kind was “on the periphery”, while the bad kind was in the center – geographically, in terms of attention, scale, and everything else. Can we demolish it? “That would be destroying public consensus out of thin air”. So what should we do? Preserve it, but creatively: “Bring architecture into places where it hasn’t yet appeared”. Treat these buildings not as monuments, but as urban landscape. Read our interview with Grigory Revzin on the pressing topic of saving modernism – where he proposes a controversial, yet really intriguing, way of preserving 1970s buildings.
A Roadside Picnic of Urban Planning Theorists
Marina Egorova, head of Empate Architectural Bureau, brought together urban planning theorists – the successors of Alexey Gutnov and Vyacheslav Glazychev – to revive the substance and depth of professional discourse. At the first meeting, much ground was covered: the participants revisited the theoretical foundations, aligned their values, examined a cutting-edge case of the Kazan agglomeration, and concluded with the unfathomable intricacies of Russian land demarcation. Below, we present key takeaways from all the presentations.
Perspective View
CNTR Architects has designed a business center for a new district in Yekaterinburg, aiming to reduce the need for commuting and make the residential environment more diverse. The architectural solutions are equally focused on creating spatial flexibility, comfortable working conditions, and a memorable image that could allow the building to become a spatial landmark of the district.
Malevich and Bathhouses, Nature and High-Tech
The Malevich Bathhouse complex is scheduled to open in the fall of 2025 on the Rublyovo-Uspenskoye Highway. The project, designed by DBA-GROUP under the leadership of Vladislav Andreev, is an example of an unconventional approach to the image of a spa in general and of a bathhouse in particular. Deliberately avoiding any kind of allusion, the architects opted for streamlined forms with characteristic rounded corners, a combination of wood with bent glass, and restrained contemporary shapes – both inside and out. Let’s take a closer look at the project.
Rather, a Tablecloth and a Glass!
After many years, the long-abandoned Horse Guards Department building in St. Petersburg has finally received the attention it deserves: according to a design by Studio 44, the first restoration and adaptation works are scheduled to begin this year. Both the intended function and the general scope of works imply minimal alteration to the complex, which has preserved traces of its three-century history. All solutions are reversible and aimed, above all, at opening the monument to the city and immersing it in a lively social scene – hence the choice of a cultural center scenario with a strong gastronomic component.
​Materialization of Airflows
The Nikolai Kamov International Airport in Tomsk opened at the end of August last year. We have already written about the project – now we are taking a look at the completed building. Its functionality is reinforced by symbolic undertones: the architects at ASADOV sought to reflect local identity in the architecture as fully as possible.
The City as a Narrative
Sergey Skuratov’s approach to large urban plots could best be described as a “total design code”. The architect pays equal attention to the overall composition and the smallest of details, striving to ensure that every aspect is thoroughly thought out and subordinated to the original vision. It’s a Renaissance-like approach, really – a titanic effort demanding remarkable willpower and perseverance. The results are likewise grand – architecture that makes a statement. This article looks at the revived concept for the central section of the Seventh Heaven residential district in Kazan, a composition so thoroughly considered that even the “gradient of visual emphasis” (sic!) across the facades has been carefully worked out. It also touches on the narrative idea behind the project – and even the architect’s own doubts about it.
A Garden of Hope for Freedom
In October, at the Spaso-Evfimiev Monastery in Suzdal, the Prison Yard Garden opened on the site that had served as a prison from the 18th century until the Khrushchev Thaw. The architectural concept was developed by NOῨD Short Film, and the landscape design by the MOX landscape bureau. In fact, there are two gardens here – very different ones. We try to understand whether they evoke the right emotions in visitors, while also showing the beauty of June’s ruderal plants in bloom.
A Laconic Image of Time
The Time Square residential complex, built on the northern edge of St. Petersburg, appears more concise and efficient than its neighbor and predecessor, the New Time complex. Nevertheless, the architect’s hand is clearly felt: themes of “black and white”, “inside and outside”, and most notably, the “lamellar” quality of the facades that seems to visibly “eat away” at the buildings’ mass – everything is played out like a well-written score. One is reminded of both classical modernism and the so-called “post-constructivism”.
The Flower of the Lake
The prototype for the building of the Kamal Theater in Kazan is an ice flower: a rare and fragile natural phenomenon of Lake Kaban “froze” in the large, soaring outlines of the glass screens enclosing the main volume, shaping its silhouette and shielding the stained-glass windows from the sun. The project, led by the Wowhaus consortium and including global architecture “star” Kengo Kuma, won the 2021/2022 competition and was realized close to the original concept in a short – very short – period of time. The theater opened in early 2025. It was Kengo Kuma who proposed the image of an ice flower and the contraposition of cold on the outside and warmth on the inside. Between 2022 and 2024, Wowhaus did everything possible to bring this vision to life, practically living on-site. Now we are taking a closer look at this landmark building and its captivating story.
Peaceful Integration on Mira Avenue
The MIRA residential complex (the word mir means “peace” in Russian), perched above the steep banks of the Yauza River and Mira Avenue, lives up to its name not only technically, but also visually and conceptually. Sleek, high-rise, and glass-clad, it responds both to Zholtovsky’s classicism and to the modernism of the nearby “House on Stilts”. Drawing on features from its neighbors, it reconciles them within a shared architectural language rooted in contemporary façade design. Let’s take a closer look at how this is done.
An Interior for a New Format of Education
The design of the new building for Tyumen State University (TyumSU) was initially developed before the pandemic but later revised to meet new educational requirements. The university has adopted a “2+2+2” system, which eliminates traditional divisions into groups and academic streams in favor of individualized study programs. These changes were implemented swiftly – right at the start of construction. Now that the building is complete, we are taking a closer look.