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Øystein Rø: “Colonial model” is the preferred modus operandi of the mineral industry in the High North

In an interview with Archi.ru, Norwegian architect Øystein Rø discusses future development of Barents Region, new medias for architecture dissemination and comfort as a driving force in creating architecture.
Øystein Rø, architect from architecture office Transborder Studio and co-founder of the architecture and art gallery 0047 in Oslo, visited Moscow to take part in the open discussion “Pezaniki: Russian-Norwegian neighbourhood” that took place June 7th at the Strelka Institute.

20 June 2013
Interview
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Archi.ru:
Your 0047 gallery curated the Year of architecture 2011 – nationwide celebration of National Association of Norwegian Architects’ centenary. There were conferences, open house days and other “interactive” events, but no grand exhibitions. How did you develop this strategy?

Øystein Rø:
We were chosen as curators following a call for ideas. We saw the Year of architecture as celebration of National Association of Norwegian Architects (NAL) and its members. So we wanted to mobilize the members, we wanted them to participate, to have them create the event and not just have some centrally organized exhibition of 100 years of NAL. We came up with models for how NAL and architects could work in a dialogue with society. As a result, there were over 100 events all over Norway in 2011, and it is my opinion that during the Year of Architecture architects renewed the Association and renewed their view why it is important to come together outside their offices and have this common platform for architectural discussion and debate. During the Year of Architecture we challenged the usual mode of architecture dissemination that is very architect-centric, like traditional exhibition showing models etc. Architects too often like to talk only to other architects. We pushed organizers and contributors of programs to explore other ways of promoting architecture. I think that the result was quite impressive: there were TV- and radio programs, debates, built projects, activism programs – different ways of discussing architecture. I think there is a lot of potential in exploring new medias for architecture dissemination, one successful example being the Strelka Institute that is very well integrated in city life with its summer public lecture program. The main event of 2011, the Festival of Architecture was a cross-section of all these activities in one space that lasted 10 days. There was also an international conference: we invited foreign architects to Norway to discuss how architects can engage in the development of society.
Archi.ru:
And now you are organizing another conference – for Oslo Triennale of Architecture in autumn 2013. What will it be?

Ø.R.:
It will be part of the project by Rotor from Belgium that curates the main exhibition, they have also laid out a curatorial platform for the Triennale and we are responding to that. The theme of the Triennale is “Behind the Green Door”, it is dedicated to the concept of sustainability – its historical and contemporary meaning and its place in the architectural production. In the conference “The Future of Comfort” we’ll discuss sustainability from the point of view of comfort as a driving force in creating architecture and also the environmental consequences of that eternal search for better comfort, for more luxury. And we want to discuss how architecture can create a more sustainable lifestyle, how we as architects can open up, push, enable people to pursue a lifestyle that doesn’t harm the environment as much as it does today. So we will explore architecture as an enabler for how people live their lives – as frameworks for new ways of living.

Archi.ru:
In 2009 you published a book on Barents region, Northern Experiments that is based on Barents Urban Survey 2009. What has changed there since then?

Ø.R.:
I see three important things that have happened in the region after we published our book. The most important thing being the delimitation that ended the border dispute between Russia and Norway (2010). Now the map is laid out and the game can begin, so to speak. Another important event is the establishment of a border pass for local citizens so they may now travel across the border as often as they want. It can really change how people use the border areas. And then you have the Shtokman gas field development, a huge Norwegian-Russian-French collaboration that was predicted to be very important for the future of the Barents sea. It is now terminated, and that is a big change, probably for the better. I think this is a reminder that the world is changing and that the role of this region can too.
Archi.ru:
On June 7th you took part in the discussion “Pezaniki: Russian-Norwegian neighbourhood” at the Strelka Institute. What was its most interesting topic for you?

Ø.R.:
For me the most interesting thing was what former consulate in Kirkenes Anatoly Smirnov said about plans for development of a new port in the Pechenga fjord: this means new activities in the borderland, a new reading of the possibilities there. It would be an important step in bringing out the potential of this area. It also represents a demilitarization because now this fjord is controlled by the military. The second interesting topic was the rumor that Russian Prime Minister Dmitry Medvedev would present a clean up plan for PechengaNickel chemical plant area (this plant belongs to “Norilsk Nickel“ company and is situated in Nikel settlement). It will be great news if it turns out to be true because this ecological disaster area needs change.

Archi.ru:
But even if we don’t talk about the ecological disaster and military zone that dampen the development of this region, there are also universal problems of life in the High North. For example, in Polar regions of Canada, in Greenland there are problems with unemployment, high alcoholic consumption and so on. What is the social-economic situation in the Norwegian High North?

Ø.R.:
For a long time there were problems here too: people, especially young citizens, moved away, but now the situation is changing. The Finnmark county is experiencing a growth of population and SØr-Varanger municipality now has a lot of positions they need new people to take – and people do come there, but even more are still needed. Finnmark still is an area for state support: subsidies, special civic tax system. If you live there, parts of your student loan are paid back to you, there are other financial models that encourage people to reside and do business there. The moment where this won’t be necessary anymore will come sooner rather than later, I think.
Archi.ru:
There are mines and other ‘unsustainable’ industries there. What steps has the Norwegian state taken to neutralize their negative influence on the environment?

Ø.R.:
From my point of view, the state is doing too little, it could be more interested in this problem. There is now a new topic on the agenda – the emergence of new mineral industries in Norway, in Northern Norway in particular. “Colonial model”, the term that Tatiana Bazanova used during our discussion while describing the financial model of Norilsk Nickel’s operations in Pechenga district, seems to be the preferred modus operandi of the mineral industry. I think this is going to be a key topic of the future discussion of the development of the High North. It is very relevant there, in mining industry in particular because these companies do the same thing. They don’t pay a local tax to the municipality, so only people who work in mines pay a tax. But in Kirkenes large shares of the miners don’t actually live there, they work there for a week and then fly back home and pay taxes there. So Kirkenes is basically left with nothing except destroyed nature. It is a type of modern colonialism. It is not sustainable and it should not be a model for the future of mining, at least it should not be in Norway - or in Russia for that matter. In Norway these mining companies invest in the local economy as little as possible. It is a dramatic change in comparison to the situation when Kirkenes was founded around 100 years ago. Then the mining company was responsible for everything: homes, infrastructure, welfare. The town was created by the mining company because it wanted people to live there and have a good life. Now companies reduce their responsibility as much as possible. We led a studio at the Oslo School of Architecture and Design on the emerging mineral industry, not only Norway, but on a global scale, on an industry now venturing into new and unexplored areas on land and even under water: we are witnessing a dramatic and unprecedented quest for minerals that is reshaping the surface of the earth.

Archi.ru:
If we are talking of the High North as a global region of growth, what could architects do for these areas?

Ø.R.:
Architects can create models for the urban development, how towns and cities there can be designed. These could be new, better types of cities that bring nature and built environment together harmoniously. It is absolutely necessary given the increasing activity in the High North and the fragility of the nature here. I believe architects can and should be agents for a sustainable development of the High North.


20 June 2013

Headlines now
CinemaHologram
Not long ago, the Moscow authorities approved the project for a new House of Cinema complex by Kleinewelt Architekten. The original 1968 building could not be preserved – yet the architects managed to save its stained-glass panels, metal reliefs, and even the volumetric parameters of the structure, which will continue to house the Union of Cinematographers and cinema halls. The project’s main focal point, however, will be a residential tower. We examine its sculptural qualities and its allusions within the Moscow context.
Form as Method: TPO Reserve
At the core of the concept developed by Vladimir Plotkin and TPO Reserve lies an unconventional morphology that addresses functional challenges beyond purely formal concerns. Above all, however, it serves expressiveness and creates a rare kind of spatial and emotional experience, as becomes evident when examining the project’s key solutions. We studied it in detail, and it was all worth it. Our interpretation is that what drives this project is neither style nor even metaphor, but rather a method.
Mound of Memory
The competition proposal for a memorial complex on the Pulkovo Heights by Studio 44 will not be realized, yet it deserves attention as an intriguing example of how architecture can symbolize traumatic events and thereby contribute to their processing and integration into human experience. The architects also succeed in combining memorial and recreational functions without slipping either into excessive dramatization or oversimplification. The project develops ideas explored in two earlier competition entries that likewise remained unbuilt – the Museum of the Siege of Leningrad and the Tuchkov Buyan park. It also recalls the mound-like hill that Alexander Nikolsky embodied in the form of the now-lost stadium on Krestovsky Island.
Home Base
Working on the new building for Letovo Junior School – opened to students in autumn 2025 in the MSU Valley – the architects of UNK, following the client’s vision, subordinated both façades and interiors to the theme of “home”. Multiple variations of pitched roofs, a city skyline traced across glass balustrades, wooden textures, and a whole series of micro-spaces for retreat within public areas are all at the disposal of primary and middle school students. We take a closer look at the new school building – and at how it interprets current trends in educational environments.
Doubles Match
The architecture of the Tennis Palace built in Luzhniki Olympic Complex, designed by Arena Design Institute, was shaped by three factors: the proximity of the brutalist Druzhba Arena, the closeness of the Moskva River and the metro bridge overpass, as well as the specifics of the function – tennis courts require large spans, abundant light, yet at the same time protection from direct sunlight. The architects divided the building into several blocks, playing on contrast, which is further emphasized by the façades developed in collaboration with TPO Reserve and Vladimir Plotkin.
Microdynamics of Macroprocesses
Given the proximity of the multifunctional complex SOLOS to Sokolniki Park and to a major transport hub, Kleinewelt Architekten embedded in the design of the two high-rise towers a sense of dynamism more characteristic of natural phenomena than of man-made objects. Without the authors’ diagrams, this logic is not easy to decipher, although the eye immediately detects a pattern and tries to grasp it. It seems to us that one tower contains the impulse of a bud about to open, while the other evokes the movement of a lithospheric plate. Let us try to unravel it together.
The Space of Post-Cubism
Sergei Tchoban and Alexandra Sheiner, of Studio CHART, created for the exhibition of “post-cubist” sculpture by Beatrice Sandomirskaya – a talented and even “mainstream” artist, yet almost unknown even to art historians – a space akin to her sculptural language: solidly built, confidently stereometric, and subtly expressive. It curves, emphasizing the mass of the sculpture, envelops the viewer, and guides them from one perspective to another, from a generic “shrine” to a “Madonna”.
The Value of Open Space
For the site near the Barrikadnaya Metro Station, Sergey Skuratov developed five projects between 2020 and 2025. Two of them were ones that won the client’s invitation-only competitions. The fifth was recently selected by the Mayor of Moscow for implementation. The project is vivid and sculptural, expressive, eye-catching, and engaging – very much in line with the spirit of our time. And yet, this project is mid-rise rather than tall. In its northwestern part, near the metro and Druzhinnikovskaya Street, it shapes a comfortable urban environment. On the opposite side, it opens up, allowing sunlight into the courtyard and creating a spatial pause within the dense city fabric. How it is organized, what geometric principles underlie it, and why it takes this form – all this is explored in our article.
Coming From the Cold
The ArchBukhta Festival remains one of the few events in Russia where participants go through the entire process of creating an architectural object – from concept to construction. And they do so on the shores of Lake Baikal, in dedication to it. This year, GAFA took part and shared its experience: a local legend, a team-specific design code, friendship, as well as ice skating and endurance in freezing temperatures all contributed to gaining something more than just an award.
Symphony of Water and Brick
The Alter residential complex, designed by Stepan Liphart and built on a bend of the Okhta River, is an example of a “drawn house”: the number of original architectural details is virtually immeasurable. As a result, ribs, projections, and recesses create a picturesque silhouette even without a significant variation in height. Both composition and material respond to the proximity of the river and to the red-brick factory building dating back to the early 20th century. The project was also significantly shaped by recommendations from the city’s chief architect. More details in our article.
The Penguin House
The building with a curved façade on Brestskaya Street is one of the manifestos of Russian neomodernism of the early 2000s, a sculpture – this is how Anatoly Belov interprets it, speaking of “breaking from the modernist canon and the contextual approach”. We do not fully agree with the author, but his perspective is an interesting one.
Wave and Vertical
The premium residential complex designed by GAFA for a site in the Khoroshevsky District responds to multiple constraints – the arc of a planned roadway, the water protection zone of the Khodynka River, and insolation requirements – through inventive massing. The composition is built on the interplay of two spatial layers: an elongated perimeter block and three towers concealed behind it generate the silhouette and key viewpoints, while also adding semantic depth reinforced by the façade solutions. Another defining feature is a large private courtyard, complemented by a citywide linear park.
Office on Trubnaya
We continue publishing projects by Valery Kanyashin. A building once described, a quarter century ago, as an example of “quiet modernism” has remained just that in some people’s memory. According to Anatoly Belov, its main quality is its unobtrusiveness. The architects from Ostozhenka say the leading role here is played by context and landscape – the change in elevation. Yet is it really so inconspicuous?
The First International
With this publication, we begin a series of texts dedicated to works by the late Valery Kanyashin, one of the founders of Ostozhenka Architects. As it happens, the projects he was involved in largely illustrate our understanding of the firm and its history. The first project in this series is the International Moscow Bank on Prechistenskaya Embankment.
In Memory of Valery Kanyashin
On Friday, February 27, architect Valery Kanyashin passed away – co-founder of Ostozhenka Architects and the author of many significant buildings in Moscow. We publish a text by Anatoly Belov in memory of Valery Kanyashin.
Hypertext in Space
As part of the exhibition “What We Have We (Do Not) Keep”, Sergey Tchoban, the Museum of Architecture, and the CHART studio experiment with an eco-conscious approach to exhibition design, with thematic cross-references and even with publicistic reflections on the necessity of preserving modernism, the roots of contemporary architecture, and the birth of ideas. All of this makes the exhibition, with its light and transparent design, look quite innovative. The elements – both “material” and conceptual – are familiar, yet their combination is far from conventional.
The Outline of “Foundation”
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The Flying Horizontal
“A house in the spirit of Wright”, as architect Roman Leonidov describes it, pointing to his source of inspiration, was built on a challenging wedge-shaped site. To achieve a sense of intimacy and secure good views from the windows, the entire volume had to be shifted toward the far boundary, turning the house “back” to the neighboring mansions. The main façade demonstrates time-tested techniques often employed by the company: articulated horizontals, a weightless roofline, and a triad of materials – light plaster, dark slate, and warm wood.
Needles of Horizon Contemplation
The “House of Horizons”, designed by Kleinewelt Architekten in Krylatskoye, is carefully thought out at the stereometric level – from the logic of how the volumes interlock (and, conversely, how gaps are articulated between them) to the triangular balconies that give the building its striking, slightly bristling silhouette.
The Red Thread
A linear park project prepared by Alexey Ilyin studio for the improvement of a riverbank in one of the residential districts seeks to reconnect people with nature. Two levels of the embankment invite visitors to contemplate the landscape while at the same time protecting the riverbank from excessive human impact. The “aerial street” links functional zones and the opposite banks, creating new points of attraction along the way: balconies, bridges, and even a “grotto”.
Spindle and Thread
The concept of the Waver residential complex in Yekaterinburg draws inspiration from the past of the Parkovy district. In order to preserve the memory of the late-19th-century flax spinning mill once located here, the architectural company KPLN turns to the theme of textiles and weaving. The project’s main expressive device is a system of ribbons made of perforated weathering steel – a material that, in such volumes, has arguably not yet been used in Russian residential projects.
From Ski Resorts to Year-Round Recreation Clusters
In mid-December, several architectural firms gathered to discuss a “seasonal” topic: the prospects for the development of domestic ski tourism. Where is modern infrastructure already in place, where do only remnants of the Soviet legacy remain, and where is there still nothing – but projects are underway and soon to be completed? This article explores these questions.
Woven Into Sokolniki
Over the past few years, high-rise residential construction in former industrial zones has become the main theme of Moscow architecture. Towers are springing up here and there – but the question is what kind of towers they are. The residential complex CODE Sokolniki, designed by Ostozhenka Architects, is a project where every detail has been taken care of. The authors are attentive to the history of the site, the continuity of the urban fabric, the skyline, and visual corridors. They also proposed a motif with the lyrical name “scarf”. We take a closer look at the volumetric composition and the large-scale décor “woven”, in this case, out of terraces and balconies.
Stepan Liphart and Yuri Gerth: “Our Program Is Aesthetic”
The studio of Stepan Liphart, an architect known for his distinctive signature style and one-off projects, now has a partner. Yuri Khitrov, a specialist with a broad range of competencies, will take on the part of the work that distracts one from creativity but drives the business forward. One of the aims of this partnership is to improve the urban environment through dialogue with clients and officials. We spoke with both sides about their ambitions, the firm’s development strategy, shared values, and the need for pragmatism. And why the studio is called “Liphart & Gerth” only became clear at the very end of the interview.
The Copper Mirror
The varied-toned sheen of “unsealed” copper, painterly streaks and fingerprints, exposed concrete, and the unusual proportions – when you study the ZILART Museum building by Sergei Tchoban and SPEECH architects, there is plenty to talk about. However, it seems to us that the most interesting thing is how the museum’s composition responds to the realities of the district itself. The residential district has been realized as an open-air exhibition of façade statements by contemporary architects – but without public access to the inner courtyards of the blocks. This building – that is, the museum – is exactly the opposite: on the outside, it is deliberately restrained, while inside it shines spectacularly, creating its own sunbeams in any weather.
“Strangers” in the City
We asked Alexander Skokan for a comment on the results of 2025 – and he sent us a whole article, moreover one devoted to the discussion we recently began on the “appropriateness of high-rises” – or, more broadly speaking, “contrasting insertions into the urban fabric”. The result is a text that is essentially a question: why here? Why like this?
Dmitry Ostroumov: “To use the language of alchemy, we are involved in the process of “transmutation...
What we ended up having was an extremely unusual conversation with Dmitry Ostroumov. Why? At the very least, because he is not just an architect specializing in the construction of Orthodox churches. And not just – which is an extreme rarity – a proponent of developing contemporary stylistics within this still highly conservative field. Dmitry Ostroumov is a Master of Theology. So in addition to the history and specifics of the company, we speak about the very concept of the temple, about canon and tradition, about the living and the eternal, and even about the Russian Logos.
A Glazed Figurine
In searching for an image for a residential building near the Novodevichy Convent, GAFA architects turned to their own perception of the place: it evoked associations with antiquity, plein-air painting, and vintage artifacts. The two towers will be entirely clad in volumetric glazed ceramic – at present, there are no other buildings like this in Russia. The complex will also stand out thanks to its metabolic bay-window cells, streamlined surfaces, a ceremonial “hotel-style” driveway, and a lobby overlooking a lush garden.
A Knight’s Move via the Cour d’Honneur
Intercolumnium Architects presented to the City Planning Council a residential complex project that is set to replace the Aquatoria business center on Vyborgskaya Embankment. Experts praised the overall quality of the work, but expressed reservations about the three cour d’honneurs and suggested softening the contrast between the facades facing the embankment and the Kantemirovsky Bridge.