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The hidden house

The new administrative business centre, recently built on Malaya Dmitrovka by Pavel Andreev’s project, is modestly hiding behind the historical building of the 19th century urban house and it does not break the present facade line of this old street

18 March 2008
Object
mainImg
Architect:
Pavel Andreev
Firm:
Paul Andreev
Object:
Mix-use business centre with underground car-parking on Malaya Dmitrovka 7 and 9
Russia, Moscow, Malaya Dmitrovka 7 and 9

2004 — 2005 / 2005 — 2007

At the start of Malaya Dmitrovka, not far from the cinema “Rossia” [Russia] and the gorgeous Rozhdestva church in Putinka, by the giant 1970’s “chest” of MGTS, facing of the new business centre, built by the project of Pavel Andreev’s studio, is almost finished. But anyone, who has no idea about that and is hurrying somewhere along Dmitrovka – no matter, by car or on foot – might not notice anything at all. Only can gladly notice the two small, but typical and nice Moscow houses of the end of 19th century, have been renewed but not tore down. The houses look fine – almost radiate, and the new building of the business centre is not visible at all, only if you do not look it purposely.

When you find it, then it appears to be quite large – a huge Г-shaped construction of modest architecture and elaborate configuration stuck to the two “old” buildings from the yard side. To have a full picture of the new development, one has to walk by at least the three sides of it, going into the yard, then going through the neighboring yards. The business centre has just grown within the various Moscow development and have done it so smartly that it can easily be taken for a few different constructions. There came out nearly 15 thousand new square meter, and it is not clear where and how. Well, those are wonders of mimicry that is necessary for construction in the centre of a city – the new development does not at all stylize the surrounding, and does not change it’s almost absolute contextualism.

Actually, everything is more complicated. The business centre, which project has been started four years ago, got the two sites –- vladenie 7 with a 2-storey commercial house of 19th century and vladenie 9 that saved the “main house of urban manor of eclectic period”, the building in a way superior than its neighbor, decorated with pompous, but fine stucco work, built in the end of 19th century. The both buildings have been renewed (the “Marss” company was engaged in the work according to the project by the restorer Grigory Mudrov). The leaned risalitas of the building 7 have been leveled, flooring have been changed; stucco work of the building 9 has been cleaned and renewed, interior has been partly restored, in particular the iron staircases. Must notice, the stucco work on the building 9 looks excellent.

The most noticeable part of the new building is joined to the building 7. Here, in the gap between the former commercial house and the giant building of MGTS is seen a dimly shining ceramic granite corner – or rather a number of various rectangular volumes topped with a kind of lift tower. As if all the sculpture of the house folded into the yard could not stand its loneliness and pulled into the single gap all it could to trying to show itself.

The most remarkable element of the facade of the new building – metal panels covered by rows of considerably extended horizontal oval ribs. If glance there they resemble popular in present-day Moscow lamels huge exterior jalousie – thought they are not at all. There arises an illusion – if take it wrongly and think they are lamels, windows seem to be much larger then they really are. The extending risalita for example might seem to be entirely glazed and just covered with metal stripes, this intrigues the audience and maintains the hi-tech effect.

Then, making way through the yards, we discover more modest facades – there is more ceramic granite, less glass and the ribbed hi-tech decorations. Walking around the house we see how its outline fancily, stepping, retreats or becomes higher. The gap is not free and its aim is not to complicate the outline, but it has to satisfy the standards of insolation – in other words, not to obscure windows of the neighbour residential building, at that providing maximum of floor space (nearly 14 000 square meter) – tells Pavel Andreev. The thing is, in the buildings 7 and 9 on Malaya Dmitrovka there were the two health centers - psychoneurologic and dermatology. They were transferred to the new building right of the same number of square meters – so on Dmitrievka it was necessary to “have” the same volume. Its stepped outline visibly demonstrates the “stoned” process of struggle between the needed flooring and the urban restrictions.

If come from Degtyarny Pereulok, we discover “stone” walls, crowned with angular roof of transparent metal constructions. But the walls go apart showing a trick – huge, a storey-size glass steps, a kind of glazed cascade. This volume appeared in the respond to the present renewed arch of the 19th century house. From the street through the arch (certainly if they will open the iron gates) you can get into the inner yard. And from the other side on the entrance into that yard points the described glass volume. Though, frankly, walking around it is impossible to guess there is a yard, if you do not know about that. In the yard there will be flowerbeds and benches. Well, this is the mysterious Moscow business centre, a huge one, so harmoniously hidden before the historical development.



Architect:
Pavel Andreev
Firm:
Paul Andreev
Object:
Mix-use business centre with underground car-parking on Malaya Dmitrovka 7 and 9
Russia, Moscow, Malaya Dmitrovka 7 and 9

2004 — 2005 / 2005 — 2007

18 March 2008

Headlines now
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“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?
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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
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A Small Country
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Pearl Divers
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A Satellite Island
The Genplan Institute of Moscow has prepared a master plan for the development of the Sarpinsky and Golodny island system, located within the administrative boundaries of Volgograd and considered among the largest river islands in Russia. By 2045, the plan envisions the implementation of 15 large-scale investment projects, including sports and educational clusters, a congress center with a “Volgonarium”, a film production cluster, and twenty-one theme parks. We explain which engineering, environmental, and transportation challenges must be addressed to turn this vision into reality. The master plan solutions have already been approved and incorporated into the city’s general development plan.
The Amber Gate
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A Theater Triangle
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​A Golden Sunbeam
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Architecton Awards
In 2025, the jury of the Architecton festival reviewed the finalist projects through live, open presentations held right in the exhibition hall – a rather engaging performance, and something rarely seen among Russian awards. It would be great if “Zodchestvo” adopted this format. Below, we present all the winning projects, including four special nominations.
Garden of Knowledge
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The Silver Skates
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On the Dynastic Trail
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A New Path
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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
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Nests in Primorye
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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
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St. Petersburg vs Rome
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On the Wave
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Valery Kanyashin: “We Were Given a Free Hand”
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​The Keystone
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Perpetuum Mobile
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