По-русски

From Novgorod to Kronstadt

In Saint Petersburg, Eugene Gerasimov will build a church complex.

25 July 2014
Object
mainImg

Perspective view of the complex © Eugene Gerasimov and Partners

On the first of July, there took place the groundbreaking ceremony for the church complex on the Kronstadt Square in Saint Petersburg. Metropolitan Varsonofiy of Saint Petersburg and Ladoga said at the ceremony that the sleeping belt areas are in desperate need of churches - simply because during the soviet times they were never built in them - and expressed hope that now that there is a church in the community, things will take a turn for the better with God's help. The complex has been designed since 2006 by the architectural bureau of Eugene Gerasimov (what is important, absolutely for free, strictly on a charity basis) that actually does not specialize in temple architecture, even though it is known for its works both in the contemporary and in the historical styles. The architects treat the temple complex project with tenderness and care: to them, it is first of all a public building against the background of numerous successful commercial commissions, and the authors are only happy to be doing something for the city - they not only approached with maximum attention the specifics of the religious building but also, among other things, carefully thought out the improvement of the temple square for the congregation. As for the architecture of the complex, the architects combined in it a few historical allusions, placing them into the laconic framework of the style that is as much contemporary as it can be in the modern Russian church. 

***

The Kronstadt Square is not actually quite a square but rather - exquisite, like many things in Saint Petersburg - an oval road junction situated at the crossing of the Leninsky and the Stachek avenues on the way to Peterhof behind the Kirovsky district. Inside the oval, there is a large flat lawn, surrounded by the 1970's modernism alternating with the housing of the 2000's - in a word, nothing else is "exquisite" here except for maybe the rocaille shape of the lawn and the enticing "Road to Peterhof" sign (well, to Strelna, actually) - the terribly dull houses of the post-soviet suburb, comparatively clean, green and spacious, though. The place had also a tram line running through it. 

Before meeting the junction, the avenues form a sharp arrow - somewhere in the center of Saint Petersburg it would house the proverbial "five corners", but here it resulted in a little park, upon the western "nose" of which the architect Ivan Knyazev in 2003 built a chapel of John of Kronstadt, and later on the chapel's altar was consecrated, raising it to the status of a church, because the construction of the temple complex seemed to be dragging on forever. On the other hand, its east side in 2009 got a large residential complex with a binding name of "Mon Plaisir" that became the rather usual background for the future temple complex the construction of which, after the construction of the chapel, took another ten years. 

The studio of Eugene Gerasimov has been working on the project since 2006, and, as its name entry states, the architects made an attempt at "tying in harmoniously the new architectural forms with the features of the nation's spiritual tradition". 

The building of the already-built chapel stretches along the Leninsky Avenue, while the new buildings of the complex - the Temple of All-Merciful Savior and the parish house behind it - are symmetrical and strung onto the axis of the bisect in line of the triangular land site. It is planned that the lower tier of the temple will include the baptismal church, and yet another small chapel will be inbuilt into the parish house, above the roof of which only its cupola will be viewable. 


Bird's height view of the complex © Eugene Gerasimov and Partners

The features of contemporary architecture, just like the conservative allusions, are plainly visible. Besides the general church requirements, Eugene Gerasimov's project is oriented on various context layers both in the broad context of the northwest Russ and the narrow context of the nearest church built by Ivan Knyazev. But then again, this strictly romantic temple in the spirit of the new-Russian branch of modernism, is rather opposed by the new buildings, they look more serious and austere: the straight lines, the simple stereometry, the granite ground floor and even the helmet-shaped cupola - all these things put together form a different message, characteristic of the modern times (we could say, more serious; this temple is not a fairy-tale and not a decoration). 


Land plot layout diagram © Eugene Gerasimov and Partners

The eight-pitch roof with three windows arranged in a "slope"'manner and the array of decorative inserts doubtlessly belongs to the Novgorod and Pskov tradition, reminding us of the fact that Saint Petersburg adjoins the lands of Russia's northwest, even though in the times when the Temple of Savior on the Ilyin was built, this city did not yet exist. It also did not exist in the times of Sophia of Novgorod, the outlines of the central cupola of which and the frequency of its windows probably influenced the drawing of the cupola in Eugene Gerasimov's project. The three high-ceiling forechurches can be traced back to the church of Parasceva on Torg - the architecture of the Kronstadt Square temple, as we can see, demonstrates at least two or three Novgorod sources: a reverence of sorts from the former industrial suburb of the secular Saint Petersburg to the old diocese of these lands, the Great Novgorod. The bell loft of two pillars with large beams can also be perceived as "Novgorod style". 

At the same time, justice should be done also to the other part, less perceivable but nevertheless present in the context of the project: the frequent windows of the dome drum, the roof pitches, the helmet-shaped cupola, and the two towers at the entrance - the attentive observer may see in all this Kronstadt's Sea Temple (and at this point we remember that this is the Kronstadt Square). Otherwise, the temple built in 1913 is different, being too plateresque. Besides, let us consider the outlines of the plan of the temple under construction: the thin walls, the square of the naos, the cross-vault pillars are Saint Petersburg, almost Empire style - just like the granite ground floor together with the flat walls - even though the reliefs that are designed to be there on the walls (under the cornices or, rather, under the overhangs of the roof) do send us back to Novgorod, as well as to the pseudo- and the neo-Russian architecture of Saint Petersburg. 

Meanwhile, the important thing about this architectural project is probably not so much the set of clearly readable allusions but the fact that the architects were able to tie them all together, taking (let's say so) the differential from the conservative tradition bringing it (to a certain extent) up to date. In this case, the base for generalization was the geometry which can even be seen in the name entry that calls the exedra a "quarter of a sphere". The degree of "geometrical" generalization is rather high here, it is this generalization that helps the architects to avoid losing themselves in the context and stylization, and it also gives us the right to mention the Ilyin Savior and the Kronstadt Saint Nicolas Temple in the same breath. 

Interestingly, the generalization increases, and the recognizability of the prototypes decreases from the cereal nucleus of the temple to its periphery. Literally so: the cupola with an array of tall windows that are really cornice-high - which is really unprecedented for the church architecture - looks really fresh, while the west forechurch, cut through with a vertical stained glass, is, by the standards of the contemporary Russian church architecture, almost a defiance to the foundations. 

As for the bell tower, it is kin not only to the Novgorod belfries, but also to the memorial stelae of modernism - so simple are its supports under the heavy gable resting on the brutal cantilevers. In a word, the architects really seem to have cope with their task of finding the optimum balance between the strict observance of tradition and, the architectural context, and the contemporary treatment of the form which allows, on the one side, to fit the temple in the surrounding modernist city, and on the other side - adapt the "literature" inevitable for the religious building. 


Plan of the first floor © Eugene Gerasimov and Partners​


Plan of the second floor © Eugene Gerasimov and Partners​


Plans of the third floor and the cupola drum © Eugene Gerasimov and Partners​


Plan of the roof © Eugene Gerasimov and Partners​


Section plan 2-2 © Eugene Gerasimov and Partners​


Section plans 3-3 and 4-4 © Eugene Gerasimov and Partners​


Facade in the axes 1-8 © Eugene Gerasimov and Partners​


Facade in the axes 9-1 © Eugene Gerasimov and Partners​


Plan of the first floor of the parish house © Eugene Gerasimov and Partners​


Plan of the second floor of the parish house © Eugene Gerasimov and Partners​


Plan of the roof of the parish house © Eugene Gerasimov and Partners​


Parish house. Section 1-1, 2-2 © Eugene Gerasimov and Partners​


Parish house. Facade in the axes 1-14 © Eugene Gerasimov and Partners​


Parish house. Facade in the axes 14-1 © Eugene Gerasimov and Partners




 
Perspective view of the complex © Eugene Gerasimov and Partners
Bird's height view of the complex © Eugene Gerasimov and Partners
Land plot layout diagram © Eugene Gerasimov and Partners
Plan of the first floor © Eugene Gerasimov and Partners
Plan of the second floor © Eugene Gerasimov and Partners
Plans of the third floor and the cupola drum © Eugene Gerasimov and Partners
Plan of the roof © Eugene Gerasimov and Partners
Section plan 2-2 © Eugene Gerasimov and Partners
Section plans 3-3 and 4-4 © Eugene Gerasimov and Partners
Facade in the axes 1-8 © Eugene Gerasimov and Partners
Facade in the axes 9-1 © Eugene Gerasimov and Partners
Plan of the first floor of the parish house © Eugene Gerasimov and Partners
Plan of the second floor of the parish house © Eugene Gerasimov and Partners
Plan of the roof of the parish house © Eugene Gerasimov and Partners
Parish house. Section 1-1, 2-2 © Eugene Gerasimov and Partners
Parish house. Facade in the axes 1-14 © Eugene Gerasimov and Partners
Parish house. Facade in the axes 14-1 © Eugene Gerasimov and Partners


25 July 2014

Headlines now
A Paper Clip above the River
In this article, we talk with Vitaly Lutz from the Genplan Institute of Moscow about the design and unique features of the pedestrian bridge that now links the two banks of the Yauza River in the new cluster of Bauman Moscow State Technical University (MSTU). The bridge’s form and functionality – particularly the inclusion of an amphitheater suspended over the river – were conceived during the planning phase of the territory’s development. Typically, this approach is not standard practice, but the architects advocate for it, referring to this intermediate project phase as the “pre-AGR” stage (AGR stands for Architectural and Urban Planning Approval). Such a practice, they argue, helps define key parameters of future projects and bridge the gap between urban planning and architectural design.
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
GloraX plans to develop a residential complex spanning 14 hectares along the Volga River in Nizhny Novgorod. The winning design in a closed-door competition, created by GORA Architects, features housing typologies ranging from townhouses to terraced high-rise slabs, a balance of functions, diverse ways of engaging with the water, and even a dedicated island (no less!) for the city residents.
Life Plans
The master plan for the residential district “Prityazheniye” (“Gravity”) in Naberezhnye Chelny was developed by the architectural company A.Len, taking into account the specific urban planning context and partially implemented solutions of the first phase. However, the master plan prioritized its own values: a green framework, a system of focal points, a hierarchy of spaces, and pedestrian priority. After this, the question of what residents will do in their neighborhood simply doesn’t arise.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
A Step Forward
The HIDE residential complex represents a major milestone for ADM architects and their leaders Andrey Romanov and Ekaterina Kuznetsova in their quest for a fresh high-rise aesthetic – one that is flexible and layered, capable of bringing vibrancy to mass and silhouette while shaping form. Over recent years, this approach has become ADM’s “signature style”, with the golden HIDE tower playing a pivotal role in its evolution. Here, we delve into the project’s story, explore the details of the complex’s design, and uncover its core essence.
Gold in the Sands
A new office for a transcontinental company specializing in resource extraction and processing has opened in Dubai. Designed by T+T Architects, masters of creating spaces that are contemporary, diverse, flexible, and original, this project exemplifies their expertise. On the executive floor, a massive brass-clad partition dominates, while layered textures of compressed earth create a contextually resonant backdrop.
Layers and Levels of Flight
This project goes way back – Reserve Union won this architectural competition at the end of 2011, and the building was completed in 2018, so it’s practically “archival”. However, despite being relatively unknown, the building can hardly be considered “dated” and remains a prime example of architectural expression, particularly in the headquarters genre. And it’s especially fitting for an aviation company office. In some ways, it resembles the Aeroflot headquarters at Sheremetyevo but with its own unique identity, following the signature style of Vladimir Plotkin. In this article, we take an in-depth look at the United Aircraft Corporation (UAC) headquarters in the Moscow agglomeration town of Zhukovsky, supplemented by recent photographs from Alexey Naroditsky – a shoot that became only recently possible due to the fact that improvements were finally made in the surrounding area.
Light and Shadow
In this article, we delve into the architectural design of the “Chaika” house by DNK ag architects, which was recently completed in 2023 as part of the collection of signature designs at ZILArt. As is well-known, all the buildings in this complex follow a design code, yet each one is distinct. This particular building stands out not only for its whiteness and minimalism but also for the refined use of a limited number of techniques that, together, create what can confidently be called synergy.
Casus Novae
A master plan was developed for a large residential area with a name of “DNS City”, but now that its implementation began, the plan has been arbitrarily reformatted and replaced with something that, while similar on the surface, is actually quite different. This is not the first time such a thing happens, but it’s always frustrating. With permission from the author, we are sharing Maria Elkina’s post.
Treasure Hunting
The GAFA bureau, in collaboration with Tegola and Arkhitail, organized an expedition to the island of Kilpola in Karelia as part of Moskomarkhitektura’s “Open City” festival. There, amidst moss and rocks, the students sought answers to questions like: what is the sacred, where does it dwell, and what sustains it? Assisting the participants in this quest were landscape engineer Evgeny Levin, artist Nicholas Roerich, a moose, and the lack of cellular connection. Here’s how the story unfolded.
Depths of the Earth, Streams of Water
In the Malaya Okhta district, the Akzent building, designed by Stepan Liphart, was constructed. It follows a classic tripartite structure, yet it’s what you might call “hand-drawn”: each façade is unique in its form and details, some of which aren’t immediately noticeable. In this article, we explore the context and, together with the architect, delve into how the form was developed.
Fir Tree Dynamics
The “Airports of Region” holding is planning to build an airport in Karachay-Cherkessia, aiming to make the Arkhyz and Dombay resorts more accessible to travelers. The project that won in an invitation-only competition, submitted by Sergey Nikeshkin’s KPLN, blends natural imagery inspired by the shape of a conifer seed, open-air waiting spaces, majestic large trees, and a green roof elevated on needle-like columns. The result is both nature-inspired and WOW.
​A Brick Shell
In the process of designing a clubhouse situated among pine trees in a prestigious suburban area near Moscow, the architectural firm “A.Len” did the façade design part. The combination of different types of brick and masonry correlates with the volumetric and plastique solutions, further enhanced by the inclusion of wood-painted fragments and metal “glazing”.
Word Forms
ATRIUM architects love ambitious challenges, and for the firm’s thirtieth anniversary, they boldly play a game of words with an exhibition that dives deep into a self-created vocabulary. They immerse their projects – especially art installations – into this glossary, as if plunging into a current of their own. You feel as if you’re flowing through the veins of pure art, immersed in a universe of vertical cities, educational spaces – of which the architects are true masters – and the cultural codes of various locations. But what truly captivates is the bold statement that Vera Butko and Anton Nadtochy make, both through their work and this exhibition: architecture, above all, is art – the art of working with form and space.
Flexibility and Acuteness of Modernity
Luxurious, fluid, large “kokoshniks” and spiral barrel columns, as if made from colorful chewing gum: there seem to be no other mansion like this in Moscow, designed in the “Neo-Russian-Modern” style. And the “Teremok” on Malaya Kaluzhskaya, previously somewhat obscure, has “come alive with new colors” and gained visibility after its restoration for the office of the “architectural ecosystem” as the architects love to call themselves. It’s evident that Julius Borisov and the architects at UNK put their hearts into finding this new office and bringing it up to date. Let’s delve into the paradoxes of this mansion’s history and its plasticity. Spoiler: two versions of modernity meet here, both balancing on the razor’s edge of “what’s current”.
Yuri Vissarionov: “A modular house does not belong to the land”
It belongs to space, or to the air... It turns out that 3D printing is more effective when combined with a modular approach: the house is built in a workshop and then adapted to the site, including on uneven terrain. Yuri Vissarionov shares his latest experience in designing tourist complexes, both in central Russia and in the south. These include houseboats, homes printed from lightweight concrete using a 3D printer, and, of course, frame houses.
​Moscow’s First
“The quality of education largely depends on the quality of the educational environment”. This principle of the last decade has been realized by Sergey Skuratov in the project for the First Moscow Gymnasium on Rostovskaya Embankment in the Khamovniki district. The building seamlessly integrates into the complex urban landscape, responding both to the pedestrian flow of the city and the quiet alleyways. It skillfully takes advantage of the height differences and aligns with modern trends in educational space design. Let’s take a closer look.
Looking at the Water
The site of Villa Sonata stretches from the road to the water’s edge, offering its own shoreline, pier, and a picturesque river panorama. To reveal these sweeping views, Roman Leonidov “cut” the façade diagonally parallel to the river, thus getting two main axes for the house and, consequently, “two heads”. The internal core – two double-height spaces, a living room and a conservatory, with a “bridge” above them – makes the house both “transparent” and filled with light.
The White Wing
Well, it’s not exactly white. It’s more of a beige, white-stone structure that plays with the color of limestone – smoother surfaces are lighter, while rougher ones are darker. This wing unites various elements: it absorbs and interprets the surrounding themes. It responds to everything, yet maintains a cohesive expression – a challenging task! – while also incorporating recognizable features of its own, such as the dynamic cuts at the bottom, top, and middle.
Urban Dunes
The XSA Ramps team designed and built a three-part sports hub for a park in Rostov-on-Don, welcoming people of all ages and fitness levels. The skate plaza, pump track, and playground are all meticulously crafted with details that attract a diverse range of visitors. The technical execution of the shapes and slopes transforms this space into a kind of sculptural composition.
Proportional Growth
The project for the fourth phase of the ÁLIA residential area has been announced. The buildings are situated on an elongated plot – almost a “ray” that shoots out from the center of the area towards the river. Their layout reflects both a response to Moscow’s architectural preferences over the past 15 years, shifting “from blocks to towers”, and an interpretation of the neighboring business park designed by SOM. Additionally, the best apartments here are not located at the very top but closer to the middle, forming a glowing “waistline”.