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From Solntsevo to Peredelkino

The judging panel announced the names of the ten finalists of the contest for the best architectural concept/proposal for the "Novoperedelkino" and "Solntsevo" metro stations of the "yellow" line of Moscow Metro.

01 September 2014
Contest Results
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The right to design each of the stations is claimed by five architectural teams. The names of the end winners will be announced in November 2014. 

"Solntsevo" station: music of the spheres


"Solntsevo" metro station. Location and plan of the exits. Image courtesy by the contest organizers.

The bright place-name (Solntsevo, "Town of the Sun" - translator's note) charmed literally all - at least all the finalists. In each of the projects, the main part is played by the sunlight - all the contestants peppered their proposals with the solar disks and glittering stars. Indeed: we do not always get the best weather around here, and even a hint at a sunny day is highly valued. 
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NEFA ARCHITECTS [NEFARESEARCH]
(Moscow, Russia)

The punctured walls of the entrance lobbies whose proportions remind us of the classic Moscow garages (only larger) - are meant to gather the sunlight together in a host of rays inside. Streaming from above, the rays of light penetrate even underground (figuratively, though) where the specs of light are imitated by the round lamps. The navigating light will be executed in the form of a glowing stripe in the semitransparent artificial stone. 


Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]


Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]


Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]


Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]
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Rhizome Group
(Saint Petersburg, Russia)

The "sunny" name of the metro station prompted the authors to use predominantly bright colors, and only after that - the "solar disks". The vertical surfaces are faced with ceramic tiles of yellow and white colors, the paving pattern of the tiles made different at different places to liven up the atmosphere and create a more dynamic feel. The lighting consists of two lines of large "solar disks" hanging down from the ceiling. The central part of the platform is accentuated by a broad curvilinear band where various pieces of furniture can be placed that can not only be sat upon but also leaned on to. The authors also propose to pave the space between the pavilions with bright-colored tiles. 


Project of "Solntsevo" station © Rhizome Group


Project of "Solntsevo" station © Rhizome Group


Project of "Solntsevo" station © Rhizome Group
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Wall
(Moscow, Russia)

Astronomy again: the station looks like planetarium that demonstrates a shooting star shower and the motion of heavenly bodies. In front of the station entrance, there is an art object that shows the trajectories of the planets of the solar system. The walls of the underpasses between the above-ground and underground parts are executed from opaque glass, one of the walls "bending" and forming a long bench. The platform is equipped with a wall with sliding doors matching the doors of the train cars (a solution familiar to many people by some train stations in Saint Petersburg). The glowing stripes on the walls looking like a snapshot of a starry sky in motion enhance the effect and make the passengers feel as if they are heavenly bodies tearing through space. 


Project of "Solntsevo" station © Wall


Project of "Solntsevo" station © Wall


Project of "Solntsevo" station © Wall


Project of "Solntsevo" station © Wall
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Anton Barklyansky
(Moscow, Russia)

In this project, the station looks like a cave from some computer game. The pillars look like stylized stalactites or like video footage of giant streams of white paint splashed onto a blue surface put on pause and then turned upside down. The result is a hall in which each of the pylons ends in a curvilinear "umbrella" awning that, due to their shape that is not quite regular, look as if they were chaotically placed. The umbrella awnings are to be found not only at the station - softening the borders between the above-ground and underground they also adorn the territory of the adjacent park. 


Project of "Solntsevo" station © Anton Barklyansky


Project of "Solntsevo" station © Anton Barklyansky


Project of "Solntsevo" station © Anton Barklyansky


Project of "Solntsevo" station © Anton Barklyansky
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Rosproject M
(Saint Petersburg, Russia)

Cylindrical supports: slender at the top, positioned at different angles, they echo Moscow's ash trees; almost brutal at the bottom, they bleed into the spots of light visually piercing the surface of the ceiling. The sunlight - yes, the project is all about the sun again, there is no getting away from the place-name - is scattered all over the ceiling in small disks looking like stars or just sunlight dapples. In the underpasses, the lamps are gathered into thin lines, while the entrance pavilions, transparent and slender-legged, will emit a cozy light in the evenings. One way or another, the sun here takes on some "underground" quality - it shines from down under, not the other way around. 


Project of "Solntsevo" station © Rosproject M


Project of "Solntsevo" station © Rosproject M


Project of "Solntsevo" station © Rosproject M


Project of "Solntsevo" station © Rosproject M

"Novoperedelkino" metro station

Since neither the place-name nor the surrounding scenery were suggestive of an obvious starting point for the authors, "Novoperedelkino" station got a multitude of different solutions, not united, as opposed to the lightened-up "Solntsevo", by some single theme. Rather, the architects meditated on the Russian identity in general portraying it as a concrete bunker standing amidst a deep forest, a mottled heraldic eagle, a multicolored ornamental fair, as well as a number of less "tell-tale" things - a set of acid colors or a white "kerchief" arrested in motion. 


"Novoperedelkino" metro station. Location and plan of the exits. Image courtesy by the contest organizers.
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FAS(t)
(Moscow, Russia)

The idea of the project: "underground" forest. The station is underground but, with the help of glowing stripes bearing the images of trees, the architects achieve the effect of an open-air metro station (such as many stations at the Light-Blue line of Moscow Metro, only at those stations it is the train that is exposed to the sky, and this project imitates a live forest at the edges of the station). Everything is real except for the trees, - [UPD: The authors recently specified that, no, the forest is also going to be real. What they plan to do is gradually lower, down to the level of the roadway, the "green" park-ways that separate the main highway from the other roads, and plant them with shrubs and small trees, thus creating the effect of a mixed forest and the natural relief. The whole thing is separated from the roadway by a giant stained glass"]. By contrast with the trees, the space of the station is very "brutalist", dark-concrete, with exposed communications, the heaviness of the man-made machinery accentuated by the ethereal aspect of the pastoral forest. The movie-like quality of the concrete bunker, so alien to Moscow Metro, and so customary to any western subway, gets an interesting spin, though: the rough texture of the wall is accentuated by the side light whose beams, when needed, tear the ceiling or draw us into the tunnels of the underpasses. 


Project of "Novoperedelkino" station © FAS(t)


Project of "Novoperedelkino" station © FAS(t)


Project of "Novoperedelkino" station © FAS(t)


Project of "Novoperedelkino" station © FAS(t)
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Gerber Architekten
(Dortmund, Germany)

The project is based on one single beautiful plastic theme: a white pleated fan, whose large folds look more like silk than paper (looking even more like Corian), serves as a sculptural curvilinear ceiling that stretches over the platform; just before the station entrance, it gathers itself into a large column (something like "Kurskaya" metro station), and then tears to the surface almost like a scarf of a pilot of the 1930's: a white scarf from the black underground. The fan/scarf will be backlit with eye-friendly daylight electric lamps. 


Project of "Novoperedelkino" station © Gerber Architekten


Project of "Novoperedelkino" station © Gerber Architekten


Project of "Novoperedelkino" station © Gerber Architekten


Project of "Novoperedelkino" station © Gerber Architekten
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Boris Voskoboinikov Studio [NEFARESEARCH]
(Moscow, Russia)

The simple parallelepiped of the entrance pavilion is executed from the material that looks like a punctured breadboard or a honeycomb. The project is brimming with color and optimism; the bright luminescent light that usually brings the passengers down will be changed with the joyous palette of green, orange, and lilac colors. The walls of the underpass turn into an active navigation and information panel. The signal lines on the platform and the lines on the transportation map will be executed as plains of the printed board. 


Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]


Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]


Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]


Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]

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Palast Architekts
(Riga, Latvia)

The authors decided to bring to "Novoperedelkino" the fame of the world's quietest subway station. In order to achieve that, they propose to cover the station's walls and ceiling with innovative acoustically treated panels that will not let the sound waves reflect from the walls and create their jarring echo. For this same purpose, they considerably increased the wall surface - it is corrugated and at some places is made from diamond-pointed rustication to unobtrusively form something Byzantine or maybe just Empire-magnificent and heraldic. The large stone grille of the entrance entrance pavilion consists of bas-relief windows that complete the picture. 


Project of "Novoperedelkino" station © Palast Architekts


Project of "Novoperedelkino" station © Palast Architekts


Project of "Novoperedelkino" station © Palast Architekts


Project of "Novoperedelkino" station © Palast Architekts
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Eugene Leonov
(Riga, Latvia)

This project is about the Ancient Russ: the motifs of the adornment of Moscow's palaces and chambers, the "grass" (still reminiscent of the Kholuy paintings or even of the Sochi trademark Olympic drawings) pillars that grow wider at the top as if to support some stone vaults. In actuality, these "vaults" are lightboxes equipped with RGB-LED (light-emitting diodes) that can change the color of the light during the city celebrations.


Project of "Novoperedelkino" station © Eugene Leonov


Project of "Novoperedelkino" station © Eugene Leonov


Project of "Novoperedelkino" station © Eugene Leonov


Project of "Novoperedelkino" station © Eugene Leonov
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Totally, over 600 projects were submitted for the contest, but only 96 were considered by the judging panel as answering all the contest specifications ("Novoperedelkino - 46, "Solntsevo" - 50). Out of these, 22 projects were from foreign participants: Slovenia, Netherlands, Germany, India, France, Bulgaria, Spain, Cyprus, Great Britain, Canada, and Italy. 

Judging Panel: 
  • Marat Khusnullin, deputy mayor of Moscow for town planning issues (president of the judging panel);
  • Andrew Bochkarev, chief of construction department of Moscow;
  • Andrew Gnezdilov, the main architect of Scientific Research and Design Institute of General Plan of Moscow;
  • Elena Gonzales, architectural reviewer, curator of exhibitions;
  • Erken Kagarov, art director of Artemy Lebedev Studio;
  • Olga Kosareva, co-founder of "Design-Lectorium"; 
  • Sergey Kuznetsov, chief architect of Moscow;
  • Konstantin Matveev, General director of JSC "Mosengproject";
  • Aleksey Muratov, partner of "Strelka" Studio;
  • Vladimir Plotkin, partner, founder, and chief architect of "Reserve" Studio;
  • Elena Solovieva, leader of NPO-38 "Protected Historical Zones" of Scientific Research and Design Institute of General Plan of Moscow;
  • Vasily Tsereteli, executive director of Moscow Museum of Modern Arts; 
  • Nikolai Shumakov, president of Moscow Architects Union, chief architect of Metrogiprotrans.
"Solntsevo" metro station. Location and plan of the exits. Image courtesy by the contest organizers.
Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]
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Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]
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Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]
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Project of "Solntsevo" station © NEFA ARCHITECTS [NEFARESEARCH]
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Project of "Solntsevo" station © Rhizome Group
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Project of "Solntsevo" station © Rhizome Group
Project of "Solntsevo" station © Rhizome Group
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Project of "Solntsevo" station © Wall
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Project of "Solntsevo" station © Wall
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Project of "Solntsevo" station © Wall
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Project of "Solntsevo" station © Wall
Project of "Solntsevo" station © Anton Barklyansky
Project of "Solntsevo" station © Anton Barklyansky
Project of "Solntsevo" station © Anton Barklyansky
Project of "Solntsevo" station © Anton Barklyansky
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Project of "Solntsevo" station © Rosproject M
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Project of "Solntsevo" station © Rosproject M
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Project of "Solntsevo" station © Rosproject M
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Project of "Solntsevo" station © Rosproject M
"Novoperedelkino" metro station. Location and plan of the exits. Image courtesy by the contest organizers.
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Project of "Novoperedelkino" station © FAS(t)
Project of "Novoperedelkino" station © FAS(t)
Project of "Novoperedelkino" station © FAS(t)
Project of "Novoperedelkino" station © FAS(t)
Project of "Novoperedelkino" station © Gerber Architekten
Project of "Novoperedelkino" station © Gerber Architekten
Project of "Novoperedelkino" station © Gerber Architekten
Project of "Novoperedelkino" station © Gerber Architekten
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Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]
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Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]
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Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]
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Project of "Novoperedelkino" station © Boris Voskoboinikov Studio [NEFARESEARCH]
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Project of "Novoperedelkino" station © Palast Architekts
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Project of "Novoperedelkino" station © Palast Architekts
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Project of "Novoperedelkino" station © Palast Architekts
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Project of "Novoperedelkino" station © Palast Architekts
Project of "Novoperedelkino" station © Eugene Leonov
Project of "Novoperedelkino" station © Eugene Leonov
Project of "Novoperedelkino" station © Eugene Leonov
Project of "Novoperedelkino" station © Eugene Leonov


01 September 2014

Headlines now
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.
A Small Country
Mezonproekt is developing a long-term master plan for the MEPhI campus in Obninsk. Over the next ten years, an enclave territory of about 100 hectares, located in a forest on the northern edge of the city, is set to transform into a modern center for the development of the nuclear energy sector. The plan envisions attracting international students and specialists, as well as comprehensive territorial development: both through the contemporary realization of “frozen” plans from the 1980s and through the introduction of new trends – public spaces, an aquapark, a food court, a school, and even a nuclear medicine center. Public and sports facilities are intended to be accessible to city residents as well, and the campus is to be physically and functionally connected to Obninsk.
Pearl Divers
GAFA has designed an apartment complex for Derbent intended to switch people from a work mode to a resort mindset – and to give the surrounding area a much-needed jolt. The building offers two distinct faces: restrained and laconic on the city side, and a lushly ornate façade facing the sea. At the heart of the complex, a hidden pearl lies – an open-air pool with an arch, offering views of a starry sky, and providing direct access to the beach.
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
The Amber City residential complex is one of the redevelopment projects in the former industrial area located beyond Moscow’s Third Ring Road near Begovaya metro station. Alexey Ilyin’s studio proposed an original master plan that transformed two clusters of towers into ceremonial propylaea, gave the complex a recognizable silhouette, and established visual connections with new high-rise developments on both right and left – thus integrating it into the scale of the growing metropolis. It is also marked by its own futuristic stylistic language, based on a reinterpreted streamline aesthetic.
A Theater Triangle
The architectural company “Chetvertoe Izmerenie” (“Fourth Dimension”) has developed the design for a new stage of the Magnitogorsk Musical Theater, rethinking not only theater architecture but also the role of the theater in the contemporary city.
Aleksei Ilyin: “I approach every task with genuine interest”
Aleksei Ilyin has been working on major urban projects for more than 30 years. He has all the necessary skills for high-rise construction in Moscow – yet he believes it’s essential to maintain variety in the typologies and scales represented in his portfolio. He is passionate about drawing – but only from life, and also in the process of working on a project. We talk about the structure and optimal size of an office, about his past and current projects, large and small tasks, and about creative priorities.
​A Golden Sunbeam
A compact brick-and-metal building in the growing Shukhov Park in Vyksa seems to absorb sunlight, transform it into yellow accents inside, and in the evening “give it back” as a warm golden glow streaming from its windows. It is, frankly, a very attractive building: both material and lightweight at the same time, with lightness inside and materiality outside. Its form is shaped by function – laconic, yet far from simple. Let’s take a closer look.
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
UNK architects and UNK design created the interiors of the Letovo Junior campus, working together with NF Studio, which was responsible for developing the educational technology that takes into account the needs and perception of younger and middle school children.
The Silver Skates
The STONE Kaluzhskaya office quarter is accompanied by two residential towers, making the complex – for it is indeed a single ensemble – well balanced in functional terms. The architects at Kleinewelt gave the residential buildings a silvery finish to match the office blocks. How they are similar, how they differ, and what “Silver Skates” has to do with it – we explore in this article.
On the Dynastic Trail
The houses and townhouses of the “Tsarskaya Tropа” (“Czar’s Trail”) complex are being built in the village of Gaspra in Crimea – to the west and east of the palaces of the former grand-ducal residence “Ai-Todor”. One of the main challenges for the architects at KPLN, who developed the project, was to respond appropriately to this significant neighboring heritage. How this influenced the massing, the façades, and the way the authors work with the terrain is explored in our article.
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.