The Power of Conflict

The first place for the best contest proposal for Radisson Blue hotel complex was won by Saint Petersburg's "A.Len" with a project of an ensemble of two contrasting volumes vividly demonstrating the dialectical principle of unity and struggle of opposites.

Written by:
Lilya Aronova
Translated by:
Anton Mizonov

14 October 2015

Object

Architect:

Firm:

A-Len

Object:

Radisson Blu Moscow Riverside Hotel&SPA
Russia, Moscow

2015 — 2015

The future hotel complex Radisson Blu whose best proposal contest results were announced on the 20th of August, found itself in the focus of several highly vital vectors of today's urban development: first of all, it is about a waterfront territory, second of all, about converting a former industrial park (in this case - the territory of Moscow plant of building materials), third - the very location of the land site imposes high obligations on the architects: at the cape of the Moskva and the Skhodnya rivers, surrounded by the picturesque scenery with really few buildings around. With regard to all of the above, Moskomarchitecture advised the customer to "use the most effective tool - the open contest". Out of the 70 works submitted by 36 creative teams, three projects were ultimately shortlisted. Then the judging panel awarded the first place to the concept by Sergey Oreshkin.

Just as the majority of the Saint Petersburg architects, the team of "A.Len" has been through the "toughening course" of designing under the most rigorous town planning restrictions one could possibly think of - when each and every project of a more or less significant height is thoroughly analyzed in terms of its superposition on the city's every axis and distant panorama. This is why they like nobody else work with perspectives - long and very long, five to seven kilometers long. In this case, this ability came in particularly handy (and, quite possibly, became one of the corner stones of the project's success) due to the fact that this particular hotel complex of Radisson Blu must become the tallest building for miles around and it's going to be seen from some really distant points including such busy highways as Volokolamsk Highway and Moscow Ring Road. At such distances, it is basically only the silhouette that works, or, two silhouettes, to be more exact, one taller and one longer that interact with one another in a complex way: depending on a specific viewing point, they overlap in different ways forming a new picture each time.

zooming — Contest project of Radisson Blu Moscow Riverside Hotel&SPA © "A.Len" architectural studio

As one gets closer to it, the building "grows"; its details start showing through, and at middle distances it is the facades that are the main heroes of the play, these facade being something that the authors paid particular attention to while they were working on the project. As the main idea, the architects use the effect of optical illusion - because of the virtually invisible change of the width of the spaces between the windows, and thanks to the combination of differently darkened materials, a "vibrating" effect is created, a feeling that the air "congeals" around the building in a mother-of-pearl gradient. First time around, A.Len tried and tested these "parametric" technologies in their recent project of an elite residential quarter in the city of Ufa: just as here, the "vibrant" facade with pylons of varying height - of one or two floors - upon a rough, to the point of brutal, volume. In the project of Radisson Blu Moscow Riverside this effect is still more strengthened by the color solution of the facades: when an imposing mass of mother-of-pearl whiteness competes with its black counterpart, and the whole thing glitters, moves, and breathes - this looks really beautiful.

There is yet another construction element that is designed to work for the middle perspective in both of the buildings, although at different levels: the horizontal rectangular cutaways that from a distance look like windows in the stone wall. In the black building this cutaway will be white, and in the white building it will be black, as if the antagonist volumes are catching reflections of one another, thus demonstrating that they are of the same flesh and blood. And, while in the squatting dark building this "light window" is situated closer to the upper part, the soaring white volume looks indeed like it is "taking off" it's stylobate thanks to the cut away quadrant, easing the visual tension in the point of the junction of the vertical and horizontal volumes.

The roof of the stylobate supports two volumes and can be accessed by a ramp - a bus of tourists can easily drive in here, for example - as well as by a long diagonal stairway designed in such a way that an impatient guest can, directly from the driving entrance, have the opportunity to ascend directly to the "cleavage" between the two volumes commanding the view of the cape between the Moskva and the Skhodnya - meaning, to the main vantage point of the ensemble. Along the entire perimeter of the stylobate, Sergey Oreshkin designed a lobby gallery that provides access to all the major zones of the complex: the hotel part, the apartments, the business center, the restaurant (also two-level, and, of course, with panoramic views), and the spa. And the guests are met downstairs, on the first floor, where, besides the reception area, there are also cafes and a lounge.

On the plan, both volumes are irregular polygons, one elongated, and the other having almost a trapeze shape. Together with the different height (the height difference between the units is about twenty meters) and contrasting colors, such solution accentuates the separation of the functions: it is planned that the dark building will contain the long-stay apartments, while the white one will consist of regular hotel rooms. The diagonal corridor between these two - the visual axis of the ensemble - completes this dichotomous picture. As Sergey Oreshkin shares, the only thing that came as a surprise to the hotel operator was the proposal to place the long-stay unit closer to the river - i.e. in the more prestigious location. The architects were able, however, to persuade the customer that it made more sense positioning the apartments in this place, more secluded. As far as the hotel block is concerned, it does not lose anything in terms of its sightseeing properties: thanks to the well though-out plans and specially designed visual axis, almost 100% of the premises (it is only the elevator chutes that look away from the river) command the view of the water. However, even considering this circumstance, it will make sense for the future guests of the hotel to go up on the roof that the authors of the project are planning to encircle with a parapet of "breathing" height: at some places it is as low as a railing and at some places it turns into a tall "mini-Stonehenge", putting the landscape into a rectangular frame, each time, according to Sergey Oreshkin, slightly different. Of course, such parapets also work great with the perspective adding extra intrigue to the silhouette of the complex.

The "A.Len" are experienced "hotel builders": the bureau's portfolio has in it about a dozen hotels, three of them - the ones in Yaroslavl, Novosibirsk, and Kazan - belonging to the brand Park Inn that is run by the same operator as Radisson Blu. So, nothing in this project is accidental, and the separating the functions in the two major units is conditioned by the architects' knowledge of the specifics of the object: because in the case of hotels vertical communications are generally more effective than the vertical ones, the hotel room stock, proceeding from the optimum values of the length of the corridor for the work of the hotel staff, will be housed in the taller and narrower building, while the apartment zone (that requires less service maintenance) allows for a longer path from the elevator to the apartment door. Furthermore, it turned out that all the proposals on arranging the driving entrances and the internal communications that are there in the "A.Len" project, are really close to what the customer had in mind so these parts of the project will require the least possible fine-tuning. Which, of course, could not help but win the judging panel over and - together with the dramatic architectural image - brought the project the ultimate victory in the contest.

Architect:

Firm:

A-Len

Object:

Radisson Blu Moscow Riverside Hotel&SPA
Russia, Moscow

2015 — 2015

14 October 2015

Written by:

Lilya Aronova
Translated by:
Anton Mizonov

Headlines now

Object

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.

News

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.

Object

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.

Object

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.

Object

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.

Object

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.

View

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.

Report

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.

Object

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.

Object

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.

Object

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”.

Report

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.

Object

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”.

Interview

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.

Object

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.

Object

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.

Object

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.

Object

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.

Object

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”.

Object

The “Staircase” Building

In designing the “Details” residential complex in New Moscow, Rais Baishev spiced up the now-popular Moscow theme of a “courtyard” building with an idea drawn from the surrealist drawings by Maurits Escher. He envisioned the stepped silhouettes and descending slopes as a metaphysical mega-staircase, creating a key void within the courtyard that gave the project an internal “spine”. This concept is felt both in the building’s silhouette and on its façades.

Object

Projection of the Quarter

No one doubted that the building that Vladimir Plotkin designed as part of the “Garden Quarters” would be the most modernist of all. And it turned out just that way: while adhering to the common design code, the building successfully combines brick and white stone, rhythmically responding to the neighboring building designed by Ostozhenka, yet tactfully and persistently making a few statements of its own. This includes the projection of the ideal urban development composition “14–9–6”, which can be found right next door, mathematical calculations, including those for various types of terraces (and perhaps the only reminder of the Soviet past of the Kauchuk rubber factory!), and the white “cross-stitch” pattern of the façade grid.

Object

Domus Aurea

In this issue, we examine the “Tessinsky-1” house, designed by Sergey Skuratov and completed in 2023. Located in the middle of the Serebryanicheskaya Embankment district, at the intersection of its main streets, this house assumes a sort of “nodal” role: it not only responds to everything around it and preserves many memories of the former EMA factory within itself, but it weaves all this into a newly directed pattern, reconciling bright “gold” and dark-colored brick, largely with the help of the new, modern-yet-archaic Columba brick, which, come to think about it, is the most precious element here.

send.project

The Chimney of Nikola-Lenivets

In this issue, we are examining the “Obelisk House” designed by KATARSIS and built for the Arkhstoyanie 2023 festival. However, it was only finished later on, and this is why we are examining it now. It seems to us that after the “Obelisk House” appeared in Nikola-Lenivets, a dialogue and a few inner connections appeared between the temporary structures built here. These houses no longer look like “accidental neighbors”, more of which below.

Periscope by the Bay

The jury awarded the second place in the competition for a public and cultural center in Petropavlovsk-Kamchatsky to the companies GORA (“Mountain”) and M4. In the consortium’s proposal, the building resembles a sperm whale with a calf swimming next to it or a periscope, whose lenses capture the most spectacular views from the surrounding landscape.

Contest Results

From Arcs to Dolmens

While working on the competition project for Petropavlovsk-Kamchatsky, ASADOV Architects prioritized the value of the natural and urban environment, aiming to preserve the balance of the location while minimizing the resemblance of the volume that they designed to a “traditional building”. The task was challenging, and the architects created three versions, one of which having been developed after the competition, where their main proposal took third place. However, the point of interest here is not the competition result but the continuity of creative thinking.

Object

Hide and Seek

The ID Moskovskiy house, designed by Stepan Liphart in St. Petersburg, in the courtyards near Moskovskiy Avenue beyond the Obvodny Canal and recently completed, is notable for several reasons. Firstly, it has been realized with considerable accuracy, which is particularly significant as this is the first building where the architect was responsible not only for the facades but also for the layouts, allowing for better integration between the two. On the other hand, this building is interesting as an example of the “germination” of new architecture in the city: it draws on the best examples from the neighborhood and becomes an improved and developed sum of ideas found by the architect in the surrounding context.

The Big Twelve

Yesterday, the winners of the Moscow Mayor’s Architecture Award were announced and honored. Let’s take a look at what was awarded and, in some cases, even critique this esteemed award. After all, there is always room for improvement, right?

Object

Above the Golden Horn

The residential complex “Philosophy” designed by T+T architects in Vladivostok, is one of the new projects in the “Golubinaya Pad” area, changing its development philosophy (pun intended) from single houses to a comprehensive approach. The buildings are organized along public streets, varying in height and format, with one house even executed in gallery typology, featuring a cantilever leaning on an art object.

Report

Nuanced Alternative

How can you rhyme a square and space? Easily! But to do so, you need to rhyme everything you can possibly think of: weave everything together, like in a tensegrity structure, and find your own optics too. The new exhibition at GES-2 does just that, offering its visitor a new perspective on the history of art spanning 150 years, infused with the hope for endless multiplicity of worlds and art histories. Read on to see how this is achieved and how the exhibition design by Evgeny Ace contributes to it.

Object

Blinds for Ice

An ice arena has been constructed in Domodedovo based on a project by Yuri Vissarionov Architects. To prevent the long façade, a technical requirement for winter sports facilities, from appearing monotonous, the architects proposed the use of suspended structures with multidirectional slats. This design protects the ice from direct sunlight while giving the wall texture and detail.