​Mikhail Filippov: “I oversaw this thing in Rome”

An interview with the author of “Rimsky” UP-quarter about the quality of execution of hand craft work on the façades and master plans, Rome’s architectural views, and the appropriateness of classicism in the inexpensive housing segment

Lara Kopylova

Interviewed by:
Lara Kopylova
Translated by:
Anton Mizonov

30 August 2017
Mikhail Filippov, the author of “Rimsky” UP-quarter housing project

Lara Kopylova:
– How appropriate is such sophisticated and exquisite classical design in the segment of economy-class housing?

Mikhail Filippov:
– It is the mass construction that determines the image of the city, and this is precisely why it must be beautiful for its contemporaries and their descendants. What is going on in the mass construction segment today I would call hack work, not to put too fine a point on it. And this cannot be excused by the fact that this is “cheap” housing because any architect worth his salt simply must make intellectual efforts. For example, he must bring the master plan into agreement with the construction axes of the building itself. When we do a town planning task, it is no different from doing an interior design project in any way. Your floor and your ceiling plans must be in accordance with the apertures. If you take a preliminary sketch of the Palladio Villa, for example, you will see how he arranges the windows, the vaults, and the ceilings. In fact, the interior design project is done simultaneously with the architectural project of the building.

– It seems to me that the architects have long since forgotten about such things as axial design or symmetrical composition...

– The architects have forgotten their profession. All the interior designs of today, no matter what style they are, from classicism to modernism, have been corrupted by the so-called free abstract compositions. This is why even the tiles in your bathroom are poorly laid because they start from the corner and end wherever they bump into the opposite wall. And back in the day the tile layers would start from the center, i.e. from the axis, and ended up getting identical corners. The bathroom tiles are the most primitive yet a very vivid example of hack work. And Imagine town planning projects where such faults multiply manifold. What is the main thing that makes classicism different? It’s got volume about it! If you’ve got a cornice somewhere, you need to know how this cornice looks like, and where exactly it ends so as to stop it from running over the window aperture and make it sit symmetrically just where it needs to be. And when they do this so-called “modern architecture”, they sort of hope that it will take care of itself. Take the modern term for “façade” – it is “elevation”, meaning that we just take the floor plan and “elevate” it. Seriously, you’ve got a floor plan, then you add the expected structures to it, and then you hang a façade on top of it all. This cannot yield any shape besides a simple prism.

"Rimsky" UP-quarter © Mikhail Philippov Architects

– Today’s classicism is often accused of all the deadly sins: Disney Land-like quality and falling short of the high standards set by its historical prototypes. Can you explain what true classicism and your creative method is all about?

– The right way to use the classical tradition is to do axial design, which an architect must do when he designs interiors or master plans of large cities. This is one and the same method, and this is what I use in “Rimsky”. The structure of historical cities that we all like so much is all about the superimposition of a rectangular grid and a “starburst” radial town plan. This superimposition brings about a lot of problems that ultimately get solved – brilliantly or less than so, as the case might be. This is what “right” architecture means to me because if you keep copy-pasting identical rectangular yards, this is not classicism but, at best, a substandard replica of Stalin architecture. This is not something that’s interesting to me. Just look at the way the Bramante hall and the yards cross in Vatican! The solution of these angles, the crossing of two systems, superimposition of the walls of the ancient palaces that had been there before – this is what the true classical tradition is all about! This is a complexity that is solved in a virtuoso manner. Because classics is not about a grid cell or crossing of crumpled cells! What it is about is crossing of forms. Real forms! And solving these questions is the most obliging task there is in architecture.

– But the modernists also often build their forms on crossing their volumes...

– Crossing of volumes alone is not enough! Just what is the old façade? It’s not just an array of columns! It always has some little composition about it. And this composition consists of micro-compositions. Take a look at any palace – you will see three or four regular compositions that together form a single large one. If we are doing, for example, a renovation project of interior design of a classic palace, we will see that all of its doors and windows are exactly where they should be, the columns stand at equal intervals between the windows, and if a door, say, leads from one hall to another, then, belonging to two different compositions, it remains right for both of them. And this is the way that each element of the city, i.e. façade should be designed. It must be beautiful; it must not be too long or too short, or too tall, or oversaturated with details. It must simply be beautiful in the traditional meaning of the word. Beauty is a very cold and rigid notion. It is created as righteousness, with the help of geometric mind, of the Pythagorus, not the algebra kind. And here is the beauty of it: you don’t have to calculate anything. I do my drafts by a pair of compasses and a couple of set-squares, the way it was done back in the old days. This way, I’m getting it nice and quick.

– But you do need to know the proportional ratios, don’t you?

– Instead of messing around with this nonsense commonly known as the “golden section” – which in fact doesn’t exist – it is better to design the way Bramante did, by using a pair of compasses, based on simple and clear proportions. One can study all these “laws” overnight – just take the Mikhailovsky book and read it, it’s got everything there is to know about it, but people work for decades without knowing that arches have some certain proportions, that you have to be able to inscribe into an arch two circles or one and a half or just one. These proportions were developed by the people who didn’t know how to read and write or how to take a square root – and they didn’t even need this stuff. How did the Pantheon or Coliseum come around? People like to make mystery films about them, about how these buildings were ostensibly created by the aliens. But all you need to do is grab your set-square!

– What are the town-planning peculiarities of “Rimsky” UP-quarter? And why such name?

– The plan of Rimsky is based on the superimposition of starburst and rectangular coordinate systems. This is done not to get an opportunity to fool around with beautiful plans but in order to ultimately get a micro-ensemble in every corner of every yard. It’s not just about this superimposition of two coordinate systems – it’s about giving them an unexpected feel of beautiful completeness. I oversaw this thing in Rome. This city has an interesting phenomenon about it. There was this grand composition of the antique palace and the Baths of Diocletian. Based on the ancient ruin system, it yielded four churches, several little yards, and the semicircular Piazza Repubblica. It defined the architectural view of that part of Rome. If it wasn’t for the modernist Termini railway terminal that they up and built there, everything would be just perfect.

Or take the composition of the Field of Mars. These were powerful ensembles like the temple complex of Pantheon that bled into the ensemble that surrounds the Pompey Theater. Until the beginning of the Renaissance epoch, Rome’s town planning was pretty haphazard. But then, the XVI century sees a powerful town planning breakthrough: they build a three-beam system that starts from the Piazza del Poppolo. And all around blocks and houses appeared that superimposed in a very picturesque way on the remains of the ancient buildings, compositions and basements of the Field of Mars. And this yields an incredible number of most interesting angles, especially around Largo Argentino. The Pompey Theater meets the town planning system that sprang from the Renaissance, from the Via Giulia. The rectangular system is superimposed on a huge semicircle of the Pompey Theater. And it gives you an effect that you can see from the Campo de’ Fiori. The regular rectangular square is dominated by a semicircular volume that adjoins a palazzo of tremendous height in an unexpectedly picturesque system. If you really think out the system of grid overlapping, you can come up with something even more interesting than Rome. Well, maybe not as interesting. To be fair, I must say that Rome is a true architectural masterpiece.

"Rimsky" UP-quarter © Mikhail Philippov Architects

– Rome looked to me very powerful, and it also put me in the mind of deconstruction, only on the classical material. It is worth mentioning that the deconstructionist Peter Eisenmann gave his students the task of analyzing the Field of Mars.

– When Corbusier first found himself in Rome, they just finished the Victor Emmanuel monument there. Corbusier was absolutely right in saying that Rome was a combination of powerful cubic volumes. And he also said that if an honest person saw the Victor Emmanuel monument, he would never in his life use the order and column. In this sense I agree with Corbusier because this is the ugliest thing that was ever created by man. Things that I do, they are a stand against the Victor Emmanuel monument, and against the Stalin architecture, against their discrediting the classical tradition in such a dumb way. Corbusier’s prophecy did not come to pass, however. What Corbusier’s prophecy did was spawn the so-called cubism in mass construction – take Moscow’s Orekhovo-Borisovo as an example. All this freedom of intersecting the volumes is only good when each volume has its own composition and its own façade. When this condition is met, things become interesting. Or take Venice, for example! Its planning is completely crazy and it is devoid of any logic whatsoever – but because each house stands next to another and has a composition of its own – sometimes of a grandiose kind, like the Longhena Palazzo – this works. But when it all comes down to look-alike windows and intersection of look-alike volumes, what you end up getting is chaos. Here is what our town-planning industry looks like: as if somebody randomly scattered children’s cubes all over the place, then put some of them on top of one another, and then called it a “free composition”. And then, to make things still worse, we come up with all these artificial compositional ideas. Such town planning culture is something that even such great talent as Corbusier could not tackle – just remember how he discredited himself with Chandigarh.

– Corbusier once said that who sees the Victor Emmanuel monument but once will never be able to do a decent classic. But the problem is that most architects see Victor Emmanuel in all the modern classics.

– I never imitated the Parthenon or any other palace. I like a city, and a city, unluckily for the modernists, consists of beautiful buildings... If you show me just one city consisting of modernist buildings that you can take a decent walk in, this will convince me of the opposite. But this city doesn’t exist.

– Some say that it’s Tel-Aviv?

– An ugly city that faces the sea with a multitude of 1960’s-1970’s hotels that turn it, unlike the decent seaside towns, like some provincial resort. Yes, Tel-Aviv has its charm because it was built by constructivists that fled from Europe – but that’s about all it has to offer.

– Let’s get back to “Rimsky” UP-quarter. It’s really innovative in terms of its planning, details, and materials but the most unusual invention is this two-level city. Of course, there are two, four (La Défense in Paris), and even eight-level cities (in Japan). But in “Rimsky” it is all different. What specifically sets it apart? 

– It’s different because the lower level is based on a master plan that has in-block driveways that grant driving access to buildings, and so on. And the upper level can only be accessed by emergency vehicles. A two-level master plan was never done before. This entailed incredible designing challenges. In order to create a full-fledged lower level, we put in a lot of efforts to give it enough sunlight by making a lot of openings and ramps. The axial system of squares and streets that I already spoke about, is also present on the lower level. We won’t have to do the navigation and draw arrows pointing towards the driveways – because everything will be clear as it is. Thanks to the openings that let in the ambient light, you sort of read the town planning system from the ceiling. In addition, this will provide natural ventilation. The air in the lower level will not be stuffy; quite the opposite – there is a slight danger of there being drafts there.

– As far as I know, for the first time in history the idea of a double-level master plan was proposed by Leonardo da Vinci in his drawings dedicated to the perfect city. And, strange as it may sound, the idea of Chambor staircase was also proposed by Leonardo, although he himself did not design it. He lived and died in the Chambor castle. What can you say about the influence of Leonardo?

– Leonardo drew the double city not for the sake of beauty but for the sake of social structure – in order to separate the service and the public territories. He separated in space the animal-drawn transport, the sewage, and the public level. Chambor was designed as a translucent “glass” that, being lit from two sides, creates a compact section. The spiral staircases run one under the other without crossing, and they have windows – inside and outside ones. I have already built one Chambor in a residential building, only it’s a single-sided one, and that building has four floors in it (Mikhail is referring to the “Roman House” in the Kazachy Alley – editor’s note).

– The new traditional architecture is often reproached for substandard quality of construction and craft work. It also gets slammed for the inconsistency of its façades to their historical prototypes. How do you address this issue in “Rimsky” UP-quarter?

– Recently, we invented a fantastic material in collaboration with one company. It is stone-simulating stucco that yields a complete illusion of Roman brick. Using wet stucco, we do the ultimate stylization to the Roman brickwork. I will not tell you how we do it – it’s our trade secret! And it’s really inexpensive, just like wet stucco should be.

– And you are sure that the craft worker will not ruin it all?

– Of course I am! This is a continuation of our theme on a large philosophical level. I am totally sure that façades ultimately mean a return to the old hand craft technologies. The cult of this match-make house built from different materials brought from all over the world is a dead wrong thing! Because a house is an organism that you just cannot throw together from imported elements that won’t take root anyway because each of them is made in a different structure. Their combination doesn’t stand any historic test. Even reinforced concrete is no longer than a hundred years old. Nobody knows how it will behave in the centuries to come. We know how brick and stone will behave. And we do façades in accordance with the old technologies. We don’t make façade elements elsewhere; at least we try to minimize it as much as we can. You cannot have some people responsible for the making of a façade element, and some other people responsible for its place on the façade. You will end up getting mismatches all over the place. Everything will be done the way it was back in the old days: you apply the stucco and then you stretch the profiles upon it. This is the technology that they employed back in the Stalin era. My mom could do that. Seriously, she had a job of climbing the scaffolding and stretching the profiles.

Do you know how beauty is born? I have a construction supervisor at one of my projects, he’s an Italian. Luckily, he has no architectural education, so he studied Quattro libri and sent it to all of his contractors. Because beauty, as Mandelstam aptly put it, “is not a whim of a demigod but an avid eye of a simple joiner”.

30 August 2017

Lara Kopylova

Interviewed by:

Lara Kopylova
Translated by:
Anton Mizonov
Headlines now
Our Everything
Who is Alexey Shchusev? In the last couple of weeks, since the architect’s 150th birthday, different individuals have answered this question differently. The most detailed, illustrated, and elegantly presented response is an exhibition held in two buildings of the Museum of Architecture on Vozdvizhenka. Four curators, a year and a half of work performed by the entire museum, and exhibition design by Sergey Tchoban and Alexandra Sheiner – in this article, we take you on a tour of the exhibition and show what’s what in it.
Gold Embroidery
A five-story housing complex designed by Stepan Liphart in Kazan, responds to the stylistically diverse context with its form, both integral and agile, and as for the vicinity of the “Ekiyat” movie theater, the complex responds to it with a semblance of theater curtain folds, and active plastique of its balconies, that bear some resemblance to theater boxes. Even if excessively pompous a little bit, the complex does look fresh and modern. One will have a hard time finding Art Deco elements in it, even though the spirit of the 1930s, run through the filter of neo-modernism, is still clearly felt, just as a twist of the Occident.
The restoration of the Salt Warehouse for the Zvenigorod Museum, on the one hand, was quite accurately implemented according to the design of the People’s Architect, and, on the other hand, it was not without some extra research and adjustments, which, in this case, was quite beneficial for the project. The architects discovered the original paint color, details of the facades, and studied the history of rebuilds of this building. As a result, the imposing character of the empire building, the oldest one in the city, and the differences of later additions were accurately revealed. Most importantly, however, the city got a new cultural and public space, which is already “working” in full swing.
From Moscow to Khabarovsk
This year, the works submitted by the students of the Genplan Institute of Moscow included a proposal for revitalizing Moscow’s “Pravda” complex with its structures designed by Ilia Golosov, landscaping an East Siberian town, located a 12-hour drive away from the nearest big city, and three versions of turning a derelict “pioneer camp” into an educational hub, similar to “Sirius”. Two sites out of three have an interested client, so chances are that the students’ works will be ultimately implemented.
Harmonization of Intentions
We met and talked with the chief architect of Genplan Institute of Moscow Grigory Mustafin and the chief architect of Yuzhno-Sakhalinsk Maxim Efanov – about how the master plan of the city is formed. The key to success: gathering data, digital simulation, working with the city people, thinking infrastructure, and presentation.
​Cité for Naro-Fominsk
The new neighborhood on an island in the center of Naro-Fominsk continues the ideas of developing the territory of the silk-weaving factory, around which the city actually formed. The authors skillfully mix different formats of mid-rise development and make the most of the island location, offering a variety of formats of interaction with water, available to all citizens. No wonder that the project is considered exemplary and worthy of duplication in the region. It is also an example of rare synergy between the client and the architects.
A Tower and a Manor House
The concept of a high-density residential district replacing a set of outdated privately owned houses in Yekaterinburg preserves the street grid and, in some cases, even the scale of construction. OSA Architects combine towers with townhouses and other types of housing, orienting the silhouette composition towards a pedestrian boulevard. Through non-linear routes and spatial diversity, the residents will see their neighborhood in a new way every day.
​The Warm Stone
The housing complex in Zelenogorsk is interpreted by Mayak architects as a scatter of stones. The unconventional outline of houses with a pentagon plan not only helped to form the image part of the project, but also facilitated the architects’ work with the density of construction and insolation of the apartments.
For All Times
The modular technology combined with the building material of glued wood allows the architectural company Rhizome to create quick-mount hotels (no less!) that are highly rated by the architectural community: last week, the new hotel “Vremena Goda. Igora” scored three awards. Below, we are examining the project in detail.
The Other Way Around
Few awards instead of many, the award ceremony conducted on the first day instead of last, projections instead of sketch boards, trees inside and art objects outside – the renewal of the Architecton festival seemingly took the sure-fire path of turning all the professional traditions upside down – or at least those that happened to be within the scope of the organizers’ attention. There’s certainly a lot to pick on, but the exhibition does feel fresh and improvisational. It looks that pretty soon these guys will set trends for Moscow as well. We shared with you about some elements of the festival in our Telegram channel, and now we are examining the whole thing.
ArchiWOOD-14: Building Bridges
This season, the festival’s jury decided not to award a grand prize: judging by the fact that the shortlist included several projects that had not reached the award in previous years, and the “best house” was pronounced to be an undoubtedly beautiful but mass-produced model, the “harvest” of wooden buildings in 2023 was not too abundant. However, there were many unusual typologies among the finalists, and restoration and revitalization projects received their share of recognition. Let’s take a look at all the finalists.
The Chinese Symphony
The construction of the Chinese center “Huaming Park” has been a long story that came to fruition relatively recently. The building is adjacent to a traditional Chinese garden, but it is very modern, laconic and technological, and the simple-in-form, yet spectacular, white lamellae promise to someday be incorporated as a media facade. This complex is also truly multifunctional: it contains different types of living spaces, offices, a large fitness center, conference halls and restaurants – all wrapped in one volume. You can comfortably hold international forums in it, having everything you may possibly need at your fingertips, and going outside only to take a walk. In this article, we are examining this complex in detail.
Ensemble of Individualities
Construction of the first phase of the INDY Towers multifunctional complex on Kuusinen Street, designed by Ostozhenka, has started. The project opens new angles of similarity between the column and the skyscraper, and we examine the nuances and parallels.
Black and Red
Kazakov Grand Loft received its name for a reason: responding to the client’s brief and proceeding from the historical industrial architecture of its immediate surroundings, Valery Kanyashin and Ostozhenka architects proposed a new version of a modern house designed in the fashionable “loft” style. What makes this building different is the fact that the bricks here are dark gray, and the facades of the romantic “fortress” towers blossom with magnificent glazing of the windows in the upper part. The main highlight of the complex, however, is the multiple open air terraces situated on different levels.
Icy Hospitality
Mezonproject has won the national architectural and town planning competition for designing a hotel and a water recreation center in the city of Irkutsk. The architects chose hummocks of Baikal ice as a visual image.
The Mastery of Counterpoint
In the sculpture of Classical Greece, counterpoint was first invented: the ability to position the human body as if it were about to take a step, imbuing it with a hint of the energy of future movement, and with hidden dynamics. For architecture, especially in the 20th century and now, this is also one of the main techniques, and the ATRIUM architects implement it diligently, consistently – and always slightly differently. The new residential complex “Richard” is a good example of such exploration, based on the understanding of contrasts in the urban environment, which was fused into the semblance of a living being.
Countryside Avant-Garde
The project of the museum of Aleksey Gastev, the ideologist of scientific organization of work, located in his hometown of Suzdal, is inscribed in multiple contexts: the contest of a small town, the context of avant-garde design, the context of “lean production”, and the context of the creative quest of Nikolai Lyzlov’s minimalist architecture – and it seems to us that this project even reveals a distant memory of the fact that Aleksey Gastev learned his craft in France.
On the Hills
In the project by Studio 44, the “distributed” IT campus of Nizhny Novgorod is based on well-balanced contracts. Sometimes it is hovering, sometimes undulating, sometimes towering over a rock. For every task, the architects found appropriate form and logic: the hotels are based on a square module, the academic buildings are based on a “flying” one, and so on. Modernist prototypes, specifically, Convent Sainte-Marie de La Tourette, stand next to references to the antique Forum and the tower of a medieval university – as well as next to contextual allusions that help inscribe the buildings of the future campus into the landscape of the city hills with their dominants, high slopes, breathtaking river views, the historical city center, and the Nizhny Novgorod University.
The Magic Carpet
The anniversary exhibition of Totan Kuzembaev’s drawings named “Event Horizons” shows both very old drawings made by the architect in the formative 1980’s, and now extracted from the Museum of Architecture, as well as quite a few pictures from the “Weightlessness” series that Totan Kuzembaev drew specifically for this exhibition in 2023. It seemed to us that the architect represented reality from the point of view of someone levitating in space, and sometimes even upside down, like a magic carpet with multiple layers.
​A Copper Step
Block 5, designed by ASADOV architects as part of the “Ostrov” (“Island”) housing complex, is at the same time grand-scale, conspicuous thanks to its central location – and contextual. It does not “outshout” the solutions used in the neighboring buildings, but rather gives a very balanced implementation of the design code: combining brick and metal in light and dark shades and large copper surfaces, orthogonal geometry on the outside and flexible lines in the courtyard.
The Light for the Island
For the first time around, we are examining a lighting project designed for a housing complex; but then again, the authors of the nighttime lighting of the Ostrov housing complex, UNK lighting, proudly admit that this project is not just the largest in their portfolio, but also the largest in this country. They describe their approach as a European one, its chief principles being smoothness of transitions, comfort to the eye, and the concentration of most of the light at the “bottom” level – meaning, it “works” first of all for pedestrians.
Spots of Light
A new housing complex in Tyumen designed by Aukett Swanke is a very eye-pleasing example of mid-rise construction: using simple means of architectural expression, such as stucco, pitched roofs, and height changes, the architects achieve a “human-friendly” environment, which becomes a significant addition to the nearby park and forest.
Ledges and Swirls
The housing complex “Novaya Zarya” (“New Dawn”) designed by ASADOV Architects will become one of the examples of integrated land development in Vladivostok. The residential area will be characterized by various typologies of its housing sections, and a multitude of functions – in addition to the social infrastructure, the complex will include pedestrian promenades, shopping malls, office buildings, and recreational facilities. The complex is “inscribed” in a relief with a whopping 40-meter height difference, and overlooks the Amur Bay.
Agglomeration on an Island
Recently, an approval came for the master plan of the Yuzhno-Sakhalinsk agglomeration, which was developed by a consortium headed by the Genplan Institute of Moscow. The document provides for the creation of 12 clusters, the totality of which will give the region a qualitative leap in development and make the island more self-sufficient, more accessible, and less dependent on the mainland. We are inviting you to examine the details.
Ivan Grekov: “A client that wants to make a building that is “about architecture” is...
In this article, we are talking to Ivan Grekov, the leader of the architectural company KAMEN (translates as “stone”), the author of many high-profile projects that have been built in Moscow in the recent years, about the history of his company, about different approaches to form making, about different meanings of volume and facade, and about “layers” in working with the environment – at the example of two projects by Osnova Group. These are the MIRAPOLIS complex on the Mira Avenue in Rostokino, whose construction began at the end of last year, and the multifunctional complex in the 2nd Silikatny Proezd on the Zvenigorodsky Highway; recently, it received all the required approvals.
Grasping and Formulating
The special project “Tezisy” (“Abstracts”), showcased at Arch Moscow exhibition in Moscow’s Gostiny Dvor, brought together eight young “rock stars of architecture”, the headliner being Vladislav Kirpichev, founder of the EDAS school. In this article, we share our impressions of the installations and the perspectives of the new generation of architects.
The White Tulip
Currently, there are two relevant projects for the Great Cathedral Mosque in Kazan, which was transferred to a land site in Admiralteiskaya Sloboda in February. One of them, designed by TsLP, was recently showcased at Arch Moscow. In this article, we are covering another project, which was proposed during the same period for the same land site. Its author is Aleksey Ginzburg, the winner of the 2022 competition, but now the project is completely different. Today, it is a sculptural “flower” dome symbolizing a white tulip.
ATRIUM’s Metaverse
The architectural company ATRIUM opened a gallery of its own in a metaverse. Inside, one can examine the company’s approach and main achievements, as well as get some emotional experience. The gallery is already hosting cyberspace business meetings and corporate events.
​From Darkness to Light
Responding to a lengthy list of limitations and a lengthy – by the standards of a small building – list of functions, Vladimir Plotkin turned the project of the Novodevichy Monastery into a light, yet dynamic statement of modern interpretation of historical context, or, perhaps, even interpretation of light and darkness.