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​The Future: Yesterday and Today

In this issue, we are publishing an article by Alexander Skokan that was originally published in the collected works of Russian Academy of Architecture and Construction Sciences: about the Future the way people envisaged it in the 1960’s, about the Information Age, and about the future that we are witnessing today.

15 January 2018
Research
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Alexander Skokan,
The leader of Ostozhenka Bureau

When back in the 1950’s and 1960’s people spoke about the Future, they, just to be on the safe side, were not saying exactly when it was going to come (apart from Nikita Khrushchev’s rash promise of communism coming in the 1980’s), yet, for all intents and purposes, it was implied that it would surely come in the XXI century. We have been living in this Future for 17 years now, and, looking back, we can compare it with the expectations of that time.

“That time” was ten years after the end of World War II, after the death of Stalin, after the “Iron Curtain” was slightly lifted, and after a whole string of events, which had quite recently been deemed impossible, when everything hinted at the beginning of some new era, behind which some kind of Bright Future could be discerned.

In front of our eyes, miracles were unfolding; we witnessed space exploration, jet aviation, peaceful (and not-so-peaceful) nuclear development, television, and many other things, new and wonderful.

At the same time, all this euphoria and expectancy of the future peacefully coexisted with the drab realities of everyday life, primitive technologies, and pictures of poverty and need that were to be seen everywhere in this country shaken by recent the all-out war.

This harsh reality, and romantic expectancy of the Future created a certain emotional tension, which got in the way of people’s going about their everyday businesses, making thinking about the Future a far more attractive thing to do (“forward to victory”, “the victory of communism is inevitable”, and such like).

It was believed by default that the Future is better and brighter than the present, much more so than the past that made one shudder to think of.

The young Soviet architects of those days could not stay away from these Future games, and from this expectation of the coming age of plenty. They were like children, looking forward to a Christmas party, peeking through the door into the room, where a Christmas tree already stands and the last-minute preparations are being made...

Is it possible, in such a situation, to go about your everyday business, do your homework, design standard housing construction, or study the history of architecture, for that matter?

This is why the main item on the agenda was the Future. It was the only thing worth speaking about, it was the only thing that the architects could devote their thoughts to and design for. The present simply could not provide any compelling subjects for the architects – designing the rank-and-file micro-districts and houses for the party bosses was a much less appealing option.

This is, of course, an exaggeration, but not a strong one; besides, the limited possibilities offered by the construction technology of those days did not allow the architects to expect the coming of complex and interesting architecture any time soon.

And for this reason as well, the Future was the time and the place where the impossible was becoming possible.

The future was like a mind expander that helped you run away from the present. 

Out of all the ways of escaping from reality (hiking, religion, alcohol, dissidence, science, and fine arts), this “futurologist design”, as it was called then, could arguably be considered to be the most professional one for the architects. In addition, this was a pretty exciting thing to do, because you did it in a good company, and it was generally a fun thing to do.

This may have been one of the reasons for such increased interest for the Future, as well as forecasting and modeling it. This is why the late 1950’s and the early 1960’s witnessed the appearance of various “informal” – meaning, connected solely by their circle of interests, and not necessarily working at the same offices – groups of architects, who to a certain extent continued the traditions of the Russian architectural avant-garde [i].

One of such groups – probably, the best-known one – was the so-called NER.
In 1960, a group of graduate students of the Moscow Institute of Architecture presented a collective “experimental project – New Element of Settlement (NER) – the city of the future”.

This work aroused a lot of interest; it was much talked and written about. Since this project was absolutely unique for the Soviet architecture of those days, it became the main newsbreak in the professional community, its authors instantly becoming extremely popular figures. Today, they would have been probably called “stars”, but back then the word of mouth spread unbelievable rumors about them, and already then they became some sort of an urban myth.

Developing the ideas proposed in their diploma project, the authors publish the book “New Element of Settlement” (1966), which was later on translated into English, Italian, and Spanish, and was published in 1967 in the USA, Italy, and a few countries of Latin America.

Then comes the exhibition period in the biography of NER – a show in the Research Institute of Theory and History of Architecture and Urban Planning in 1966, and two international exhibitions: the 14th international Milan Trienniale in 1968, and an exposition in the pavilion designed by Kenzō Tange at EXPO 1970 in Osaka.

NER’s original idea consisted in creating compact self-sufficient (architectural thinking) small towns with an optimum population of 100 thousand people. According to the architects, this number was enough to ensure the adequate amount of social (based on mutual interests) contacts, necessary for harmonious life in the city; for this, a “communication center” was organized, located in the city center.

These new perfect cities were opposed to the existing megalopolises, hopelessly and uncontrollably sprawling in spite of all the “smart” and beautiful-looking master plans. As analogues and prototypes, the authors cited well-known “perfect” historical cities from Palma Nova to English “garden” towns.

The entire inner plan of a “new element of settlement” was designed to provide walking accessibility – those days, bicycling was only popular in China and Holland. 

The growth of these settlements was limited, on the one hand, by their self-sufficient form, and, on the other hand, by the 100 thousand population limit. 

However, the main thing about this project was the structure that these cities formed – it was a global network encompassing the whole country, the so-called “settlement system”. This structure also included the hubs of the already existing cities in the European part of the country, stretching into a “settlement corridor” in the eastern direction.

And, although today the idea of “parceled” urban development is considered to be utopian, the theory of “settlement system” implemented on a national scale has not been disproved at all, and in many respects seems to be the solution for many issues of the structural and spatial development of our large country.

In addition, during that period of NER’s activity, Aleksey Gutnov and Ilia Lezhava, with input from their colleagues, developed and put into professional practice a whole number of academic thesis statements and project terms. Essentially, they created their own NER vocabulary: recovery center, framework, plasma, settlement corridor, KVAR (temporary active settlement complexes), and others. 

At this point, however, the history of NER ended – this extremely interesting creative community, this “futuristic company”, quietly disbanded, at the same time keeping up friendly ties, Aleksey Gutnov and Ilia Lezhava publishing yet another book, “The Future of the City” (1977). 

NER was an attempt of a professional architectural response to the challenge of those days, the 1950’s and the 1960’s, an attempt to come up with the image of the oncoming Future, and to “design the city of the near-future communism” [ii]. 

The NER term generally signifies projects and academic constructs built around the idea of the “City of the Future”, while essentially NER (“new element of settlement”) is in fact that City of the Future, a fragment of an all-embracing town planning network that covers the whole country.

These appeals to the future and attempts to peek beyond the horizon nevertheless ceased somewhere in the late 1960’s, when people started to live on other ideas and aspirations.

In fairness it must be said that designing cities of the future was not done solely by the NER team – right about that time or maybe just a little bit later similar utopian projects were proposed and exhibited by a few other architectural teams – the group of Ikonnikov, Pchelnikov, Gunst, Bokov, Gudkov, Loktev, and, possibly other less widely known enthusiasts.

Not mentioning the fact that all of the architectural magazines of that time were filled with sci-fi projects of a similar character, and few architects were able to resist the temptation to make their statement on the subject – Kenzo Tange, Otto Frei, Yona Friedman, and, of course, the most popular leader of the young architects of that time – the British group Archigram.

The logic continuation of the NER narrative was Ilia Lezhava’s teaching practice at the Moscow Institute of Architecture, and the scientific and project activity of the Department of Prospective Research of the Scientific Research and Design Institute of the Master Plan of Moscow, led by Aleksey Gutnov, whose team also included a few of the former NER activists.

Meanwhile, somewhere around the early 1970’s, something went wrong with the Future, as if some spring inside of it snapped – and people stopped looking forward to it, learning to live in the present and getting adjusted to it. Time stopped.

However, this stagnant present was not half as much interesting from the professional standpoint, and the problem of escaping the reality and leading a “secret” life was for the young architects as relevant as ever. This was not some obscure future (which, come right down to it, was inevitable in any case), but quite a different world, another dimension, which was neither yesterday, nor today, nor tomorrow, and in which the sci-fi projects of “paper” architecture began to unfold. This was not a different time but a different space. And this was also very exciting, even though not so optimistic.

However, the Future did come, at least because the new century officially set it, and it turned out to be not quite what people though it would be 50 years ago. And, of course, it is a great thing that it did not happen overnight, as if we fell asleep during a train ride, and suddenly woke up at a station that we never saw before, reading its name: “Future” – here we are!

Luckily, nothing really happens overnight; most of the time things happen in due course, and every big thing is usually preceded by some events that indicate the vectors of development, the trends, and everything that shows us the signs of the Future, near and remote.

There are always ample warnings and subtle signs, and if we fail to notice or understand them, it is our problem.

So, what is it that surprised us most of all at this station named “Future”? Something that we least expected to see? People and cities. Fifty plus years is too short a term to count on some fundamental changes in people’s minds – essentially, these are the same people, only they are much older now.

However, they are much better informed both about what they need to know (economy, health, politics, and so on), and about what they don’t need to know (specialized medical and other kinds and information).

On the one hand, people, overloaded with all sorts of information, became more versed and savvy in many respects, but on the other hand, they became much more controllable by pre-calculated biased information (informational manipulation).

“Homo Informaticus” is an information-charged individual who is essentially programmed to do some certain actions and experience some certain emotions. Basically, there is nothing fundamentally new about it, this is the ways it has always been in various societies to this or that extent but today all of these information influence technologies became as effective as never before.

In respect to the city, this means that people, who spend now so much time in the “parallel universe” of the cyberspace, became much more indifferent to real and material things, including to the city and its spatial environment and, in a broader sense of the word, to their physical location as such. 

One of the consequences of being so information-supercharged is a far greater mobility of the human being of the Future, meaning, the human being of today. This means that he is no longer tied to his one and only hometown – being constantly on the move, he has grown attached to different places, cities, and landscapes, which, as a rule, are geographically remote from one another. 

Of course, information, or, should I say, propaganda, i.e. biased information, can “charge” an individual with patriotism, love for his or her home, city, and country, but this “cyberspace” love is not likely to endure. A professional answer to that can, and probably will be, a set of pictures or 3D images, or other kinds of graphic illusions.

We can go on and on about the aspects, in which today’s Future justified our expectations and dreams, where it disappointed us, where things stayed as they were, and where they even got worse. This is a very interesting topic in itself, whilst most of our expectations were connected with technical innovation and scientific discoveries. In this field, indeed a lot of wonderful things happened, which were totally unthinkable back in those days, yet, on the whole, the future happened not quite where we expected it to happen, or maybe it’s not so noticeable, or in some places in did not happen at all, or maybe such kinds of the Future happened that it would have been a good thing if they had never happened in the first place. However, though, the main difference between today’s Future and the Past, from which we tried to see this future, is that now this Future with a capital “F”, like some light and happy cloud, in which you want to find yourself as soon as possible – this Future no longer exists.

The new Future is much more pragmatic; it promises problems that today do not seem to have a solution – overpopulation, resource exhaustion, global warming (or global cooling), the so-called “hybrid” wars and lots of other not-too-pleasant and not-too-comprehensible conditions.

On the other hand, we are surely in for a lot of positive news in the area of information technologies and further perfection of the cyberspace, to which we are most likely to turn for consolation if we don’t agree or are upset with something in our real, material, and pragmatic Future.

___________________________________________

[i] This was the time of numerous literary, artistic, philosophical, and other communities, groups, clubs, and studios, whose members would discover for themselves new opportunities, overcoming the rigid boundaries imposed by the Soviet state.

[ii] Stroitelnaya Gazeta, 27.04.1960 № 51 (3734), “Gorod Budushchego”, A. Baburov, A. Gutnov, and other MARKhI students.

15 January 2018

Headlines now
“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.
Water and Light
Church art is full of symbolism, and part of it is truly canonical, while another part is shaped by tradition and is perceived by some as obligatory. Because of this kind of “false conservatism”, contemporary church architecture develops slowly compared to other genres, and rarely looks contemporary. Nevertheless, there are enthusiasts in this field out there: the cemetery church of Archangel Michael in Apatity, designed by Dmitry Ostroumov and Prokhram bureau, combines tradition and experiment. This is not an experiment for its own sake, however – rather, the considered work of a contemporary architect with the symbolism of space, volume, and, above all, light.