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​Building Blocks for Gulliver

On the crest of the Krylatskie Hills, a housing complex is being completed, unprecedented in its diversity of architectural solutions employed in its construction and in its constructional complexity. The answers to these challenges were found by the Dutch architects de Architekten Cie in collaboration with the Russian bureau APEX.

22 March 2018
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The housing complex Vander Park is an edifice noticeable in any respect. Located at the strategically important crossing of the Rublev Highway and the Yartsevskaya Street at the top of one of the Krylatskie Hills, it looks a rather imposing volume in itself, arising from the ratio between the area of the land site and the square footage target figures set by the developer. The site got into the spotlight of the architectural community’s attention in 2013, when a closed competition was announced with a rather impressive lineup of contestants. The competition was won by Sergey Skuratov ARCHITECTS but shortly after that the developer changed his mind and invited for designing the complex the Dutch company, which already had some experience of mastering the Russian vast expanses of land. Today’s name of the complex is a tribute to the national origin of the company, which evidently hints at a touch of aristocratic quality of the project: the prefix “van der” signifies the aristocratic origin of its bearer, which corresponds to the class of the project that in the process of work grew from business class to business premium.

"Vander Park" housing complex © PIK Group
"Vander Park" housing complex © PIK Group


In spite of the notorious prestige of the Rublev Highway, the area in question has been developing rather chaotically, and, according to the APEX leader, Anton Bondarenko, there was not much in that area that could be used as a starting point, with which the architects could interact. What can be considered as a closest conditional centerpiece is only a 150-meter tower on the opposite side of the Yartsevskaya Street; all around, there are five-story houses (soon to be demolished), further on, down the Rublev Highway, there is an array of low-rise prefabricated buildings shifted slightly deeper away from the highway. Meaning – like it or lump it, but the new complex inevitably is taking on the role of the centerpiece. Peculiar is the fact that, in spite of all of the conditions described above, the last thing that the designers of Vander Park had to worry about was obscuring the sunshine to one building or another – rather, they themselves had to solve the task of running away from the long shadow stretching as long as up to the Molodezhnaya metro station, next to which yet another 150-meter tower stands. Otherwise, the city fabric is pretty sparse here, and the issues of density and insolation were only to be solved inside of the complex. However, it was these requirements that to a large extent influenced the volumetric solution: the towers and the shifts in the volumes allowed the architects to essentially “mold” the form that provides for all of the insolation requirements.

"Vander Park" housing complex © PIK Group


The curvilinear uneven land site, inscribed in a conditional square, includes ten towers of different height – from 19 to 26 stories high – set at different angles to one another. The towers rest on a podium that occupies the entire area of the land site – beneath it, there is a parking garage – plus, these towers are connected with low-rise sectional blocks from four to six stories high. All of these are grouped into two macro-units connected by a gallery that runs all along the entire inner side of the yard at the level of the first floor. The bottom floors host retail and local businesses – these include a supermarket, a fitness center, a children’s club, a medical center, and a beauty salon. Each of the towers, in turn, consists of modular blocks that are placed on top of one another in a seemingly haphazard fashion – as if some giant toddler unskillfully, yet diligently, was building here his town from gigantic toy building blocks.

"Vander Park" housing complex © PIK Group


When developing the concept of this housing project, the designers drew inspiration from the image of Moscow as a modern megalopolis with a high construction density inherent to it, which you cannot deny as an architectural fact, but which you can mitigate by architectural means and make it more human-friendly. Therefore, each block is perceived as a housing module that is accessible to the human perception, i.e. one of the self-sufficient residential buildings, which cannot be placed next to one another because of the area constraints, but which can still be grouped together by being placed on top of one another. In terms of visual perception, such a solution allowed the architects to avoid creating an effect of some oppressive monolith mass, while from a practical standpoint it yields yet another curious bonus – thanks to the shift of the blocks in respect to one another, there appears enough room for spacious terraces that give some extra advantages to a number of apartments.

Similar bonuses, by the way, will go to the residents of the apartments that open up to the roofs of the low-rise blocks, and also by the owners of the premises on the second floor of the complex – these come with terraces with an area of about 150 square meters, overlooking the inner yard and separated by large green zones. “This is yet another way to show that even in a highly urbanized environment you can create a quite comfortable space beyond the limits of your apartment, and a custom-designed place, too” – comments Anton Bondarenko.

Elements of the facade © PIK Group


For each of the blocks, the architects chose an individual type of windows. At the same time, all of the façades are organized by a rigorous brick framework, whose rhythm stays unchanged all along the entire square, only on the topmost level, where the cells cover also the mechanical room, they turned out slightly more elongated. However, within this framework, in each of the modules, the window apertures are arranged in a different way: while in the low-rise sections the windows stand without significant spaces between them, in the high-rise blocks they can be arranged in groups, like, for example, three windows of equal height or one narrow window and one wide one, and so on. The spaces between the uncommonly high apertures – because of the fact that the height of one story in these buildings is more than average, the windows sometimes being as much as 2.3 meters tall – are covered by hanging composite panels of two shades of gray: it is darker beneath the windows in order to accentuate the shape of the window aperture, and a more neutral shade is used on the panels placed between the window panes, these latter only serving as a background. Incidentally, this is the rare instance when the corrections of the building materials (which took place after the project was approved) did the building a good turn – originally it was planned that the piers would only be filled with stucco.

Facade of the complex © PIK Group


The decoration of the buildings uses six types of brick, the general principle being from darker chocolate brown in the lower blocks to light-beige in the upper ones. The material, which is produced by the company Hagemeister, is notable for the gradient of shades within the limits of a single brick; the brickwork isn’t plainly smooth either – some of the bricks step forward in ledges, while in the decoration of the low-rise sections, the vertical brickwork is mixed with the horizontal type. As a result, the façades turned out to be very textured-looking, visually complex and vibrant – yet another architectural technique that goes a long way to “dilute” the volumes.

"Vander Park" housing complex © PIK Group


Basically, no two stories of Vander Park are exactly alike. De Architekten Cie proposed 73 types of apartments with an area ranging from 23 to 230 square meters. Such unprecedented complexity of apartment typology required from the Russian partners some serious work on searching unconventional interesting solutions in this area. To begin with, they were faced with the necessity to relocate the wet zones, which, according to the Russian rules and regulations, are to be placed strictly on top of one another, while in the Dutch project they would freely wander all over the place. In addition, it was not without corrections having to do with insolation issues – for example, under the four-meter cantilevered structures, which were formed as a result of shifting the housing modules – it would be more appropriate to place the spacious apartments in order to let more sunshine in. Accordingly, the apartments with an access to the terraces were to be big ones – a studio combined with a 150-meter terrace would have hardly been of significant value on the Russian market.

"Vander Park" housing complex. Photograph © Ilia Ivanov


And, of course, there were construction difficulties. APEX developed a whole number of unique engineering solutions specifically for this project. For example, the architects proposed to install slanted pylons that relieve the load from the cantilevered structures at the transition from one block to another, without “eating up” the square footage of the apartments. Yet another unconventional technique is the mechanical room situated immediately above the podium less than 1.8 meters tall that includes all of the utility lines that would have otherwise occupied some considerable room in the entrance halls and premises for rent on the first floor. The mechanical rooms are also there on the top floors – thanks to this solution, the roof has no elevator units sticking out of it.

"Vander Park" housing complex. Section view © APEX project bureau


The team of APEX also worked in close cooperation with the Dutch company West 8, which developed the landscaping project. The yard of Vander Park, in accordance with the concept proposed by de Architekten Cie, is only open to the residents of the complex. The people get inside through an electronic control system, the buildings having no end-to-end lobbies, it only being possible to enter the hallways from the yard. “Our Dutch colleagues think that a person must not lock himself up within the four walls of his apartment, that he needs more space for walking and talking to his neighbors, meaning, we must ensure total security for children and adults inside the yard” – Anton Bondarenko comments. Together with the landscape experts from West 8, the architects selected the plants that are authentic to our northern latitudes; they also designed a special sort of foundation that would support the heavy gazebos proposed by West 8. Functionally, the yard is divided into three thematic zones – for outdoor activities, for peaceful recreation, and the so-called “transition” zone, in which the main flows of the visitors and residents of the complex meet. The playgrounds are divided by the age brackets – under 5 years of age, 5 to 10 years old, and for children 10 years or older – which will also help distribute the flows and also ensure the safety of the children – the playground for toddlers is placed in the zone of peaceful recreation. In spite of the fact that the yard rests on the roof of the podium, the project still provided for planting large trees, even if at the cost of losing a few parking places because of drilling special openings all the way down to the minus first floor.

"Vander Park" housing complex © APEX project bureau


The interiors of the lobbies and the public groups were completely done by the APEX architects. The sales office – a minimalist volume of glass and metal masked as wood – was also designed by them, just as the navigation systems on the residential floors and in the parking garage. “Today, Vander Park is our company’s signature project, its visiting card” – Anton Bondarenko confesses. And it’s not just a matter of this project being a really high-profile one – as one of the first large-scale projects of the company, it not only determined its key values and operating fundamentals but also went a long way to take the team to a whole new level by evicting the unique competences of its members working under tight schedules, in the conditions of rigorous cost/performance ratios, and the necessity to use unique and smart technological solutions.
"Vander Park" housing complex. Photograph © Ilia Ivanov
Sales office. Photograph © Ilia Ivanov
Sales office. Photograph © Ilia Ivanov
Sales office. Photograph © Ilia Ivanov
"Vander Park" housing complex. Photograph © Ilia Ivanov
"Vander Park" housing complex. Photograph © Ilia Ivanov
Interior of the main lobby of the complex © APEX project bureau
Interior of the main lobby of the complex © APEX project bureau
Master plan © PIK Group
"Vander Park" housing complex. Location plan © APEX project bureau
Engineering, constructional, and architectural solutions of the building © APEX project bureau
"Vander Park" housing complex. Superimposed master plan © APEX project bureau, West 8
"Vander Park" housing complex. Plan of the 2-nd floor © APEX project bureau
"Vander Park" housing complex. Plan of the 19-th floor © APEX project bureau
zooming
"Vander Park" housing complex. Plan of the section of the 11-th floor © APEX project bureau


22 March 2018

Headlines now
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
A Step Forward
The HIDE residential complex represents a major milestone for ADM architects and their leaders Andrey Romanov and Ekaterina Kuznetsova in their quest for a fresh high-rise aesthetic – one that is flexible and layered, capable of bringing vibrancy to mass and silhouette while shaping form. Over recent years, this approach has become ADM’s “signature style”, with the golden HIDE tower playing a pivotal role in its evolution. Here, we delve into the project’s story, explore the details of the complex’s design, and uncover its core essence.
Gold in the Sands
A new office for a transcontinental company specializing in resource extraction and processing has opened in Dubai. Designed by T+T Architects, masters of creating spaces that are contemporary, diverse, flexible, and original, this project exemplifies their expertise. On the executive floor, a massive brass-clad partition dominates, while layered textures of compressed earth create a contextually resonant backdrop.
Layers and Levels of Flight
This project goes way back – Reserve Union won this architectural competition at the end of 2011, and the building was completed in 2018, so it’s practically “archival”. However, despite being relatively unknown, the building can hardly be considered “dated” and remains a prime example of architectural expression, particularly in the headquarters genre. And it’s especially fitting for an aviation company office. In some ways, it resembles the Aeroflot headquarters at Sheremetyevo but with its own unique identity, following the signature style of Vladimir Plotkin. In this article, we take an in-depth look at the United Aircraft Corporation (UAC) headquarters in the Moscow agglomeration town of Zhukovsky, supplemented by recent photographs from Alexey Naroditsky – a shoot that became only recently possible due to the fact that improvements were finally made in the surrounding area.
Light and Shadow
In this article, we delve into the architectural design of the “Chaika” house by DNK ag architects, which was recently completed in 2023 as part of the collection of signature designs at ZILArt. As is well-known, all the buildings in this complex follow a design code, yet each one is distinct. This particular building stands out not only for its whiteness and minimalism but also for the refined use of a limited number of techniques that, together, create what can confidently be called synergy.
Casus Novae
A master plan was developed for a large residential area with a name of “DNS City”, but now that its implementation began, the plan has been arbitrarily reformatted and replaced with something that, while similar on the surface, is actually quite different. This is not the first time such a thing happens, but it’s always frustrating. With permission from the author, we are sharing Maria Elkina’s post.
Treasure Hunting
The GAFA bureau, in collaboration with Tegola and Arkhitail, organized an expedition to the island of Kilpola in Karelia as part of Moskomarkhitektura’s “Open City” festival. There, amidst moss and rocks, the students sought answers to questions like: what is the sacred, where does it dwell, and what sustains it? Assisting the participants in this quest were landscape engineer Evgeny Levin, artist Nicholas Roerich, a moose, and the lack of cellular connection. Here’s how the story unfolded.
Depths of the Earth, Streams of Water
In the Malaya Okhta district, the Akzent building, designed by Stepan Liphart, was constructed. It follows a classic tripartite structure, yet it’s what you might call “hand-drawn”: each façade is unique in its form and details, some of which aren’t immediately noticeable. In this article, we explore the context and, together with the architect, delve into how the form was developed.
Fir Tree Dynamics
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​A Brick Shell
In the process of designing a clubhouse situated among pine trees in a prestigious suburban area near Moscow, the architectural firm “A.Len” did the façade design part. The combination of different types of brick and masonry correlates with the volumetric and plastique solutions, further enhanced by the inclusion of wood-painted fragments and metal “glazing”.
Word Forms
ATRIUM architects love ambitious challenges, and for the firm’s thirtieth anniversary, they boldly play a game of words with an exhibition that dives deep into a self-created vocabulary. They immerse their projects – especially art installations – into this glossary, as if plunging into a current of their own. You feel as if you’re flowing through the veins of pure art, immersed in a universe of vertical cities, educational spaces – of which the architects are true masters – and the cultural codes of various locations. But what truly captivates is the bold statement that Vera Butko and Anton Nadtochy make, both through their work and this exhibition: architecture, above all, is art – the art of working with form and space.
Flexibility and Acuteness of Modernity
Luxurious, fluid, large “kokoshniks” and spiral barrel columns, as if made from colorful chewing gum: there seem to be no other mansion like this in Moscow, designed in the “Neo-Russian-Modern” style. And the “Teremok” on Malaya Kaluzhskaya, previously somewhat obscure, has “come alive with new colors” and gained visibility after its restoration for the office of the “architectural ecosystem” as the architects love to call themselves. It’s evident that Julius Borisov and the architects at UNK put their hearts into finding this new office and bringing it up to date. Let’s delve into the paradoxes of this mansion’s history and its plasticity. Spoiler: two versions of modernity meet here, both balancing on the razor’s edge of “what’s current”.
Yuri Vissarionov: “A modular house does not belong to the land”
It belongs to space, or to the air... It turns out that 3D printing is more effective when combined with a modular approach: the house is built in a workshop and then adapted to the site, including on uneven terrain. Yuri Vissarionov shares his latest experience in designing tourist complexes, both in central Russia and in the south. These include houseboats, homes printed from lightweight concrete using a 3D printer, and, of course, frame houses.
​Moscow’s First
“The quality of education largely depends on the quality of the educational environment”. This principle of the last decade has been realized by Sergey Skuratov in the project for the First Moscow Gymnasium on Rostovskaya Embankment in the Khamovniki district. The building seamlessly integrates into the complex urban landscape, responding both to the pedestrian flow of the city and the quiet alleyways. It skillfully takes advantage of the height differences and aligns with modern trends in educational space design. Let’s take a closer look.
Looking at the Water
The site of Villa Sonata stretches from the road to the water’s edge, offering its own shoreline, pier, and a picturesque river panorama. To reveal these sweeping views, Roman Leonidov “cut” the façade diagonally parallel to the river, thus getting two main axes for the house and, consequently, “two heads”. The internal core – two double-height spaces, a living room and a conservatory, with a “bridge” above them – makes the house both “transparent” and filled with light.
The White Wing
Well, it’s not exactly white. It’s more of a beige, white-stone structure that plays with the color of limestone – smoother surfaces are lighter, while rougher ones are darker. This wing unites various elements: it absorbs and interprets the surrounding themes. It responds to everything, yet maintains a cohesive expression – a challenging task! – while also incorporating recognizable features of its own, such as the dynamic cuts at the bottom, top, and middle.
Urban Dunes
The XSA Ramps team designed and built a three-part sports hub for a park in Rostov-on-Don, welcoming people of all ages and fitness levels. The skate plaza, pump track, and playground are all meticulously crafted with details that attract a diverse range of visitors. The technical execution of the shapes and slopes transforms this space into a kind of sculptural composition.
Proportional Growth
The project for the fourth phase of the ÁLIA residential area has been announced. The buildings are situated on an elongated plot – almost a “ray” that shoots out from the center of the area towards the river. Their layout reflects both a response to Moscow’s architectural preferences over the past 15 years, shifting “from blocks to towers”, and an interpretation of the neighboring business park designed by SOM. Additionally, the best apartments here are not located at the very top but closer to the middle, forming a glowing “waistline”.
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.
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.
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.
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.
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.
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?
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.
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.
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.