​An Expensive Thing to Do

In this issue, we talk to ten architects about how relevant/irrelevant the ideas of reconstruction and redevelopment are.

Lara Kopylova

Interviewed by:
Lara Kopylova
Translated by:
Anton Mizonov

19 April 2018
We asked our architects the following question: from the start of the XXI century, thanks to the prevailing concept of a “postindustrial city” and ecological ideology, the ideas of reconstruction have enjoyed great popularity. Is there a surge of the relevance of reconstruction in the recent years?


Pavel Andreev, Gran

“The steady public interest for reconstruction is a natural thing. Initially, the owners of what you may call “postindustrial property” tried to clear it from what construction machinery still remained there, and then they wanted to rent these premises out, which was much more profitable than trying to revive the production cycle. But today they’ve begun to wonder what else they can do to increase their return on investment. Besides, the number of land sites on which you can build in Moscow is shrinking rapidly, and the few ones that are left will be seized by the giants of the development sector. In these conditions, the industrial parks that are situated not far away from the city center naturally turn into potential construction sites. I don’t see any particular “surge” in the popularity of reconstruction as such, but the steady tendency is there. The owners of the industrial parks are reconstructing the active factories or move them outside the city boundaries, bringing the remaining part of the industrial park in order, and then turn all these buildings mostly into housing complexes (because housing stock sells better), and projects that serve public functions as well. So, if we are to speak about whether reconstruction is relevant or not, in short, my answer is “yes”.


Eugene Asse, Asse Architects, the president of MARCH architectural school

“If there is anything to speak about, it is the clearance of a great number of top-grade industrial parks that has been going on during recent years due to the near offshoring. Not all of the things that are going on here meet the definition of “reconstruction”, much less scientific restoration, which is, of course, a deplorable fact. What I’m saying is that a lot of territories are simply cleared up to accommodate for new construction, like, for example, the territory of the “Serp i Molot” factory. “ZIL” is also not so much about reconstruction as it is about developing the territory. And such examples are numerous. If we are to take the “Flakon” factory, for example, we will see that no reconstruction work was actually done – what they did in fact was some paint job. This is not “reconstruction”, this is a makeover. And as for serious reconstruction projects, they are few and far between. What Mikhelson and Renzo Piano are doing with GES-2 [in collaboration with APEX – editorial note] is a serious exemplary project.

The V-A-C foundation Center of Modern Culture in the former GES-2 power plant. Photo courtesy by Renzo Piano Building Workshop (RPBW)
Copyright: Provided by Renzo Piano Building Workshop (RPBW)

The V-A-C foundation Center of Modern Culture in the former GES-2 power plant. Photo courtesy by Renzo Piano Building Workshop (RPBW)

The Museum of Russian Impressionism on the “Bolshevik” factory or the Institute of Russian Realist Art – these projects could also be considered as reconstruction. They maintain the main architectural merits of those days, and the buildings were brought into a decent state. One must be aware of the fact that most of the clients regard reconstruction as an expensive thing to do, and, to some degree, a waste of money and resources. When it comes to cultural heritage institutions, like the aforementioned museums, this means that business must be interested in creating a high-quality environment which presupposes careful treatment of your historical heritage.

The Museum of Russian Impressionism by John McAslan+Partners. Source: rusimp.su

The Museum of Russian Impressionism by John McAslan+Partners. Source: rusimp.su

In other cases, it’s easier for the client to tear everything down and build something new on that spot. Our project, Nizhny Novgorod’s “Arsenal” is precisely the case of the client’s and Nizhny Novgorod Center of Contemporary Art’s respectful attitude towards the reconstruction process, and I am very grateful to them for that.

The State Center of Contemporry Art in Nizhny Novgorod. The space of the central risalit. The second stage of construction, 2015. Photograph © Vladislav Efimov

The State Center of Contemporry Art in Nizhny Novgorod. The expanded exhibition space of the first floor. The second stage of construction, 2015. Photograph © Vladislav Efimov

I think, however, that the trend for careful treatment of your cultural heritage is not that wide-spread among the developers. True, the buildings of the XIX century are treated fairly well. But as far as the monuments of constructivist architecture of the ХХ century (in Ekaterinburg, for example) are concerned, they are treated really badly. What happened to the former “Pravda” factory is some sort of distortion of history. In order to justify the use of ceramic tiles, they even announced a competition for the façade material – only to mutilate the beautiful building with a modern atrocity. Probably, the “Izvestia” building is a fine example of respectful treatment of the architectural legacy of the ХХ century.

Restoration of the Izvestia Building, 2016 © Ginsburg Architects, photograph by Aleksey Knyazev

So, I don’t see out there any particular “trend” for reconstruction. True, some architects may have a desire to embark on reconstruction projects but the client most of the time views it as an encumbrance”.


Mikhail Beilin, Citizenstudio

“Moscow has everything to develop intensively, not only extensively. Industrial parks and industrial facilities in general, the derelict land belonging to the so-called “rusty belt” have a huge potential in them. You don’t have to annex anything or change the border lines. This clearly makes reconstruction ever so relevant. And, most importantly, we must be aware of the fact that the unwelcome alternative to reconstruction is tearing buildings down altogether. And this means ending up getting a faceless city that forgot its roots. What we need to do is keep the identity of our city but fill it with a new meaning and make new history. I think that the demand for the identity of our city will grow with time. This would be natural for the development of society and the urban individual. To me, the opportunity to come up with this “new life”, by restoring and recreating, is the most interesting task. Taking part in creating or recreating things is something akin to magic. And, most importantly, this is working with the dramatic composition and the history of this city; it feels great to be a part of it”.


Aleksey Ginsburg, Ginsburg Architects

“The trend for radical changes was something that was big in the last century because many cities were destroyed in the Second World War and required new construction. Plus, in the first half of the XX century – against the background of the industrial revolution – there was still a strong trend for creating “prefab” cities. This trend gave way to a more local one, characteristic for historical cities which require reconstruction and restoration rather than new construction. In Russia, these changes only happened in the recent years. This has to do with the fact that society is beginning to realize the value of the material culture.

Project of restoration and adaptation of the cultural heritage site "Narkomfin Building" (2015-2017) © Ginsburg Architects

While 15 or 20 years ago people would prefer to build a new building (which seemed to be an easier thing to do), now we have this influential movement of city preservation activists – because society understands just how valuable our architectural legacy is. And I am not just speaking about the acclaimed architectural monuments – I am speaking also about decent old buildings with a history; their value, including the commercial aspect of it, is becoming ever more prominent. If we are to speak about the city fabric, what is important is not just preserving some “pinpoint” cultural heritage sites, but also simple rank-and-file buildings. This architectural baggage of the historical city is not at all that shabby after all. If we do away with it, we will get a plague of ugly new buildings.

Restoration of the Dolgorukovykh-Bobrinskikh manor house on the Malaya Dmitrovka Street. Ginsburg Architects. Photograph © Julia Tarabarina, Archi.ru

Reconstruction is a natural process that, instead of destroying the city environment, enriches it with restoration of unique buildings, adapting the historical environment to the new needs of society. And it is always better to act very tactfully here, treating each project as a unique case. The investors are beginning to realize that an old house or part of an old house can be valuable and increase the capitalization of the project. In our Trekhgorny Val project, for example, we reconstructed a building that got a buildup during the soviet times. In this building, we kept intact the most interesting walls that it had. There was yet another restoration project that we did on the Gilyarovskogo Street; our client had an official permission to tear down the old building but we talked him out of it. Of course, it would be a great thing if we put all the old buildings on the protected list but while this is not the case, it’s OK to act the way we do”.


Yuri Grigoryan, Meganom

“There is one big problem with reconstruction: nobody wants to bother themselves with such projects. Everybody wants to tear down an old building, at most – leave the old façade intact, or, better yet, blow up the whole thing altogether and build a new imitation in its place. This is basically what private developers think of reconstruction. They have two modes of action. The first (let’s call it a “vegetarian” mode) consists in just going ahead and using the old building as it is. For example, you take “ArtPlay” or the “Red October” factory, rent the place out, and let the tenants do their thing, as long as it doesn’t conflict with the federal legislation for protecting monuments of architecture. The second (and the most often used) mode is to level the site down to the ground and build something new upon it. So, reconstruction is an interesting genre that we just don’t have around here. Reconstruction is essentially about preserving most of the old building, and it is considered to be a more expensive thing to do than building from scratch, although no one can seriously prove it because our experience in this area is virtually nonexistent. Restoration, yes, it is an expensive thing to do indeed, but this is the way it is meant to be because you are dealing with a monument of architecture. And reconstruction (we have to distinguish between the two) is when an old building (mind, not a monument!) turns into an actively functioning project. For example, currently Rem Koolhaas is doing this project of Tretyakovskaya Gallery on the Krymsky Val – this is the classic reconstruction. Other examples of reconstruction are his “Garage” museum in the Gorky Park or London’s Tate Gallery by Herzog and de Meuron.

Tate Modern Gallery. Photo: Hans Peter Schaefer via Wikimedia Commons. GNU Free Documentation License, Version 1.2

Tate Modern Gallery. The Turbine Hall Photo: Hans Peter Schaefer via Wikimedia Commons. CC BY-SA 3.0 License

"Garage" Museum in Gorky Park. Model. © OMA

"Garage" Museum in Gorky Park. Model. © OMA, FORM Bureau, Buromoscow, Werner Sobek

They kept what was there, and they added new things. This is prestigious and expensive, and this is something that here only the wealthy connoisseurs of culture can afford – or such projects could be federally financed, for that matter, and then only on few select occasions. This is why there can be no “surge” by definition. If there is a “surge”, it is a surge of demolishing good and important old buildings. The “Krasny Bogatyr” factory is waiting to be torn down and replaced by housing projects, and it’s a very long list. If we are to take, for example, the fire substation and the avant-garde façades on the ZIL territory, developers also ultimately decided not to keep them – the costs were high, and the city people showed no interest in their preservation. So, from the cultural and professional standpoint, pretty much everything is wrong with reconstruction – the architectural monuments are few and far between, and what little is left is facing the prospect of demolition. And, as practice shows, the architecture of the new buildings is almost always worse than what was there before them”.


Daniel Lorentz, Natalia Sidorova, Konstantin Khodnev, DNK ag

“Today, redeveloping the former industrial territories is indeed relevant, especially here in Moscow. Today, on these territories, the production of industrial product gave way to the “production of square meters” of housing construction which draws a lot of profit.

A significant part of the industrial parks lies within the boundaries of the “old Moscow”, in the areas with a highly developed infrastructure, and because of that such land sites, with the overall deficit of land that is vacant for the construction, enjoy particular popularity among the developers. Reconstructing and readjusting the historical buildings of the industrial architecture constitute the historical fabric of this city, which is rather thin here, and this is why such work is very important and relevant.

The launch of the Moscow Ring Railway and the upgrade of the transport infrastructure increased the value of the former industrial park of Moscow’s “middle belt”, where they are predominantly situated”.


Valery Lukomsky, CityArch

“In my view, reconstruction, and generally, working with historical buildings, is one of the most exciting tasks for an architect. This is like top class performance – to come to grips with the building that was built in a different epoch and breathe a new life into it.

As far as popularity of reconstruction is concerned – I think this trend will continue. This growing urbanization makes all the cities look alike, leveling off their distinctive features. And it is very important to preserve the buildings that define the spirit and the uniqueness of their location. Such unique places attract tourists but they must also be made comfortable for their residents; and whatever valuable there is must be preserved too.

One of our recent projects – commissioned by the Ministry of Culture of Byelorussia – was developing the master plan of the historical center of Vitebsk, the so-called “Shagal Quarter”. We had to neutralize the destructive influence of the Soviet highway, reveal the morphology of the territory, and evict and highlight the monuments following the plan developed by the Scientific-Research and Design Institute of the General Plan of Moscow. You could call this a reconstruction of a whole city – on the post-Soviet land, there are plenty of cities that are in need of such work.

As far as direct reconstruction projects are concerned, we did such a project in 2009-2011, when we worked on the first stage of the Danilovskaya Manufactura. At that moment we were really lucky to work with our client, KR Properties. We saved everything that was worth saving, and what was it possible to save; repaired and conserved the brickwork. Unfortunately, it did not work out with the second stage of construction: our counterpart team from the side of the developer changed, and ultimately our concept was handed over to a Turkish construction company – and ultimately new buildings prevailed.

Reconstruction is a challenging and expensive thing to do. What matters here is the client’s interest in it – simply because tearing down the old building and then building something new on that site is usually easier and less expensive. However, you have to keep in mind that not on every site reconstruction makes sense: there are such messy pileups out there, where you could not save anything even if you wanted to – in this case what you need to do is rather try and convey the genius loci in your new project through visual and volumetric hints”.


Nikolai Pereslegin, Kleinewelt Architecten

“Reconstruction can be viewed as a whole bunch of processes of prolonging the life of old and not-so-old buildings because a lot of buildings that were built in the XX century and, yes, even in the beginning of the XXI century, are not always made up to standards – both in terms of the overall construction culture and from the aesthetic standpoint. For a rare exception, most of these new buildings can hardly be perceived as anything but temporary structures built on very expensive land. In this connection, I would treat the notion of “reconstruction” a little bit wider: the western sources distinguish up to ten different “re”, and they all are different in their approaches, methods, and volumes of the work performed. For instance, the western practice distinguishes between the notions of “rehabilitation” and “adaptation”. In this country, it is all covered by the “reconstruction” term. And if we are to perceive reconstruction in this specific context, we still have a lot of work to do – it’s enough to take a quick look around to understand that. And now we are only in the beginning of this path, there is work for generations to come: fixing the world is always more difficult than creating it from scratch. Today we see the world economy changing its trends, and, as a consequence, priorities shift on a micro level. From global mega projects, the vector is shifting towards the local increase of quality of what was created before us; hence the landscaping of the city territories or more careful treatment of your house entrance or your yard, which is only possible if we become responsible citizens. What is commonly known as reconstruction – I think that fully in this trend we can say that there is a relevant interest to this topic”.


Sergey Trukhanov, T+T Architects

“Of course, I am hoping that there will be a surge of interest for reconstruction, especially in Moscow. And, in my view, this will have to do not so much with new legal acts as with as with the large-scale development of the territories of this city on which new houses will be built upon the renovation program. One way or another, these large-scale interventions into the city environment will affect the existing urban context, which will be inevitably followed by the necessity for reconstructing the buildings that stand directly on this territory or are located close to it. These buildings can be not only valuable from the architectural or historical standpoint but also be important for these territories in terms of function or infrastructure. These can be community centers, museums, retail stores, business centers, and projects situated on the former industrial territories that adjacent to the renovation zones. Everything may become interesting for reconstruction in view of the increasing of the attractiveness of this area for new construction. For the same reason, reconstruction projects can also include derelict buildings, which, thanks to their architecture or mere location can form the living environment in their area. For them, what is going to be most important is the search for the right function for relaunching the building”.


Oleg Shapiro, Wowhaus

“In the conditions of developing any historical city, reconstruction is a usual, expensive but necessary thing to do; something that’s expected. It was, is, and will be there. But reconstruction projects will only become successful and profitable when the developers start believing in it, not just architects. A great example, which is now becoming a trend, is the heightened interest to preserving the so-called “production territories”: of the late XIX early XX centuries that appeared in Moscow 8-10 years ago, starting from Vinzavod, and which is still relevant today”.

19 April 2018

Lara Kopylova

Interviewed by:

Lara Kopylova
Translated by:
Anton Mizonov
Headlines now
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.
Modernism in Avant-Garde
The contest proposal that Studio 44 made for the Krasnoyarsk Opera and Ballet Theater is bright in all senses, and in many ways even provocative – just like a modern theater performance should be. Being in context with modern culture, it even shocks you in some respects. At first, you are amazed at the red color that is present all around, and then you gradually make sense of the picturesque congregation of volumes that share a multitude of functions. And it’s only later that you realize that this conglomerate conceals a modernist building, most of which the architects save intact.