По-русски

​Carousel. Tree. Tower.

The premier of “The Magic Flute” (Die Zauberflöte) by Wolfgang Amadeus Mozart in the scenery designed by Sergey Kuznetsov and Agnia Sterligova (Planet 9) in “Helikon-Opera” is a pure delight for adults and children alike (the opera is staged in two versions). The stage design is the core, upon which is strung the wild narrative about the controversy between the feminine and masculine.

author pht

Written by:
Lara Kopylova
Translated by:
Anton Mizonov

19 November 2018
News
mainImg

This opera includes everything one can possibly think of: a quest and a Christmas show for children, ancient symbols and myths seen through the prism of psychoanalysis, picaresque romance and masonic themes, the subtleties of gender relations, and, of course, the celestial Mozart choirs that sound just short of the whole audience joining in, like you would expect at a rock concert. The loving couple goes through a terrible ordeal only to be together, and once they are together at last, they go through more ordeals, just as terrible. Everyone loves everyone, everybody saves everybody, lots of them want to kill one another or themselves but finally everybody ends up loving everybody all the same.

For the Chief Architect of Moscow, Sergey Kuznetsov, this is his second project that he did in the capacity of a production designer (the first was the premier of “Helikon-Opera” after it was reconstructed in 2015). His coauthor, Agnia Sterligova (Planet 9) already has some experience in stage design. At the press conference before the premiere of “The Flute” that took place November 12, the authors of the performance shared their impressions.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov
Premier of “The Magic Flute” in “Helikon-Opera”. Photograph © Sergey Krotov


According to Sergey Kuznetsov, he and Agnia Sterligova proceeded not so much from the music as from the stage design tradition, watched a lot of material, and did not want to repeat something that already was done before them. “This is a show that teeters on the verge of pop art and kitsch yet does not overstep the mark; a show that will leave nobody indifferent. Mozart would have been pleased – recapped the chief architect – This is a meditation on the conflict between man’s and woman’s worlds and about how they are attracted to each other, which affects all of us. Any living creature can associate itself with this or that gender. Well, those who definitely can, they will surely find this interesting, and as for the others, well, maybe they will stop to think for a second and will finally make up their minds. We believe that after this performance everyone will be absolutely certain on this issue”.

Agnia Sterligova was more specific about the idea: “In the dialogue with the production director, Ilia Iliyn, we came up with the image of a Luna Park, the kind that they had in the beginning of the ХХ century in New York’s Coney Island. This choice was motivated by the pop art inflatable costumes designed by Alexandra Sharova. The controversy between man’s and woman’s world was shown against the backdrop of a grand-scale spinning carousel, this carousel also being the Temple of Wisdom”. And the producer of “Helikon-Opera”, Dmitry Bertman, made an important speech about the role of architecture. He said: “We have been friends with Sergey Kuznetsov for years; he designed the exposition for the opening ceremony of our theater, and we were thinking about producing “The Flute” for quite a while. In spite of his high status, Sergei Kuznetsov is not a “government official” at all, he is quite the reverse, and he is a true artist. Modern theater is essentially symbolic – the age of imitation is over, and it’s not about a “painted veil” anymore. Today, it’s the architects who come out on stage, we see this in theaters all around the world”.

The curtain of “The Magic Flute” with a watercolor painting by Sergey Kuznetsov. Photograph © Sergey Krotov


In spite of my musical background, I could never not so much as make sense of but even remember the storyline of “The Magic Flute”, and focused solely on the music. Why does the wizard Sarastro (a reference to the fire worshipper Zarathustra, I presume) summon the Egyptian Isis and Osiris? They seem to be from different pages of history, do they not? The masonic librettist Schikaneder (he is also the first performer of Papageno) hints at some secret knowledge of the Ancient Greece that was passed on to the Freemasonry – but what does Persia have to do with it? Why did the Persian sage steal the princess? As it turned out, to teach her wisdom, not to marry her. If this is to be the case, then why does he leave her guarded by the blackamoor who literally harasses her (or is this the narrative of the beauty and the beast that somehow popped up along the way?)

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Before the beginning of the performance, we see the curtain demonstrating a water color painting by Sergey Kuznetsov that shows a carousel that also looks like a chandelier that starts to beautifully give off smoke, its colors starting to run, during the overture. Then the curtain goes up, and we find ourselves in the Luna Park, where anything can happen: terrible danger and breathtaking adventures are on the way. In the first act, there is a rollercoaster on stage, upon which a train tears back and forth – but, instead of a train, this turns out to be the serpent chasing Prince Tamino. The serpent almost got him but at the very last moment the prince was saved by three infernal-looking ladies dressed in black and red – the fairies or the “attendants” of the Queen of the Night.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


In Luna Park, we are in for both market square performances and quests that we have to take a part in. And it is not accidental that the Queen of the Night crawls out from a popcorn cup, while the snakes upon which she rests (not really scary-looking because they are inflatables) minimize the fanfare of the world’s most difficult aria, which includes an F-note of the third octave. (The aria, incidentally, did sound really beautiful, just as Tamino’s tenor part and the Grandfather’s bass part did). Generally, they sing with finesse, easily tackling Mozart’s “instrumental” barely singable tunes, the orchestra plays tastefully, and it’s a rare treat for one’s ears… but I digress.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


The stage design of “The Magic Flute” is centered around some universal tree that shows different colors: it crackles in flames when the heroes have to go through the fire, it turns blue and starts bubbling when they go through the water, and it shines pure gold in the temple of Sarastro (I only learned about the fact that this is a “carousel” after I wrote the review but the associations with the biblical tree of knowledge of good and evil only make it more beautiful because it comes to knowing the depths of human nature and enlightenment thereof). The shape and the metallic structures of the tree look like the bell of the Shukhov Tower, something you might call a “constructivist church bell” of sorts (and, getting ahead of myself, I will say that later on it will be surrounded by little constructivist bells growing around it). This tower tightly holds the composition together, it is always in the center, it is always prevailing, it helps to arrange the choreography, rotating on a turntable during the change of scenery. The media screen in the left part of the stage comments on the things that are going on.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


The colors play an immensely important role in the stage design, interacting with the bright pop art of the costumes. Being symbolic, the colors go a long way to help unravel a mysterious narrative. The loving couple – Prince Tamino and Princess Pamia – also have their proprietary colors. The princess is dressed in pink, and Tamino is wearing a blue business suit, he is something like the alter ego of the audience, and only in the end of the play he turns into a steel warrior. Unlike the loving couple of two children, there is also an older generation – Mother Night and Sage Sarastro, she embodying the dark side of femininity (black color, black fairies, snakes and monkeys), he embodying the reasonable and sunny masculinity (golden armor, golden warriors and a golden lurex pullover). Queen of the Night and Sarastro are engaged in a complicated kind of Freudian relationship between themselves and the younger generation. They argue over the Princess, he stole her, the bitchy mother is jealous of her daughter for Sarastro (or of Sarastro for her daughter?), and even wants to kill him. But then the elders made peace with each other and set out on a trip with a suitcase – it is not for nothing that Queen ofg the Night sings her second aria riding an inflatable pink swan, one should think she fell in love (again, Nabokov’s German seams come to mind). The entire stage design and choreography constantly works with black and golden colors, including in mass scenes. Sarastro’s warriors are also designed in a really cool way, as golden men a-la Star Wars. He is also served by women, not black, but of the “lunar” enlightened kind, dressed in white spacesuits.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


If we are to ultimately assign gender symbolics to the colors, we will see that, out of all the characters, Papageno is the only one who is wearing the colors of the rainbow with violet and orange prevailing. He is also the most “inflatable” one, whatever that means for you. Just as rainbow-like is his bride Papagena, who wears a skirt of toy balloons. Generally speaking, Papageno is a typical valet from picaresque romance, he is related to the prince very much like Leporello is to Don Giovanni or Sancho Panza is to Don Quixote. He does a lot of drinking, a lot of lying, is scared of everything but still it was him who saved the princess from the blackamoor. What Mozart wrote was Singspiel, a vaudeville with musical numbers and conversational cues for an unassuming theater. The lyrics of the famous aria of the bird-catcher (“Der Vogelfänger bin ich ja”) are rather frivolous but somehow it is not felt here. In this context, the bird-catcher is a childish character, and at the same time a picaroon who mitigates the seriousness of the central couple of the prince and the princess. The lovers have to go through the trials by fire, water, and deadly silence. The most terrible thing for a woman is when her man won’t speak to her (and in “Orpheus” he could not so much as look at her, let alone speak, remember?), and she cannot understand why he doesn’t, and sings such a truly heart-wrenching aria. Close to the point of suicide, the Princess holds a sword above herself. Papageno at once offers a travesty version of suicide and hangs himself on a toy balloon.

In the last scene where the lovers are finally reunited, the stage designers place them in the most pompous place one could think of: on top of the structure of the “tree” tower; the lovers kiss each other standing on top of the tower, mimickinga Hollywood happy ending.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


And what is the “Magic Flute” that helped the lovers overcome all the difficulties? I think that the flute is art itself, it serves to quiet the fears and to light up the darkest sides that both the adults and even the princess has in them (the black bull of the blackamoor who periodically tortures here is one archetype of passion). Still another variation of the flute is the bells of Papageno. Their meaning is simpler but if you “turn them on” at the right moment and duplicate on the media screen, everyone, including the villains, start dancing, some sort of a dancing uniting finale that removes the hostility between the characters. At the same time, the bells also look like a logic cube, a talisman from a blockbuster movie. And in the last scene we can see the inversion of them: the constructivist metallic bells have grown around the “Shukhov Tower”. The iron tree got “kids” of its own.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


One must also mention here the figure of three. There are three chords sounding in the opera overture. Three “heavenly boys” – little white clouds, out of which stick little children’s heads, form beautiful “white” pictures. The boys help the Prince. Their antagonists are the three corrupt fairies of the Queen of the Night. But then again, incidentally, the fairies also helped the prince (if you have read this far but lost the plot, I will remind you that they saved him from the “train” serpent). When the Queen of the Night sped away with Sarastro, the black women, demonstrating the great powers of the stage machinery, fall down to hell – what was their sin, may I ask? Or does this mean that the Queen finally got rid of her dark sides? Or is it just an allusion to the final scene of Mozart’s Don Giovanni? There is still a slight hint of gender discrimination here. Take the boys – they are white, take the girls – they are black and ultimately go straight to hell. Feminists would be unhappy with that.

Stage design of “The Magic Flute” in “Helikon-Opera”. Production designers: Sergey Kuznetsov, Agnia Sterligova. Photograph © Sergey Krotov


As Sergey Kuznetsov said, the most beautiful thing about “The Magic Flute” is its multiple meanings. It has a countless number of interpretations because it is all based on fairytales, myths, initiations and archetypes, merry and deep at the same time, and this is why “The Magic Flute” is always so contemporary and gives offer such a great scope for imagination. And the stage design goes a long way to develop all of these symbolic and mystic layers and lay them before the audience in the palatable form of a theatrical show.

19 November 2018

author pht

Written by:

Lara Kopylova
Translated by:
Anton Mizonov
comments powered by HyperComments
Headlines now
​Dynamics of the Avenue
On Leningrad Avenue, not far away from the Sokol metro station, the construction of the A-Class business center Alcon II has been completed. ADM architects designed the main façade as three volumetric ribbons, as if the busy traffic of the avenue “shook” the matter sending large waves through it.
​Steamer at the Pier
An apartment hotel that looks like a ship with wide decks has been designed for a land plot on a lake shore in Moscow’s South Tushino. This “steamer” house, overlooking the lake and the river port, does indeed look as if it were ready to sail away.
The Magic of Rhythm or Ornament as a Theme
Designed by Sergey Tchoban, the housing complex Veren Place in St. Petersburg is the perfect example of inserting a new building into a historical city, and one the cases of implementing the strategy that the architect presented a few years ago in the book, which he coauthored with Vladimir Sedov, called “30:70. Architecture as a Balance of Forces”.
​Walking on Water
In the nearest future, the Marc Chagall Embankment will be turned into Moscow’s largest riverside park with green promenades, cycling and jogging trails, a spa center on water, a water garden, and sculptural pavilions designed in the spirit of the Russian avant-garde artists of the 1920, and, first of all, Chagall himself. In this issue, we are covering the second-stage project.
​Architectural Laboratory
A-Len has developed and patented the “Perfect Apartments” program, which totally eliminates “bad” apartment layouts. In this article, we are sharing how this program came around, what it is about, who can benefit from it, and how.
​“Architectural Archaeology of the Narkomfin Building”: the Recap
One of the most important events of 2020 has been the completion of the long-awaited restoration of the monument of Soviet avant-garde architecture – the Narkomfin Building, the progenitor of the typology of social housing in this country. The house retained its residential function as the main one, alongside with a number of artifacts and restoration clearances turned into living museum exhibits.
​LIFE on the Setun River
The area in the valley of the Setun River near the Vereiskaya Street got two new blocks of the “LIFE-Kutuzovsky” housing complex, designed by ADM architects. The two new blocks have a retail boulevard of their own, and a small riverside park.
​Celestial Tectonics
Three towers on a podium over the Ramenka River are the new dominant elements on the edge of a Soviet “microdistrict”. Their scale is quite modern: the height is 176 m – almost a skyscraper; the facades are made of glass and steel. Their graceful proportions are emphasized by a strict white grid, and the volumetric composition picks up the diagonal “grid of coordinates” that was once outlined in the southwest of Moscow by the architects of the 1970’s and 1980’s.
Clouds over the Railroad
In the stead of former warehouses near “Lyubertsy-1” station, a new housing complex has been built, which peacefully coexists with the railroad, with the flyover bridge, and with the diverse surrounding scenery, not only dominating over the latter, but improving it.
​Towers in a Forest
The authors of the housing complex “In the Heart of Pushkino” were faced with a difficult task: to preserve the already existing urban forest, at the same time building on it a compound of rather high density. This is how three towers at the edge of the forest appeared with highly developed public spaces in their podiums and graceful “tucks” in the crowning part of the 18-story volumes.
​The Towers of “Sputnik”
Six towers, which make up a large housing complex standing on the bank of the Moskva River at the very start of the Novorizhskoe Highway, provide the answers to a whole number of marketing requirements and meets a whole number of restrictions, offering a simple rhythm and a laconic formula for the houses that the developer preferred to see as “flashy”.
​The Starting Point
In this article, we are reviewing two retro projects: one is 20 years old, the other is 25. One of them is Saint Petersburg’s first-ever townhouse complex; the other became the first example of a high-end residential complex on Krestovsky Island. Both were designed and built by Evgeny Gerasimov and Partners.
The Path to New Ornamentation
The high-end residential complex “Aristocrat” situated next to a pine park at the start of the Rublev Highway presents a new stage of development of Moscow’s decorative historicist architecture: expensively decorated, yet largely based on light-colored tones, and masterfully using the romantic veneer of majolica inserts.
​Renovation: the Far East Style
The competition project of renovating two central city blocks of Yuzhno-Sakhalinsk, developed by UNK project, won the nomination “Architectural and planning solutions of city construction”.
​The Contact
The Istituto Centrale per la Grafica in Rome presents Sergei Tchoban’s exhibition “Imprint of the future. Destiny of Piranesi’s City”. The exhibition includes four etchings, based on Roman architectural views of the XVIII century complemented by futuristic insertions, as well as a lot of drawings that investigate the same topic, at times quite expressively. The exhibition poses questions, but does not seem to give any answers. Since going to Rome is pretty problematic now, let’s at least examine the pictures.
​In Search of Visual Clarity
In this article, we are reviewing a discussion devoted to the question of designing city space elements, which is quite complicated for the Russian expanses of land. The discussion was organized by the Genplan Institute of Moscow at the ArchMoscow convention in Gostiny Dvor.
​The City of the Sun
Jointly designed by Sergey Tchoban and Vladimir Plotkin, the VTB Arena Park complex can arguably be considered the perfect experiment on solving the centuries-old controversy between traditional architecture and modernism. The framework of the design code, combined with the creative character of the plastique-based dialogue between the buildings, formed an all-but-perfect fragment of the city fabric.
​...The Other Was Just Railroad Gin*
In their project of the third stage of “Ligovsky City” housing complex, located in the industrial “gray” belt of Saint Petersburg, the KCAP & Orange Architects & A-Len consortium set before themselves a task of keeping up the genius loci by preserving the contours of the railroad and likening the volumes of residential buildings to railroad containers, stacked up at the goods unloading station.
​Lions on Glass
While reconstructing the facades of Building 4 of Moscow Hospital #23, SPEECH architects applied a technique, already known from Saint Petersburg projects by Sergey Tchoban – cassettes with elements of classical architecture printed on glass. The project was developed gratis, as a help to the hospital.
Park of Sentiments
The project of “Romantic Park Tuchkov Buyan”, which was developed by the consortium of Studio 44 and WEST 8, and has won an international competition, combines sculptural landscape design and wooden structures, variety of spatial features and an eventful agenda, designed for diverse audience, with a beautiful and complex passeist idea of a palace park, meant to evoke thoughts and feelings.
​Architecture as an Educational Tool
The concept of a charity school “Tochka Budushchego” (“Point of the Future”) in Irkutsk is based on cutting-edge educational programs, and is designed, among other things, for adapting orphaned children for independent life. An important role is played by the architecture of the building: its structure and different types of interconnected spaces.
​The Gallery Approach
In this article, we are covering the concept of a Central District Clinic for 240 patients, designed by Ginzburg Architects, which won at a competition organized by the Architects Union and the Healthcare Ministry.
Health Constructor
In this issue, we are publishing the concept of a standard clinic designed by UNK Project, which took second place in the competition organized by the Union of Architects of Russia in collaboration with the Healthcare Ministry.
From Foundation to Teaspoon
Based on the taste of their friendly clients, the architects Olga Budennaya and Roman Leonidov designed and built a house in the Moscow metropolitan area playing Art Nouveau. At the same time, they enriched the typology of a private house with modern functions of a garage loft and a children’s art studio.
Continuation and Development
The second “office” stage of Comcity, the most popular business park of the “New Moscow” area, continues the underground street of the already existing part of the complex, responding to its architectural identity.
​The Flying One
Expected to become an analogue of Moscow’s Skolkovo, the project of the High Park campus at Saint Petersburg’s ITMO University, designed by Studio 44, mesmerizes us with its sheer scale and the passion that the architects poured into it. Its core – the academic center – is interpreted as an avant-garde composition inspired by Piazza del Campo with a bell tower; the park is reminiscent of the “rays” of the main streets of Saint Petersburg, and, if watched from a birds-eye view, the whole complex looks like a motherboard with at least four processors on it. The design of the academic building even displays a few features of a sports arena. The project has a lot of meanings and allusions about it; all of them are united by plastique energy that the hadron collider itself could be jealous of.
​The Aperture Effect
For a housing complex built in the town of Pushkino in the Moscow metropolitan area, KPLN Architects designed facades that adjust the stream of light by using the wall geometry.
​A Comfortable City in Itself
The project that we are about to cover is seemingly impossible amidst human anthills, chaotically interspersed with old semi-neglected dachas. Meanwhile, the housing complex built on the Comcity business part does offer a comfortable environment of decent city: not excessively high-rise and moderately private as a version of the perfect modern urbanist solution.
Moving on the Edge
The housing complex “Litsa” (“Faces”) on Moscow’s Khodynka Field is one of the new grand-scale buildings that complement the construction around it. This particular building skillfully tackles the scale, subjugating it to the silhouette and the pattern; it also makes the most of the combination of a challenging land site and formidable square footage requirements, packing a whole number of features within one volume, so the house becomes an analogue of a city. And, to cap it all, it looks like a family that securely protects the children playing in the yard from... well, from everything, really.
Visual Stability Agent
A comparatively small house standing on the border of the Bolshevik Factory combines two diametrically opposite features: expensive materials and decorative character of Art Deco, and a wide-spaced, even somewhat brutal, facade grid that highlights a laminated attic.
The Faraday Cage
The project of the boutique apartment complex in the 1st Truzhenikov Lane is the architects’ attempt to squeeze a considerable volume into a tiny spot of land, at the same time making it look graceful and respectable. What came to their rescue was metal, stone, and curvilinear glass.
Color and Line
The new successful techniques developed by A.Len for designing a kindergarten under budget constraints: the mosaic of irregular windows and working with color.
The Union of Art and Technology
His interest for architecture of the 1930’s is pretty much the guiding star for Stepan Liphart. In his project of the “Amo” house on St. Petersburg’s Vasilyevsky Island, the architect based himself on Moscow Art Deco - aesthetically intricate and decorated in scratch-work technique. As a bonus, he developed the city block typology as an organic structure.
The Countdown
The project that Evgeniy Gerasimov and Partners developed for Moscow’s Leningrad Avenue: the tallest building in the company’s portfolio, continuing the tradition of Moscow’s Stalin architecture.
White Town
In the project that they developed for a southern region of Russia, OSA Architects use multilayered facades that create an image of seaside resort architecture, and, in the vein of the latest trends of today, mix up different social groups that the residents belong to.
​Just a Mirror for the Sun
The house that Sergey Skuratov designed in Nikolovorobinsky Alley is thought out down to the last detail. It adapts three historical facades, interprets a feeling of a complex city, is composed of many layers, and catches plenty of sunlight, from sunrises to sunsets. The architect himself believes that the main role of this house is creating a background for another nearby project of his, Art House in the Tessinsky Alley.
​Part of the Whole
On June 5, the winners of Moscow Architectural Award were announced. The winners list includes the project of a school in Troitsk for 2,100 students, with its own astronomy dome, IT testing ground, museum, and a greenhouse on the roof.
Pedagogical Architecture
Yet another project of a private school, in which Archimatika realizes the concept of aesthetic education and introduces a new tradition: combining Scandinavian and Soviet experience, turning to works of art, and implementing sustainable technologies.
​Rational Arrangement
In this article, we are examining a complex of buildings and interiors of the first stage of the project that has recently become extremely popular – the Kommunarka clinic.
​Parallel Universe
In the “Parallel House” residence that he designed in the Moscow metropolitan area, the architect Roman Leonidov created a dramatic sculptural composition from totally basic shapes – parallelepipeds, whose collision turned into an exciting show.
​Breakwater
In the Istra district of Moscow metropolitan area, the tandem of 4izmerenie and ARS-ST designed a sports complex – a monovolume that has the shape of a chamfered parallelepiped with a pointed “nose” like a ship’s bow.
​Stairway to Heaven
The project of a hotel in the settlement of Yantarny is an example of a new recreational complex typology, and a new format that unites the hotel, the business, and the cultural functions. All of this is complemented by 100% integration with nature.
​Cape of Good Hope
In this issue, we are showing all the seven projects that participated in a closed-door competition to create a concept for the headquarters of Gazprom Neft, as well as provide expert opinions on those projects.