The Story of One Identity

The architectural firm Archimatika is sharing about its experience of developing a new brand image – still recognizable yet fresh and reflecting the company’s main values: humanistic character, versatility, and a systematic approach.

Interviewed by:
Alyona Kuznetsova
Translated by:
Anton Mizonov

13 December 2018

Interview

Architect:

Firm:

Archimatika https://www.archimatika.com

In two years, Archimatika will celebrate its 15th birthday. The company boasts square kilometers of built projects, as well as offices in Moscow, Kiev, and New York. Why would a company with an established reputation and a recognizable image want to change its brand identity, and how is brand identity created in this branch in general – we talked about these things with the cofounder of the company Alexander Popov and his graphic designer Sergey Mishakin.

Know Thyself

The very first logo for the company was drawn by the architects themselves. It was at that time that the uppercase lambda (Λ) appeared instead of all the “A” letters, which in actuality is not a “lambda” at all, but the roof of a house, an archetype, or one of the most basic architectural elements. Oh, and by the way, Archimatika does use the pitched roof oftentimes in its projects.

zooming — Archimatika office © Archimatika

Over the years, the company has developed its own style and its own creative method, which, a couple of years ago, the architects decided to put into theory – for themselves, for the new employees, for the clients, and for the end consumers. Alexander Popov believes that finding the answers to the questions “who are you”, “what do you want”, and “how do you want to achieve that” is absolutely crucial, well, for everything. Otherwise, the architect turns into a mindless tool in someone else’s hands, who creates a “random compilation of ideas”, or even a dangerous tool if he conceals his inner approach, which can prove inappropriate for solving this or that task.

Still, at first there were implemented projects that proceeded from the specific task, context, mood, and inspiration. Looking back at their numerous works, the architects got “stuck” for a few months, transforming all of these data into identity formation, philosophy, and a few words of their credo.

Squeezing the whole Archimatika into one category turned out to be a tough call, although there was an attempt that came really close – “human oriented architecture”. At first, the architects liked the wording but then it seemed to them too wide and too narrow at the same time. The company’s brand manager, Evgeny Timchenko proposed to use the formula: Archimatika = Human+Urban+Business. Archimatika works first of all with humans, and not with some incorporeal abstractions, at the same time making sure that the city and the company’s business are getting their benefits.

Then revolutionary changes were made to the company’s website: now the home page starts not with specific projects but from this key formula and its detailed explanation, which, at the same time, does not replace the classic menu with a catalogue. This way, the viewer inevitably gets exposed to the company’s approach.

The bravery of not being great / strong minuscules

The stages of identity formation and website reorganization were followed by the development of new graphic design. Initially, the architects planned to keep the original ΛRCHIMΛTIKΛ logo. According to Alexander Popov, these capital letters broadcast the message: we are big, we are classy, we are brave, and we are not like anyone else.

It was clear that over the years of the company’s existence the architects grew used to this spelling. This is why they asked 3Z Studio of Sergey Mishakin, Tanya Borzunova and Dmitry Verevkin to only design the corporate identity on the basis of the existing logo. Which the designers did – but they still offered a new logo, and were able to convince the architects that it conveyed the values of Archimatika much better.

According to 3Z Studio, the old spelling of ΛRCHIMΛTIKΛ was too geometric, too rigid, too authoritative, and allowing of no compromise. It makes you be always uptight, dressed in a suit and tie, and wearing a serious facial expression. All of these descriptions are in conflict with the values of the company that cares about people and their possible needs. The designers put before themselves a task of coming up with a more humane typographic treatment, without trying to suck up the public and keeping up the affinity with the old logo.

The most precious part – the Λ – remained as a very humane sign: “a roof above one’s head”, a shelter that architects give to people. The triple repetition of this character in the previous version of the logo dilutes its value – Sergey Mishakin comments – This is why the new version of this symbol is only used once – in the beginning of the word. At the same time, being a capital letter in its spirit, it keeps the height of the minuscule и and remains a lower case character in its form, this enhancing the humane character of the logo”.

The spelling was to preserve the original clarity, resonance, and the “architecture-friendly” look. A font from the Futura Bold family perfectly matched this idea: it was created by the German designer Paul Renner, influenced by De Stijl and Bauhaus. Stolzl is a minimalist font based on “pure” geometric shapes, well readable and functional. At the same time, in spite of the constructivist ideas, the lowercase “futuras” remind the grotesques. This font has already become a time-tested classic – from time to time it was used by such giants as IKEA, Volkswagen and other iconic brands.

For the trademark patterns, the designers are using the same uppercase Λ but in three versions: the width of the characters and the spaces between them are subjugated to a system based on the Fibonacci sequence. The pattern can be continuous or with spaces, depending on the context. This numerical game is also a response to the “architectural” client.

Alexander Popov shares that initially the new logo got an “effect of overturned chairs” but it gradually grew on the architects: “it works, and it truly expressed our philosophy, our inner world, and it shows what makes us different”.

Acceptance is a matter of time

Not everyone, however, was ready to adopt these “humanistic ideas”. Few people, for example, like their name to be written on the business card starting with a lowercase letter. This idea was also borrowed from Bauhaus: they decided that giving up the uppercase letters saved up an hour on an average when making documents. But then again, it only holds true for the German language, in which every noun is capitalized.

At first, the Russian and American partners of Archimatika rejected the new brand identity with various degrees of finality. Our partner, Mick Verret believes that a company with such a logo does not look like company that counts on much: “There are fashionable trends, and there is business that is ultimately all about developing, expanding, fighting and winning. The larger the teeth, the larger the letters, and there's nothing to be ashamed of”.

Alexander Popov has a different opinion, though: “Archimatika is not just about business – it’s first of all about architecture. The purpose of our branch in the USA is conveying the “European feel”, and the rules are set by the humanistic values and the logic of city planning. That’s why Archimatika needn’t be copying the style of American corporations, with which it competes”.

Currently, the team of architects and designers is working on defining the boundaries of the proposed style so that each of the employees could find a meaning that’s specifically resonant with him: instead of just one canonic spelling, there will be a certain “coordinate system”, within the limits of which “deviations” are allowed. As Alexander Popov says, “we are so controversial that you cannot bring us to one common denominator without bumping into graphic contradictions”. And there is also a fair share of humanism about this confession.

Architect:

Firm:

Archimatika https://www.archimatika.com

13 December 2018

Headlines now

Inverted Fortress

This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.

The Paradox of the Temporary

The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.

The Forum of Time

The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.

Mirrors Everywhere

The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.

Report

The Steppe Is Full of Beauty and Freedom

The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.

The Snowstorm Fish

The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.

The Mirror of Your Soul

We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.

Part of the Ideal

In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.

Object

The Fortress by the River

ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.

Object

In the Rhombus Grid

Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.

Object

Generational Connection

Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.

Object

Three Dimensions of the City

We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived

Object

New “Flight”

Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.

Object

The Yauza Towers

In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.

Object

Architecture and Leisure Park

For the suburban hotel complex, which envisages various formats of leisure, the architectural company T+T Architects proposed several types of accommodation, ranging from the classic “standard” in a common building to a “cave in the hill” and a “house in a tree”. An additional challenge consisted in integrating a few classic-style residences already existing on this territory into the “architectural forest park”.

Overview

The U-House

The Jois complex combines height with terraces, bringing the most expensive apartments from penthouses down to the bottom floors. The powerful iconic image of the U-shaped building is the result of the creative search for a new standard of living in high-rise buildings by the architects of “Genpro”.

Object

Black and White

In this article, we specifically discuss the interiors of the ATOM Pavilion at VDNKh. Interior design is a crucial component of the overall concept in this case, and precision and meticulous execution were highly important for the architects. Julia Tryaskina, head of UNK interiors, shares some of the developments.

send.project

The “Snake” Mountain

The competition project for the seaside resort complex “Serpentine” combines several typologies: apartments of different classes, villas, and hotel rooms. For each of these typologies, the KPLN architects employ one of the images that are drawn from the natural environment – a serpentine road, a mountain stream, and rolling waves.

send.project

Opal from Anna Mons’ Ring

The project of a small business center located near Tupolev Plaza and Radio Street proclaims the necessity of modern architecture in a specific area of Moscow commonly known as “Nemetskaya Sloboda” or “German settlement”. It substantiates its thesis with the thoroughness of details, a multitude of proposed and rejected form variants, and even a detailed description of the surrounding area. The project is interesting indeed, and it is even more interesting to see what will come of it.

Object

Feed ’Em All

A “House of Russian Cuisine” was designed and built by KROST Group at VDNKh for the “Rossiya” exhibition in record-breaking time. The pavilion is masterfully constructed in terms of the standards of modern public catering industry multiplied by the bustling cultural program of the exhibition, and it interprets the stylistically diverse character of VDNKh just as successfully. At the same time, much of its interior design can be traced back to the prototypes of the 1960s – so much so that even scenes from iconic Soviet movies of those years persistently come to mind.

Object

The Ensemble at the Mosque

OSA prepared a master plan for a district in the southern part of Derbent. The main task of the master plan is to initiate the formation of a modern comfortable environment in this city. The organization of residential areas is subordinated to the city’s spiritual center: depending on the location relative to the cathedral mosque, the houses are distinguished by façade and plastique solutions. The program also includes a “hospitality center”, administrative buildings, an educational cluster, and even an air bridge.

send.project

Pargolovo Protestantism

A Protestant church is being built in St. Petersburg by the project of SLOI architects. One of the main features of the building is a wooden roof with 25-meter spans, which, among other things, forms the interior of the prayer hall. Also, there are other interesting details – we are telling you more about them.

Object

The Shape of the Inconceivable

The ATOM Pavilion at VDNKh brings to mind a famous maxim of all architects and critics: “You’ve come up with it? Now build it!” You rarely see such a selfless immersion in implementation of the project, and the formidable structural and engineering tasks set by UNK architects to themselves are presented here as an integral and important part of the architectural idea. The challenge matches the obliging status of the place – after all, it is an “exhibition of achievements”, and the pavilion is dedicated to the nuclear energy industry. Let’s take a closer look: from the outside, from the inside, and from the underside too.

send.project

Rays of the Desert

A school for 1750 students is going to be built in Dubai, designed by IND Architects. The architects took into account the local specifics, and proposed a radial layout and spaces, in which the children will be comfortable throughout the day.

Object

The Dairy Theme

The concept of an office of a cheese-making company, designed for the enclosed area of a dairy factory, at least partially refers to industrial architecture. Perhaps that is why this concept is very simple, which seems the appropriate thing to do here. The building is enlivened by literally a couple of “master strokes”: the turning of the corner accentuates the entrance, and the shade of glass responds to the theme of “milk rivers” from Russian fairy tales.

send.project

The Road to the Temple

Under a grant from the Small Towns Competition, the main street and temple area of the village of Nikolo-Berezovka near Neftekamsk has been improved. A consortium of APRELarchitects and Novaya Zemlya is turning the village into an open-air museum and integrating ruined buildings into public life.

Object

Towers Leaning Towards the Sun

The three towers of the residential complex “Novodanilovskaya 8” are new and the tallest neighbors of the Danilovsky Manufactory, “Fort”, and “Plaza”, complementing a whole cluster of modern buildings designed by renowned masters. At the same time, the towers are unique for this setting – they are residential, they are the tallest ones here, and they are located on a challenging site. In this article, we explore how architects Andrey Romanov and Ekaterina Kuznetsova tackled this far-from-trivial task.

Object

In the spirit of ROSTA posters

The new Rostselmash tractor factory, conceptualized by ASADOV Architects, is currently being completed in Rostov-on-Don. References to the Soviet architecture of the 1920’s and 1960’s resonate with the mission and strategic importance of the enterprise, and are also in line with the client’s wish: to pay homage to Rostov’s constructivism.

send.project

The Northern Thebaid

The central part of Ferapontovo village, adjacent to the famous monastery with frescoes by Dionisy, has been improved according to the project by APRELarchitects. Now the place offers basic services for tourists, as well as a place for the villagers’ leisure.

send.project

Brilliant Production

The architects from London-based MOST Architecture have designed the space for the high-tech production of Charge Cars, a high-performance production facility for high-speed electric cars that are assembled in the shell of legendary Ford Mustangs. The founders of both the company and the car assembly startup are Russians who were educated in their home country.

​The Story of One Identity

The architectural firm Archimatika is sharing about its experience of developing a new brand image – still recognizable yet fresh and reflecting the company’s main values: humanistic character, versatility, and a systematic approach.

The Story of One Identity