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​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.

13 December 2018
Interview
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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.

Archimatika office © Archimatika
"Comfort Town" residential area. Construction, 2015 © Archimatika


A residential complex on the Stryiskaya Street in Lviv. Park. Project, 2016 © Archimatika


Archimatika office © Archimatika


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Archimatika office © Archimatika


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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.

"Respublika" shopping and entertainment center. The master plan © Archimatika


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.

The community center in the residential complex "Respublika" © Archimatika


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.

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A page of Archimatika corporate website


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.

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A page of Archimatika corporate website


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 previous Archimatika logo © Archimatika


The new logo. Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


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.

Archimatika design guide 2018 © 3Z Studiob


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.

Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


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.

Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


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”.

Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


Archimatika design guide 2018 © 3Z Studio


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.
Archimatika design guide 2018 © 3Z Studio
Archimatika design guide 2018 © 3Z Studio
Archimatika design guide 2018 © 3Z Studio


13 December 2018

Headlines now
“Strangers” in the City
We asked Alexander Skokan for a comment on the results of 2025 – and he sent us a whole article, moreover one devoted to the discussion we recently began on the “appropriateness of high-rises” – or, more broadly speaking, “contrasting insertions into the urban fabric”. The result is a text that is essentially a question: why here? Why like this?
Dmitry Ostroumov: “To use the language of alchemy, we are involved in the process of “transmutation...
What we ended up having was an extremely unusual conversation with Dmitry Ostroumov. Why? At the very least, because he is not just an architect specializing in the construction of Orthodox churches. And not just – which is an extreme rarity – a proponent of developing contemporary stylistics within this still highly conservative field. Dmitry Ostroumov is a Master of Theology. So in addition to the history and specifics of the company, we speak about the very concept of the temple, about canon and tradition, about the living and the eternal, and even about the Russian Logos.
A Glazed Figurine
In searching for an image for a residential building near the Novodevichy Convent, GAFA architects turned to their own perception of the place: it evoked associations with antiquity, plein-air painting, and vintage artifacts. The two towers will be entirely clad in volumetric glazed ceramic – at present, there are no other buildings like this in Russia. The complex will also stand out thanks to its metabolic bay-window cells, streamlined surfaces, a ceremonial “hotel-style” driveway, and a lobby overlooking a lush garden.
A Knight’s Move via the Cour d’Honneur
Intercolumnium Architects presented to the City Planning Council a residential complex project that is set to replace the Aquatoria business center on Vyborgskaya Embankment. Experts praised the overall quality of the work, but expressed reservations about the three cour d’honneurs and suggested softening the contrast between the facades facing the embankment and the Kantemirovsky Bridge.
A Small Country
Mezonproekt is developing a long-term master plan for the MEPhI campus in Obninsk. Over the next ten years, an enclave territory of about 100 hectares, located in a forest on the northern edge of the city, is set to transform into a modern center for the development of the nuclear energy sector. The plan envisions attracting international students and specialists, as well as comprehensive territorial development: both through the contemporary realization of “frozen” plans from the 1980s and through the introduction of new trends – public spaces, an aquapark, a food court, a school, and even a nuclear medicine center. Public and sports facilities are intended to be accessible to city residents as well, and the campus is to be physically and functionally connected to Obninsk.
Pearl Divers
GAFA has designed an apartment complex for Derbent intended to switch people from a work mode to a resort mindset – and to give the surrounding area a much-needed jolt. The building offers two distinct faces: restrained and laconic on the city side, and a lushly ornate façade facing the sea. At the heart of the complex, a hidden pearl lies – an open-air pool with an arch, offering views of a starry sky, and providing direct access to the beach.
A Satellite Island
The Genplan Institute of Moscow has prepared a master plan for the development of the Sarpinsky and Golodny island system, located within the administrative boundaries of Volgograd and considered among the largest river islands in Russia. By 2045, the plan envisions the implementation of 15 large-scale investment projects, including sports and educational clusters, a congress center with a “Volgonarium”, a film production cluster, and twenty-one theme parks. We explain which engineering, environmental, and transportation challenges must be addressed to turn this vision into reality. The master plan solutions have already been approved and incorporated into the city’s general development plan.
The Amber Gate
The Amber City residential complex is one of the redevelopment projects in the former industrial area located beyond Moscow’s Third Ring Road near Begovaya metro station. Alexey Ilyin’s studio proposed an original master plan that transformed two clusters of towers into ceremonial propylaea, gave the complex a recognizable silhouette, and established visual connections with new high-rise developments on both right and left – thus integrating it into the scale of the growing metropolis. It is also marked by its own futuristic stylistic language, based on a reinterpreted streamline aesthetic.
A Theater Triangle
The architectural company “Chetvertoe Izmerenie” (“Fourth Dimension”) has developed the design for a new stage of the Magnitogorsk Musical Theater, rethinking not only theater architecture but also the role of the theater in the contemporary city.
Aleksei Ilyin: “I approach every task with genuine interest”
Aleksei Ilyin has been working on major urban projects for more than 30 years. He has all the necessary skills for high-rise construction in Moscow – yet he believes it’s essential to maintain variety in the typologies and scales represented in his portfolio. He is passionate about drawing – but only from life, and also in the process of working on a project. We talk about the structure and optimal size of an office, about his past and current projects, large and small tasks, and about creative priorities.
​A Golden Sunbeam
A compact brick-and-metal building in the growing Shukhov Park in Vyksa seems to absorb sunlight, transform it into yellow accents inside, and in the evening “give it back” as a warm golden glow streaming from its windows. It is, frankly, a very attractive building: both material and lightweight at the same time, with lightness inside and materiality outside. Its form is shaped by function – laconic, yet far from simple. Let’s take a closer look.
Architecton Awards
In 2025, the jury of the Architecton festival reviewed the finalist projects through live, open presentations held right in the exhibition hall – a rather engaging performance, and something rarely seen among Russian awards. It would be great if “Zodchestvo” adopted this format. Below, we present all the winning projects, including four special nominations.
Garden of Knowledge
UNK architects and UNK design created the interiors of the Letovo Junior campus, working together with NF Studio, which was responsible for developing the educational technology that takes into account the needs and perception of younger and middle school children.
The Silver Skates
The STONE Kaluzhskaya office quarter is accompanied by two residential towers, making the complex – for it is indeed a single ensemble – well balanced in functional terms. The architects at Kleinewelt gave the residential buildings a silvery finish to match the office blocks. How they are similar, how they differ, and what “Silver Skates” has to do with it – we explore in this article.
On the Dynastic Trail
The houses and townhouses of the “Tsarskaya Tropа” (“Czar’s Trail”) complex are being built in the village of Gaspra in Crimea – to the west and east of the palaces of the former grand-ducal residence “Ai-Todor”. One of the main challenges for the architects at KPLN, who developed the project, was to respond appropriately to this significant neighboring heritage. How this influenced the massing, the façades, and the way the authors work with the terrain is explored in our article.
A New Path
The main feature of the Yar Park project, designed by Sergey Skuratov for Kazan, is that it is organized along the “spine” of a multifunctional mall with an impressive multi-height atrium space in its middle. The entire site, both on the city side and the Kazanka River embankment, is open to the public. The complex is intended not to become “yet another fenced enclave” but, as urban planners say, a “polycenter” – a new point of attraction for the whole of Kazan, especially its northern part, made up of residential districts that until now have lacked such a vibrant public space. It represents a new urban planning approach to a high-density mixed-use development situated in the city center – in a sense, an “anti-quarter”. Even Moscow, one might say, doesn’t yet have anything quite like it. Well, lucky Kazan!
Beneath the Azure Sky
A depository designed by Studio 44 will soon be built in Kenozersky National Park to preserve and display the so-called “heavens” – ceiling structures characteristic of wooden churches in the Russian North, painted with biblical scenes. For each of these “heavens”, the architects created a volume corresponding in scale and dimensions to the original church interior. The result is a honeycomb-like composition, with modules derived directly from the historic monuments themselves, allowing visitors to view the icons from the historically accurate angle – from below, looking upward. How exactly this works is the subject of our story.
​The Power of Lines
The building at the very beginning of New Arbat is the result of long deliberations over how to replace the former House of Communication. Contemporary, dynamic, and even somewhat zoomorphic in character, it is structured around a large diagonal grid. The building has become a striking accent both in the perspective of the former Kalinin Avenue and in the panorama of Arbat Square. Yet, unfortunately, the original concept was not fully realized. In 2020, the Moscow ArchCouncil approved a design featuring an exoskeleton – an external load-bearing structure, which eventually turned into a purely decorative element. Still, the power of the supergraphic “holds” the building, giving it the qualities of a new urban landmark with iconic potential. How this concept took shape, what unexpected associations might underlie the grid’s form, and why the exoskeleton was never built – all this is explored in our article.
Resort on the Kama River
Wowhaus has developed a project for the reconstruction of Korabelnaya Roshcha (“Mast Grove”), a wellness resort located on the banks of the Kama River.
Nests in Primorye
The eco-park project “Nests”, designed by Aleksey Polishchuk and the company Power Technologies, received first prize at the Eco-Coast 2025 festival, organized by the Union of Architects of Russia. For a glamping site in Filinskaya Bay, the authors proposed bird-shaped houses, treehouses, and a nest-shaped observation platform, topping it all with an entrance pavilion executed in the shape of an owl.
The Angle of String Tension
The House of Music, designed by Vladimir Plotkin and the architects of TPO Reserve, resembles a harp, and when seen from above, even a bass clef. But if only it were that simple! The architecture of the complex fuses two distinct expressive languages: the lattice-like, transparent, permeable vocabulary of “classical” modernism and the sculptural, ribbon-like volumes so beloved by today’s neo-modernism. How it all works – where the catharsis lies, which compositional axes underpin the design, where the project resembles Zaryadye Concert Hall and where it does not – read in the article below.
How Historic Tobolsk Becomes a Portal to the Future
Over the past decade, the architectural company Wowhaus has developed urban strategies for several Russian cities – Vyksa, Tula, and Nizhnekamsk, to name but a few. Against this backdrop, the Tobolsk master plan stands out both for its scale – the territory under transformation covers more than 220 square kilometers – and for its complexity.
St. Petersburg vs Rome
The center of St. Petersburg is, as we know, sacred – but few people can say with certainty where this “sacred place” actually begins and ends. It’s not about the formal boundaries, “from the Obvodny Canal to the Bolshaya Nevka”, but about the vibe that feels true to the city center. With the Nevskaya Ratusha complex – built to a design that won an international competition – Evgeny Gerasimov and Sergei Tchoban created an “image of the center” within its territory. And not so much the image of St. Petersburg itself, as that of a global metropolis. This is something new, something that hasn’t appeared in the city for a long time. In this article, we study the atmosphere, recall precedents, and even reflect on who and when first called St. Petersburg the “new Rome”. Clearly, the idea is alive for a reason.
On the Wave
The project of transforming the river port and embankment in the city of Cheboksary, developed by the ATRIUM Architects, involves one of the city’s key areas. The Volga embankment is to be turned into a riverside boulevard – a multifunctional, comfortable, and expressive space for work and leisure activities. The authors propose creating a new link with the city’s main Krasnaya (“Red”) Square, as well as erecting several residential towers inspired by the shape of the traditional national women’s headdress – these towers are likely to become striking accents on the Volga panorama.
Valery Kanyashin: “We Were Given a Free Hand”
The Headliner residential complex, the main part of which was recently completed just across from Moscow City, is a kind of neighbor to the MIBC that doesn’t “play along” with it. On the contrary, the new complex is entirely built on contrast: like a city of differently scaled buildings that seems to have emerged naturally over the past 20 years – which is a hugely popular trend nowadays! And yet here – perhaps only here – such a project has been realized to its full potential. Yes, high-rises dominate, but all these slender, delicate profiles, all these exciting perspectives! And most importantly – how everything is mixed and composed together... We spoke with the project’s leader Valery Kanyashin.
​The Keystone
Until quite recently, premium residential and office complexes in Moscow were seen as the exclusive privilege of the city center. Today the situation is changing: high-quality architecture is moving beyond the confines of the Third Ring Road and appearing on the outskirts. The STONE Kaluzhskaya business center is one such example. Projects like this help decentralize the megalopolis, making life and work prestigious in any part of the city.
Perpetuum Mobile
The interior of the headquarters of Natsproektstroy, created by the IND studio team, vividly and effectively reflects the client’s field of activity – it is one of Russia’s largest infrastructure companies, responsible for logistics and transport communications of every kind you can possibly think of.
Water and Light
Church art is full of symbolism, and part of it is truly canonical, while another part is shaped by tradition and is perceived by some as obligatory. Because of this kind of “false conservatism”, contemporary church architecture develops slowly compared to other genres, and rarely looks contemporary. Nevertheless, there are enthusiasts in this field out there: the cemetery church of Archangel Michael in Apatity, designed by Dmitry Ostroumov and Prokhram bureau, combines tradition and experiment. This is not an experiment for its own sake, however – rather, the considered work of a contemporary architect with the symbolism of space, volume, and, above all, light.