По-русски

​The Factory Formula

Designed by Alexandra Kuzmina, Ilia Mashkov, and Andrey Kolpikov, this house within ZILART residential complex seems to solve the eternal struggle of vertical versus horizontal, bringing the controversy to a minimum. The house is reminiscent of this factory’s golden age of the 1930’s.

24 June 2019
Object
mainImg

Lot №4 is a part of the first stage of ZILART, the grand-scale housing project of LSR company curated by Yuri Grigoryan, who, as is known, defined the master plan as well as the design code of the construction on this formerly automotive peninsula. The design of the first stage of each of the city blocks was commissioned to one reputed architectural company. The lot of “Mezonproekt” is situated on the north border of the complex that coincides with the Likhachev Avenue. Counting from the Moskva River, it is the third behind the buildings designed by Sergey Skuratov and Evgeniy Gerasimov, lying before the city block designed by Sergey Tchoban. Diagonally, its neighbors are the lots designed by Urbis and Meganom. The nearest neighbor from the inner south side is the building designed by “Tsimailo, Lyashenko and Partners”: the architects of Mezonproekt frequently met with its authors discussing the insolation, the color, and the height of the buildings. As a result, an interesting volumetric dialogue appeared: the low-rise houses are placed alongside each other, mutually complementing each other and forming the low-rise construction front along the Shchuseva Street, while the 14-story towers of the two lots are echoing one another.

ZILART housing complex (Lot #4)
Copyright: © Mezonproekt
  • zooming
    ZILART housing complex (Lot #4). Location plan
    Copyright: © Mezonproekt
  • zooming
    ZILART housing complex (Lot #4). Master plan
    Copyright: © Mezonproekt


Yet another specification was the design code that regulated the city block planning, the number of floors, the height of the first floors and their public function. The code also defines the façade coating materials: 70 percent brick, 40 percent other materials and colors: red, white, and shades of gray: dark-colored window transoms. As for the brick, LSR group manufactures it at its own production facility; for ZILART it’s always designer brick, custom-produced by the sketches and requirements from the architects, for the unique texture of each of the lots.

Mezonproekt proposed a solution that was laconic to the point of brutal. The architects selected two kinds of bricks: one dark engobed brick with a glittering surface that reflects the sky, changing color from black-brown to bluish. The other was neutral gray, rugged and looking like sandstone. Together they create a grisailles effect of a sepia hue, like an old faded photograph or an old newsreel. The tone is neutral, even dark.

  • zooming
    1 / 8
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    2 / 8
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    3 / 8
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt
  • zooming
    4 / 8
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt
  • zooming
    5 / 8
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt
  • zooming
    6 / 8
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt
  • zooming
    7 / 8
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt
  • zooming
    8 / 8
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt


The third material will be ceramic granite: panels with a surface that looks like Corten steel, like old factory metal. This is the first analogy with ZIL. On the outside, all of the piers of the tall 6-meter high first floor consist of two “bellows” of such rusty-looking material: the bottom one slightly higher, the top one slightly shorter. The zigzagged line is deliberately broken to create an impression that the building is being supported by two belts of some kind of mechanism. At the corners, the intersections become more prominent, and the impression of an old apparatus that once came to a grinding halt but now woke up to support the weight of the house, is strengthened even more.

  • zooming
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru


The “factory” allusions are supported by overnangs: their broad and short blocks with a concave surface backlit at nights look like hot metal molds.

  • zooming
    1 / 3
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    2 / 3
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    3 / 3
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt


In spite of its certain brutality, this theme is akin to window shop design, which requires either neutrality or some bold statement. Let us note that it is resonant with the modern context of ZILART: Corten steel covers the bottom floors and the “tail” of the comet house #1; a Corten zigzag is also to be seen in the inner building of Lot 2. Lot#4 continues the “factory” theme set by the architect’s colleague, Sergey Skuratov.

The third part of reminiscences about ZIL is to be found inside, and it has a totally graphic character; ceramic panels that display truck vividly remind not only about the factory, but also about Stalin metro stations or the postwar VDNKh exhibition.

  • zooming
    1 / 6
    ZILART housing complex (Lot #4): ceramic panels in the entrance areas
    Copyright: © Mezonproekt
  • zooming
    2 / 6
    ZILART housing complex (Lot #4): the ceramic panel in the entrance areas
    Copyright: © Mezonproekt
  • zooming
    3 / 6
    ZILART housing complex (Lot #4): the ceramic panels in the entrance areas
    Copyright: © Mezonproekt
  • zooming
    4 / 6
    ZILART housing complex (Lot #4): the ceramic panels in the entrance areas
    Copyright: © Mezonproekt
  • zooming
    5 / 6
    ZILART housing complex (Lot #4): the ceramic panel in the entrance areas
    Copyright: © Mezonproekt
  • zooming
    6 / 6
    ZILART housing complex (Lot #4): the ceramic panels in the entrance areas
    Copyright: © Mezonproekt


Let’s get back outside, however, and raise our gaze. Using two shades of color, the architects act a play dedicated to interrelation between the vertical and horizontal, two main antagonist themes of the architecture of the XX century. The horizontal is to some extent known as the manifesto of avant-garde architecture, like a steam engine tearing down the track, a symbol of ultimate freedom. At the same time, the horizontal is also a characteristic feature of a metallurgical shop, a rolling mill or an assembly line – it’s just not practical to place such things into any kind of tower. The vertical, on the other hand, is a technique that belongs with Art Deco, the antagonists of avant-garde. In the XX century, this became a standard practice: once modernism prevails, the buildings become elongated, their windows turning into “ribbon” ones or at least rectangular, lying on the long side. Once they get tired of modernism, the vertical growth of the towers is supported by pillars, the windows stringing up like a guitar string.

And, while in the XX century the vertical and the horizontal are waging trench warfare, alternately prevailing, today their struggle is more and more often becomes the subject for reflection. So the architects of Mezonproekt gave a chance to speak to both of them. Their scheme explains it all: one 14-story tower, at the corner of the Golosova and Kandinskogo Streets (sic, the names of the ZILART streets will not let us forget about the art of the XX century) – asserts the vertical. The seven-story building on the Shchusev Street cultivates the horizontal, just as the two single-tier buildings that close the contour left and right of it. The house on the Likhachev Avenue combines both themes, the seven bottom floors being subjugated to the horizontal, and the higher floors being vertical.

  • zooming
    1 / 3
    ZILART housing complex (Lot #4). Axonometric draft
    Copyright: © Mezonproekt
  • zooming
    2 / 3
    ZILART housing complex (Lot #4). Facade. View 1
    Copyright: © Mezonproekt
  • zooming
    3 / 3
    ZILART housing complex (Lot #4). Facade. View 3
    Copyright: © Mezonproekt


The vertical tower vividly reminds us about the 1930’s, and about of the State Duma building, as well as about many American (particularly Chicago) examples. A characteristic detail – windows grouped in vertical pairs and divided by a thin metallic lintel – leave no doubt that what we are seeing is Chicago. We are brought back to contemporary by a bay window that asymmetrically embraces the corner – two thirds at the bottom, one third at the top – unobtrusively reminding the observers about the number of the current century so as stop us from being carried away by allusions.

  • zooming
    1 / 7
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    2 / 7
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    3 / 7
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    4 / 7
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    5 / 7
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    6 / 7
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    7 / 7
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru


In the horizontal building, the stripes of the flutes make a 90-degree turn and connect the windows with their strokes, highlighting the “ribbon” direction. This Is a technique that can be traced back to the 1960’s-1980’s just as the zigzag of the stripes between the floors. The façade at once becomes volumetric and sculptural; it gets a clear rhythm and a prominent resemblance with the modernist interpretation of the horizontal. Upwards grow two dark flattened floors similar to the neighboring vertical tower – they can be interpreted as a buildup or as the nucleus of the house, surrounded by a large belt of light-colored brick.

  • zooming
    1 / 3
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    2 / 3
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    3 / 3
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru


Thus, two essentially opposite techniques, belonging one to Art Deco and one to modernism, are brought to one common denominator: a simple relief technique of the “strings” of the stripes. It looks as though the architects were deliberately showing that the heated discussion of the XX century was essentially the fight of Swift’s Lilliput and Blefuscu. And, if we are to reach a high level of generalization, we will be able to add and subtract them, like in a mathematical formula.

And addition is exactly what takes place in the third building: at the bottom, the grooves are horizontal, and they belt the building; higher up, after the seventh floor, they are vertical, like two strokes of the plus sign. The entire façade is subjugated to their rigorous framework. In the upper part the vertical is supported by glass-and-metal “capsules” of the bay windows that look like elevators – it seems, especially if one is looking from below, that they are frozen in mid-motion, and are about to slide up or down. An interesting way to solve the problem of the bay windows looking like a giant thermometer (a common problem for high-rise buildings) was to turn them into a part of the building’s narrative. The bay windows also become an addition to the floor space of the apartments: they stand out pretty far, about two meters from the surface of the inside wall, adding some variety and serving as “skylights” thanks to the triangular shape of their ledges.

  • zooming
    1 / 11
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    2 / 11
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    3 / 11
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    4 / 11
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    5 / 11
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt
  • zooming
    6 / 11
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    7 / 11
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    8 / 11
    ZILART housing complex (Lot #4). Facade. View 5
    Copyright: © Mezonproekt
  • zooming
    9 / 11
    ZILART housing complex (Lot #4). Facade fragment
    Copyright: © Mezonproekt
  • zooming
    10 / 11
    ZILART housing complex (Lot #4). Typical floor. Building A.
    Copyright: © Mezonproekt
  • zooming
    11 / 11
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt


It must be noted that the building that overlooks the Likhachev Avenue had a lot more plastique about in the original sketches, and was essentially a stack of “bellow” ribbons composed from asymmetric triangular bay windows. So, very much in a steampunk fashion, the entire house looks like a sculpture of some frozen mechanism, a giant truck. Actually, the zigzag that belts the 7-story building and the triangular bay windows are echoes of that shape, its remnants remaining after its considerable “purge” and “pacifying” by parallel and perpendicular lines.

  • zooming
    1 / 4
    ZILART housing complex (Lot #4). Sketch 3
    Copyright: © Mezonproekt
  • zooming
    2 / 4
    ZILART housing complex (Lot #4). Sketch 2
    Copyright: © Mezonproekt
  • zooming
    3 / 4
    ZILART housing complex (Lot #4). Sketch 1
    Copyright: © Mezonproekt
  • zooming
    4 / 4
    ZILART housing complex (Lot #4). Sketch 4
    Copyright: © Mezonproekt


And now the lines of the main narratives of verticals and horizontals get ornamental additions here and there: sometimes these are strokes on a side wall of the tower, sometimes these are ornamental grilles of the ventilation systems (vertical and horizontal waves alternate in them) – this ornament became the symbol of the building; it is repeated above the entrances as well.

  • zooming
    1 / 5
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    2 / 5
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    3 / 5
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    4 / 5
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt
  • zooming
    5 / 5
    ZILART housing complex (Lot #4)
    Copyright: © Mezonproekt


The landscaped yard with laconic chamfers in a frame of flowerbeds and ostentatiously tall backs of the wooden benches is only open in one place, from the side of the Golosova Street. Here it closed by a lattice gate and a door. According to the master plan, the Golosova and Kandinskogo streets, which surround Lot #4 from all sides – are pedestrian promenades, only accessible to emergency vehicles; right now wooden benches are installed here, as well as lawns with pine trees. The Shchusev Street from the east side is “inner automotive”; the Likhachev Avenue, which runs in the stead of a former in-factory drive, is a broad thoroughfare and a borderline of ZILART. In other words, it’s pretty quiet outside, and you can go for pleasant walks stepping out of the yard. However, the authors also provided still another route: stepping from the little door, you can get into the yard of the neighboring building designed by Evgeniy Gerasimov, from where you will be able to exit left, to the Kandinskogo Street. That is, of course, if the wickets are open – or are accessible to the residents by key – this will be yet another way to achieve the cohesiveness of space and improving its urban quality and transparency.

  • zooming
    ZILART housing complex (Lot #4)
    Copyright: Photograph: Archi.ru
  • zooming
    ZILART housing complex (Lot #4). Project
    Copyright: © Mezonproekt


The plans and locations of the apartments are mostly traditional, not the Euro or studio type; they are designed based on the idea that even within a family a person needs a space of his or her own. Single-room apartments start from 42 square meters, and a 48-sqm apartment even has a wardrobe. The two-room apartments are often large, 70+ square meters, and they have two bathrooms (which is still a rare thing by Russian standards), like 3 and 4-room apartments do, the size of which being about 120 square meters. There are four or five apartments per landing. The numbers of the hallways are laid out in bricks from the yard side and are clearly visible.

  • zooming
    1 / 7
    Copyright: © Mezonproekt. Plan of the 1st floor
    Copyright: © Mezonproekt
  • zooming
    2 / 7
    ZILART housing complex (Lot #4). Plan of the – 1st floor
    Copyright: © Mezonproekt
  • zooming
    3 / 7
    ZILART housing complex (Lot #4). Section view 1-1
    Copyright: © Mezonproekt
  • zooming
    4 / 7
    ZILART housing complex (Lot #4). Section view 2-2
    Copyright: © Mezonproekt
  • zooming
    5 / 7
    ZILART housing complex (Lot #4). Typical floor. Building B.
    Copyright: © Mezonproekt
  • zooming
    6 / 7
    ZILART housing complex (Lot #4). Typical floor. Building B.
    Copyright: © Mezonproekt
  • zooming
    7 / 7
    ZILART housing complex (Lot #4). Apartment interior
    Copyright: © Mezonproekt


In comparison to the neighboring ZILART houses, Lot #4 is less bright and is more monochrome. It looks as though it were holding a pause, withdrawing into the world of black-and-white movies, into the reminiscences of the factory’s golden age. There were two golden ages, in fact; the industrialization of the thirties – even though the factory appeared in the stead of the Tyufeleva Grove still in 1916, the factory boomed in 1930-1931, when the nation’s first assembly line was launched. The second golden age was in the sixties and seventies, the time of “brutal style”, when the selfless country was building itself anew after the war. Generally speaking, the narrative of the building is clearly read from its architecture: the vertical tower signifies the first golden age, the time of Art Deco and constructivism, even parallels with Chicago are appropriate because in the 1930’s the plant was modernized by an American license. The horizontal building clearly symbolizes the 1960’s-1970’s, the time of the thaw, and also the time when ZIL manufactured thousands of trucks a year, plus refrigerators. The third tower add up the two themes. The house becomes a monument to the plant.

On the other hand, let us remember that Mezonproekt is a company, one of whose specialties is the modern interpretation of Art Deco. This is basically it comes as no surprise that the architects decided to base their scenario on a tower that refers to the thirties. However, the solution turned out to be quite different: much less detailed, simple and at some places even brutal. The building even looks great with the dust of the yet-uncleaned efflorescence – an interesting solution. It definitely fulfilled its task, adding to the predetermined scheme a little bit of the author’s statement.

24 June 2019

Headlines now
The Copper Mirror
The varied-toned sheen of “unsealed” copper, painterly streaks and fingerprints, exposed concrete, and the unusual proportions – when you study the ZILART Museum building by Sergei Tchoban and SPEECH architects, there is plenty to talk about. However, it seems to us that the most interesting thing is how the museum’s composition responds to the realities of the district itself. The residential district has been realized as an open-air exhibition of façade statements by contemporary architects – but without public access to the inner courtyards of the blocks. This building – that is, the museum – is exactly the opposite: on the outside, it is deliberately restrained, while inside it shines spectacularly, creating its own sunbeams in any weather.
“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.