​The Inland City

These two buildings standing on the territory of the former Rassvet factory present an example of the architects’ delicate work with the context, form, and, above all, the inner structure of the apartment building that has arguably become a unique one for the modern Moscow. The complex is already known to a certain extent in the professional community. Below we are examining it in detail.

07 October 2019

Designed by DNK ag, RASSVET LOFT*Studio is essentially the result of reconstructing a few of the buildings that formerly belonged to the Rassvet machinery building plant, situated in Moscow’s district of Presnya, almost in the center of the city. The plant is being gradually transformed; some of its buildings have been rented out almost in their original state, while buildings 34 and 20 were turned into apartments – city houses, whose sheer scale and particularly inner structure are still a novelty by Moscow standards. The project has been developing since 2014, winning numerous professional accolades, ranging from Tatlin Prize at Zodchestvo-2016 festival to being included in WAF’2019 shortlists and getting the Dezeen Prize – in the latter case, it turned out to be the only Russian project. Thus, it comes as no surprise that Rassvet Loft adorns the cover of the second monograph of DNK ag, published by Tatlin Magazine this spring – currently it has become a milestone high-profile project, admired by many architects. 

RASSVET LOFT*Studio, Building 3.20
Copyright: Photograph © DNK ag, Ilia Ivanov
RASSVET LOFT*Studio, Building 3.20. Photograph
Copyright: Photograph © DNK ag, Ilia Ivanov

We already covered the project of Building 34 – a slab of a building standing with its side end towards the pedestrian lane running through the territory of the former factory and visually divided into six similar, yet different in their details, façades, which together forms a semblance of a classic city, but without any historical elements, at the same time keeping up the scale and proportion. Building 20 is not so conspicuous – this low-rise elongated affair with two ledges used to be the factory’s maintenance building added in the Soviet times. It runs parallel to the Rastorguevsky Lane but it is situated deep inside the yard – it starts almost from the corner of Building 3.34, then makes a close pass of the “old” building of the former Shchukin museum of Russian antiquities (now the Timiryazev Biology Museum), and ends at its “new” building on the Novaya Gruzinskaya Street. Such intense involvement in the city fabric is solely explained by the situation of the original maintenance building, whose appearance, it must be said, was uniquely unassuming – but the Soviet industry gave little thought to such irrelevant considerations as monuments of architecture of the XIX century. A couple more words about the two museum buildings: the first was designed and built by Boris Freidenberg, and the second was built two years later by Adolph Erichson. The former one is pseudo-Russian style, the latter is rather neo-Russian; both can be traced back to the “brick mannerism” of the Russian early XVII century, the difference being that the former is covered with bricks and the latter with tiles; yet they are still similar. Both museum buildings make pretty obliging neighbors. But then again, according to the architects, what mattered to them was both the proximity of the Shchukin buildings, and the brick building designed by Roman Klein for the “Mur and Meriliz” factory, and the Polish cathedral designed by Thomas Bogdanovich-Dvorzhetsky standing a city block away – all these buildings ultimately defined the style of the DNK ag projects.

Meanwhile, one must note that during the Soviet times the industrial parks were actively developed, and, as a rule, new buildings had a purely utilitarian nature. The now-reconstructed buildings were part of the Sobiet development of the plant, did not have any historical or architectural value, and looked like this:

  • zooming
    RASSVET LOFT*Studio, Building 34, original view
    Copyright: Photograph © DNK ag, Ilia Ivanov
  • zooming
    Rassvet, Building 20, original view
    Copyright: Provided by DNK ag

Brick, Metal, Wood

Brick façades have won over the modern construction, replacing concrete, glass, and metal in architects’ hearts. Brick allows the architects to achieve a subtle play of the texture, enrich the building’s surfaces, uncover the “soul” of the building, yielding a wide variety of colors, mostly within the range of warm terra cotta tones, pleasing to the human eye. The brick is also the best justification for a conflict-free dialogue with the context, particularly when you are surrounded by industrial architecture or when you are building in its midst, much more so when supported by specimens of architecture of the XIX century, which can in turn be tracked down to the XVII century, yet another golden age of brick patterns. In other words, the choice of brick façades was three times inevitable: because of the nearest monuments of architecture, the immediate surroundings, and the modern preferences. The brick looks good, it is durable, and in this day and age it has taken on a status of an upmarket and expensive material. Thus, the main façade material unites both buildings with their surroundings and with each other as well, endowing them with a respectable look of a good tweed jacket.

In the large Building 34, the brick became the basis for the tonal differences between the sections, making them look a little bit like a city street with a few spots that look quite unusual for Moscow but would have been quite typical for Europe, filled with similar, yet different houses standing one next to another. On the elongated façade, the brick frames accentuate the windows, and on side ends they form textured panels that look great in slanted light and are resonant with the symbol of the complex – a striped “spot of light”, an image of the sun hanging above the entrances.

RASSVET LOFT*Studio, Building 3.20. Photograph
Copyright: Photograph © DNK ag, Ilia Ivanov

However, while in the case of the multistory 34, nuances of color and texture prevail, the relief being extremely reserved and limited by an array of bands of large frames and strokes on the side ends, Building 20 is much more reserved; it has more smooth surfaces, which makes a smaller volume look still more laconic and slightly similar to the gable rooftops of the warehouses of Hanseatic merchants. The hand-molded brick, with its oxide film glittering in the sun, looks like mélange fabric from some autumn fashion collection. Yet the texture is also suddenly there – the bricks, installed in the façade in an angular way, create a textured “velvety” surface, accentuating the house number. And, as for the vertical brick grilles combined with glass units in the bottom floors, these let in some extra light to the parking garages (yes, they are situated in the first floors) – at the same time resonating in an ensemble fashion with the façade bands of the neighboring building.

RASSVET LOFT*Studio, Building 3.20. Photograph
Copyright: Photograph © DNK ag, Ilia Ivanov

In both cases, the roofs form a simple meandering pattern of ledges and cavities, only in the larger house this line is defined by the alternation of the turrets’ heights, and in the smaller one – by the dormer windows (aka lucarnes). The roofs are made of dark-gray metal, the metallic part occupying about a third and sometimes even a half of the second building’s total height, standing out almost as far out as the bricks, and capturing the upper part of the building. The metallic coating is carefully drawn: one can only see the vertical joints; the spaces between them are neither alike nor arbitrary – they form a rhythm very much like a waltz.

RASSVET LOFT*Studio, Building 3.34
Copyright: Photograph © DNK ag, Ilia Ivanov

Metal also manifests itself in the window sashes and the balcony grilles, designed in a simple manner, yet in the same color. The building has 20 balconies of three types: railings installed in between the chamfers of the French windows; flat balconies standing out about half a meter, and a third type, ones that stand out a whole meter and a half. The French windows are to be seen from time to time, whilst the large and small balconies form a regular rhythm, which organizes and livens up the façades. The stripes of the grilles resonate with the façades of the parking garage; Building 20 is dominated by vertical strokes, which are only occasionally livened up by horizontal ones.

RASSVET LOFT*Studio, Building 3.20
Copyright: Photograph © DNK ag, Ilia Ivanov

There is less wood, yet it does show up in the key spots – for example, it marks the corner (i.e. the coziest) entrances of the building, and adorns the chamfers of the large mansards, slightly softening the rugged look of the metallic top of the building.

RASSVET LOFT*Studio, Building 3.34
Copyright: Photograph © DNK ag, Ilia Ivanov

The same light-colored wood is used in the entrance doors, which also pick up the vertical stroke theme. If we are to develop the earlier analogy with fabric, one might say that wood here takes on the function of “lining” – it is used most often in the spots where the building is more likely to interact with human beings, first of all at the entrance. Wood is the “warmest” material used in minor-scale architecture, and in the first floor its style is close to the “plank” type of design language, while in the upper floors the wooden chamfers say that one will find housing behind them, as opposed to a production facility – which, on the one hand, tactfully enhances the typology, and, on the other hand, sharpens the perception of industrial allusions, which are, of course, present in abundance in the metallic design of the upper floors.

RASSVET LOFT*Studio, Building 3.20
Copyright: Photograph © DNK ag, Ilia Ivanov

The Structure

The most interesting thing about both buildings is their structure – the architects stress. There are few non-typical building layouts in Moscow, the number of freshly designed two-level apartments gradually coming to zero. Here, on the other hand, both buildings consist predominantly of unconventional design solutions: two and three-level apartments, flats with individual exits to the street on the first floor, and apartments with little gardens, balconies, and terraces. This is not just “housing” but places where one can live and work in full accordance with the “medieval” neo-urbanism principle, turning a part of one’s apartment into an office or a workshop, and, according to the architects, the residents are already making use of this opportunity. All of these features are generally popular, and they appear from time to time, sometimes often, sometimes seldom, in various housing projects. What makes Rassvet LOFT different, however, is the fact that it is literally made of unconventional solutions, brimming with them. Naturally, such unexpected and heartwarming diversity is supported by at least two circumstances: the reconstruction status and the central city location, which implies a not-so-cheap, even though not tremendously expensive by Moscow standards, “club” or “closed-doors” housing format.

Anyway, Building 34 consists of two-level apartments 6-meters high, and open “lofts” inside each of those, in full accordance with the commandments or Moisey Ginzburg’s, only more capacious; the four top levels are joined by corridors running across the floor; the bottom ones have their own individual exists leading outdoors to the streets and little gardens. The top-floor apartments are equipped, among other things, with zenith skylights, and have terraces and fireplaces in them.

RASSVET LOFT*Studio, Building 3.34
Copyright: Photograph © DNK ag, Ilia Ivanov

Building 20 picks up on the same theme, but the composition of its constituent parts is more complex: the two-level apartments are joined by three-level townhouses, and, conversely, single-level apartments, which can be conditionally called “the usual ones”, even though they constitute a minority. What also makes the building different is the parking garage on the first floor, even though it is not present everywhere across the building – it is there in traverse volumes, and it is absent in the link between them – here the apartments of the first floors have their little gardens turned towards the street side, which is also important, particularly if you only have a quiet closed-door yard at your disposal. The outdoor parking lot is also there, and is equipped with grass paver.

Building 3.20, as we remember, is elongated, not to say lengthy, and is hidden inside the yard. One can take a look at it from the yard of Timiryazev Museum, and from the corner of the side-street – but only if you look hard enough and know for a fact that the building is there. The house is hidden from the city, or maybe even hidden inside of it; maybe this will change one day, but so far it’s a hidden gem. On the other hand, the space between this building and the building that stands along the side street is getting three small, yet very cozy yards; there architects were also able to find some place for the little gardens as well, only in the opposite side, closer to Building 34.

Back to the layout, though: it is irregular! The elongated building has two wide protrusions aimed northward (actually it is three protrusions that form the yards. Generally speaking, the layout looks like the classic Moscow estate U-shaped layout, yet with a little appendix that connects it to the 1980’s building that joins the museum from the direction of the Malaya Gruzinskaya Street, now know by the fact that it hosts a cafe from the Anderson chain. The complex layout needed to be reinterpreted, and here is how it ended up. The narrow “appendix” behind the museum contains three-level townhouses, with garages in the ground floors. The broad wings that separate the yards contain one-tier and double-tier apartments, there are corridors on the second and third floors, because only double-tier apartments open up to that level. The northern elongated part of the “lintel” between the wings has four tiers in it, the southern three. For this reason, the two-tier dwellings of the second level (which are mostly turned northward) got patios on the operated roof that allow the residents to “scoop” some sunshine from the southern side, and make up with a vengeance for the lack of light through huge windows. The only corridor that is there in the “lintel” runs on the level of the third tier, connecting those apartments with the terrace on the roof. At a first glance, the whole thing looks rather complicated, but, come to think of it, it is interesting, and it ultimately makes perfect sense; it’s not just diverse, but it’s also justified and convenient. I suddenly felt like living in an apartment with a patio; anyone renting one out on Airbnb? No? Too bad!

The roof construction, particularly if you are looking at it from above, definitely resembles solutions inherent to industrial architecture; they look like sawtooth skylights, which were popular in lighting factory workshops in the XIX and XX, and they function pretty much in the same way. There are also many skylights and large stained glass windows there with metallic frames that further enhance the loft aesthetics.

New, Yet With Roots

The very notion of reconstruction in the Russian context still remains pretty vague, even though it keeps on changing its contours. In any case, it is obvious that what we are dealing with is not the “classic” type of reconstruction of industrial architecture but more with preservation of a valuable building, albeit formally not a heritage site, with modern inclusions, which only serve to enhance its antique individuality. The original buildings could not be by any stretch of the imagination referred to the class of ones worthy of preservation; it was not even vernacular architecture but examples of cheap Soviet industrial trash construction staying strictly within the limits of its utilitarian function. Now their appearance has changed beyond recognition; Building 34 stopped being introverted and horizontal, becoming open and “verticalized”, turning into its full antithesis. Building 20 was in fact a barn, and now it got an interesting and readable “face” and image, “we are nothing, let us be all”. The reconstruction became almost transfiguration, and it would be more correct to apply this notion to the territory of the entire factory, so drastically it changed thanks to the transformation of these two buildings.

If there is one feature that describes this project best of all, it is its scale. Being dictated by the factory buildings, and having no opportunity whatsoever to grow upwards, it turned out to be quite unique by the modern Moscow standards, which adds new value to the housing spaces in it. Simply speaking, the small-scale and human-proportionate construction has a different effect on us as humans, and here a few circumstances luckily came together so that the architects were able to implement it.

Yet another important thing is the image. Considering the original state the buildings were in, they could have been interpreted in any way you liked – they could be turned to glass or covered with orange slit metal sheets; however, the architects and the client opted for brick and dark metal, making the former industrial context the “label” of the project. At the same time, the buildings themselves are not the “factory” type at all; one can see the city shooting up through the layers of industrial architecture, ever so cautiously, that, if you don’t know about it in advance, you may even miss it. Meanwhile, the houses are taking on new features, at the same time adapting those that are already there: for example, the brick frames around the windows, characteristic for Building 3.34, can be found in tenement houses in the nearby yards, while the array of the narrow and tall façades is rather a modern European novelty. Some of the yards, standing in an asymmetric array alongside the long building, are very much “Moscow”, while the multilevel apartments, terraces, and wide Dutch gable are a fresh idea. Thus, it comes as no surprise that the buildings won so many awards – they are not bright in the direct sense of the word, yet they are brimming with various interesting ideas, and look as if they were offering to the city an alternative way of development- pinpointed, creative, context-rooted, yet at the same time using a lot of modern know-how. Whether the city will actually take this path of development is, let’s be realistic, highly unlikely; maybe it will happen in some very distant future. But the very fact of implementation of these ideas looks extremely interesting and inspires much hope.

07 October 2019

Headlines now
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.
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.
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.
​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.
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
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.
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.
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”.
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”.
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.
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.
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.
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.
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.
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.
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.
​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.
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.
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.
​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.
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.
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.
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.
Three-Part Task: St. Petersburg’s Mytny Dvor
The so-called “Mytny Dvor” area lying just behind Moscow Railway Station – the market rows with a complex history – will be transformed into a premium residential complex by Studio 44. The project consists of three parts: the restoration of historical buildings, the reconstruction of the lost part of the historical contour, and new houses. All of them are harmonized with each other and with the city; axes and “beams of light” were found, cozy corners and scenic viewpoints were carefully thought out. We had a chat with the authors of the historical buildings’ restoration project, and we are telling you about all the different tasks that have been solved here.
The Color of the City, or Reflections on the Slope of an Urban Settlement
In 2022, Ostozhenka Architects won a competition, and in 2023, they developed and received all the necessary approvals for a master plan for the development of Chernigovskaya Street for the developer GloraX. The project takes into account a 10-year history of previous developments; it was done in collaboration with architects from Nizhny Novgorod, and it continues to evolve now. We carefully examined it, talked to everyone, and learned a lot of interesting things.
A Single-Industry Town
Kola MMC and Nornickel are building a residential neighborhood in Monchegorsk for their future employees. It is based on a project by an international team that won the 2021 competition. The project offers a number of solutions meant to combat the main “demons” of any northern city: wind, grayness and boredom.
A New Age Portico
At the beginning of the year, Novosibirsk Tolmachevo Airport opened Terminal C. The large-scale and transparent entrance hall with luminous columns inside successfully combines laconism with a bright and photogenic WOW-effect. The terminal is both the new façade of the whole complex and the starting point of the planned reconstruction, upon completion of which Tolmachevo will become the largest regional airport in Russia. In this article, we are examining the building in the context of modernist prototypes of both Novosibirsk and Leningrad: like puzzle pieces, they come together to form their individual history, not devoid of curious nuances and details.
A New Starting Point
We’ve been wanting to examine the RuArts Foundation space, designed by ATRIUM for quite a long time, and we finally got round to it. This building looks appropriate and impressive; it amazingly combines tradition – represented in our case by galleries – and innovation. In this article, we delve into details and study the building’s historical background as well.
Molding Perspectives
Stepan Liphart introduces “schematic Art Deco” on the outskirts of Kazan – his houses are executed in green color, with a glassy “iced” finish on the facades. The main merits of the project lie in his meticulous arrangement of viewing angles – the architect is striving to create in a challenging environment the embryo of a city not only in terms of pedestrian accessibility but also in a sculptural sense. He works with silhouettes, proposing intriguing triangular terraces. The entire project is structured like a crystal, following two grids, orthogonal and diagonal. In this article, we are examining what worked, and what eventually didn’t.