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​The Stereo World of Engineer Shukhov

Until January 19, the Museum of Architecture will host the retrospective exhibition featuring the legacy of the outstanding engineer Vladimir Shukhov – a symbiosis of tremendous research work and beautiful artistic metaphor created by ASSE Architects.

20 November 2019
Overview
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Vladimir Shukhov is Russia’s most famous engineer of all times; he is our Russian Gustav Eiffel who is known throughout the world. In his inventions, Shukhov found himself on the threshold of a groundbreaking new system of interpreting buildings as “space shells”. The architecture of such buildings is essentially their structure. Shukhov is admired by many architects –because his input in the construction technology ensured a new degree of freedom in working with space and shape. This second, “architectural” genius of his, though, was only appreciated in the second half of the XX century, while his contemporaries more appreciated his developments of a purely practical nature. The lightweight innovative structures were rather simple to assemble, were cost effective material-wise, and were capable of spanning considerable amounts of floor space.

Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
Copyright: Photograph: Julia Tarabarina, Archi.ru


Shukhov’s inventions were also the fruit of their epoch, characterized by the rapid growth of industrial production and the ensuing development of engineering thought. This was the soil that gave birth to Shukhov’s genius. At the same time, the engineer’s path from industrial apparatuses for oil refinement to the architecture of railway terminals is symbolic of the evolution, or, as the curators of the exhibition (Elena Vlasova, Mark Akopyan) put it, “emancipation” of his constructions, which at the turn of the century made a leap to a whole new level. The systems were becoming lighter and more elegant, and at the Nizhny Novgorod fair 1896 were for the first time around showcased as self-sufficient “shells” of the buildings.

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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru


What was presented at the fair by the A.V.Bari engineering firm, where Shukhov worked up until the company was nationalized by the communist government in 1919, literally mesmerized the contemporaries. Probably, the effect was very much like that of Paxton Crystal Palace made of cast iron and glass that had been presented in Hyde Park half a century before. Looking like gigantic circus tents, the Oval Pavilion and the Rotunda demonstrated the possibilities provided by hanging steel meshes that covered more than a 1000 square meters of floor space. Assembled from straight rods, these shells were designed to take on strain and stretching.

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    Vladimir Shukhov. Multiradius grid shells in the production facilities of the Vyksa metallurgic plant. 1897. Model by O.Bernov, 1989, Promstalkonstruktsiya research institute, model workshop. State Museum of Architecture. Exhibition "Shukhov. Formula of A
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Vladimir Shukhov. Multiradius grid shells in the production facilities of the Vyksa metallurgic plant. 1897. Model by O.Bernov, 1989, Promstalkonstruktsiya research institute, model workshop. State Museum of Architecture. Exhibition "Shukhov. Formula of A
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru


The highlight of the fair was the hyperboloid water tower. Developed by Shukhov, its construction, as well as the method of its assembly, made the hyperboloid a universal multipurpose system for solving various tasks. Almost like in the Rem Koolhaas book “S, M, L, XL”, you only needed to set the right parameters of the construction that fitted your specific purpose. The variables were the height, the base diameter, the number of vertical elements, and their tilt angle. For example, making a structure tapering upwards, you could ensure extra stability at the expense of sacrificing some of the carrying capacity, and vice versa. Ultimately, Shukhov built quite a lot of such hyperboloids. The best-known is the Shabolovka tower; the highest is the Dnipro lighthouse 70 meters tall.

The hall where all of the Shukhov towers come together to form a semblance of a pantheon must probably be considered to be the central one: in the middle there is a metaphorical model of the Shabolovka TV tower, surrounded by its brothers and sisters from various regions of Russia. Specifically for this hall, ASSE Architects made all of the expo structures white, which gives it some certain solemnity: this is the main representation of Shukhov’s legacy, who is first of all known as the designer of this tower.

Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
Copyright: Photograph: Julia Tarabarina, Archi.ru


Thanks to ASSE Architects, however, we do not for a second forget – starting from the first hall that welcomes us with physical experiments demonstrating the nature of grid shells – that we see Shukhov not only as an engineer but also as an architect. Following the historical sequence of events in his life, represented by a huge collection of archive materials, we eventually find ourselves in the last hall, face to face with architecture. It is here that we see the direct metaphor for the construction as creative activity: the central place is occupied by video art or the American engineer and innovator Conrad Waxmann, whose volumetric mathematical grid becomes a true work of art. 

It took mankind half a year to find purely architectural application for Shukhov’s inventions and truly appreciate their significance for the entire architectural profession. In the postwar period, when the country was to “build more and consume less”, the new architecture of shells replacing the facades developed into a whole independent branch. It also got a number of fans among the “star” architects, from Frei Otto to Norman Foster. In 1964, on the basis of Stuttgart University, there opened an Institute of Lightweight Structures, headed by professor Werner Sobek, who develops still further Shukhov’s ideas of hanging structures.

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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Model of the roof construction in Hamburg. 2013-2021. Plastic. Werner Sobek. Stuttgart. Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Model of the roof construction in Hamburg. 2013-2021. Plastic. Werner Sobek. Stuttgart. Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    The dome model in Millenium Park, Chcago, USA. Werner Sobek, Stuttgart. Institute of Lightweight Constructions and Conceptual Design. 2019 // Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Model of the grid shell in the Institute of Lightweight Structures 1993/1995. The archive of the institute. Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru
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    Exhibition "Shukhov. Formula of Architecture". 2019, Museum of Architecture, Moscow
    Copyright: Photograph: Julia Tarabarina, Archi.ru


What is interesting is the fact that the topic of grid shells is still pretty innovative and even slightly futuristic in this day and age, its potential still far from being exhausted. In 1965-83, the genius Buckminster Fuller patented his geodesic domes or “climatrons”, which looked like some kind of energy efficient housing for the aliens. However, these were still to remain “the great fantasy”. Modern technology opens up new possibilities for further refinement, digitalization of the wall, down to the appearance of a media screen. This path indicated 100 years ago by the visionary Shukhov, the path of completely new logic of volumetric self expression. The exhibition in the Shchusev Museum throws an invisible little bridge that starts at the break of the XIX-XX century in the ominous pre-revolution atmosphere, expressed very accurately by the stereographies done by Shukhov himself, and stretches on to the eternity.

20 November 2019

Headlines now
​The Power of Lines
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Resort on the Kama River
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Nests in Primorye
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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
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St. Petersburg vs Rome
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On the Wave
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Valery Kanyashin: “We Were Given a Free Hand”
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​The Keystone
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Perpetuum Mobile
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Water and Light
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Champions’ Cup
At first glance, the Bell skyscraper on 1st Yamskogo Polya Street, 12, appears strict and laconic – though by no means modest. Its economical stereometry is built on a form close to an oval, one of UNK architects’ favorite themes. The streamlined surface of the main volume, clad in metal louvers, is sliced twice with glass incisions that graphically reveal the essence of the original shape: both its simplicity and its complexity. At the same time, dozens of highly complex engineering puzzles have been solved here.
Semi-Digital Environment
In the town of Innopolis, a satellite of Kazan, the first 4-star hotel designed by MAD Architects has opened. The interiors of the hotel combine elegance with irony, and technology with comfort, evoking the atmosphere of a computer game or maybe a sci-fi movie about the near future.
History never ends
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A Deep, Crystal Shine
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A Roadside Picnic of Urban Planning Theorists
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Perspective View
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Malevich and Bathhouses, Nature and High-Tech
The Malevich Bathhouse complex is scheduled to open in the fall of 2025 on the Rublyovo-Uspenskoye Highway. The project, designed by DBA-GROUP under the leadership of Vladislav Andreev, is an example of an unconventional approach to the image of a spa in general and of a bathhouse in particular. Deliberately avoiding any kind of allusion, the architects opted for streamlined forms with characteristic rounded corners, a combination of wood with bent glass, and restrained contemporary shapes – both inside and out. Let’s take a closer look at the project.
Rather, a Tablecloth and a Glass!
After many years, the long-abandoned Horse Guards Department building in St. Petersburg has finally received the attention it deserves: according to a design by Studio 44, the first restoration and adaptation works are scheduled to begin this year. Both the intended function and the general scope of works imply minimal alteration to the complex, which has preserved traces of its three-century history. All solutions are reversible and aimed, above all, at opening the monument to the city and immersing it in a lively social scene – hence the choice of a cultural center scenario with a strong gastronomic component.
​Materialization of Airflows
The Nikolai Kamov International Airport in Tomsk opened at the end of August last year. We have already written about the project – now we are taking a look at the completed building. Its functionality is reinforced by symbolic undertones: the architects at ASADOV sought to reflect local identity in the architecture as fully as possible.
The City as a Narrative
Sergey Skuratov’s approach to large urban plots could best be described as a “total design code”. The architect pays equal attention to the overall composition and the smallest of details, striving to ensure that every aspect is thoroughly thought out and subordinated to the original vision. It’s a Renaissance-like approach, really – a titanic effort demanding remarkable willpower and perseverance. The results are likewise grand – architecture that makes a statement. This article looks at the revived concept for the central section of the Seventh Heaven residential district in Kazan, a composition so thoroughly considered that even the “gradient of visual emphasis” (sic!) across the facades has been carefully worked out. It also touches on the narrative idea behind the project – and even the architect’s own doubts about it.
A Garden of Hope for Freedom
In October, at the Spaso-Evfimiev Monastery in Suzdal, the Prison Yard Garden opened on the site that had served as a prison from the 18th century until the Khrushchev Thaw. The architectural concept was developed by NOῨD Short Film, and the landscape design by the MOX landscape bureau. In fact, there are two gardens here – very different ones. We try to understand whether they evoke the right emotions in visitors, while also showing the beauty of June’s ruderal plants in bloom.
A Laconic Image of Time
The Time Square residential complex, built on the northern edge of St. Petersburg, appears more concise and efficient than its neighbor and predecessor, the New Time complex. Nevertheless, the architect’s hand is clearly felt: themes of “black and white”, “inside and outside”, and most notably, the “lamellar” quality of the facades that seems to visibly “eat away” at the buildings’ mass – everything is played out like a well-written score. One is reminded of both classical modernism and the so-called “post-constructivism”.
The Flower of the Lake
The prototype for the building of the Kamal Theater in Kazan is an ice flower: a rare and fragile natural phenomenon of Lake Kaban “froze” in the large, soaring outlines of the glass screens enclosing the main volume, shaping its silhouette and shielding the stained-glass windows from the sun. The project, led by the Wowhaus consortium and including global architecture “star” Kengo Kuma, won the 2021/2022 competition and was realized close to the original concept in a short – very short – period of time. The theater opened in early 2025. It was Kengo Kuma who proposed the image of an ice flower and the contraposition of cold on the outside and warmth on the inside. Between 2022 and 2024, Wowhaus did everything possible to bring this vision to life, practically living on-site. Now we are taking a closer look at this landmark building and its captivating story.
Peaceful Integration on Mira Avenue
The MIRA residential complex (the word mir means “peace” in Russian), perched above the steep banks of the Yauza River and Mira Avenue, lives up to its name not only technically, but also visually and conceptually. Sleek, high-rise, and glass-clad, it responds both to Zholtovsky’s classicism and to the modernism of the nearby “House on Stilts”. Drawing on features from its neighbors, it reconciles them within a shared architectural language rooted in contemporary façade design. Let’s take a closer look at how this is done.
An Interior for a New Format of Education
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Penthouses and Kokoshniks
A new residential complex designed by ASADOV Architects for the Krasnaya Roza business district responds to its proximity to 17th-century landmarks – the chambers of the Hamovny Dvor and St. Nicholas Church – as well as to the need to preserve valuable façades of a historic rental house built in the Russian Revival style. The architects proposed a set of buildings of varying heights, whose façades reference ecclesiastical architecture. But we were also able to detect other associations.
Centipede Town
The new school campus designed by ATRIUM Architects, located on the shores of a protected lake in the Imeretian Lowland Ornithological Reserve, represents an important and ambitious undertaking for the team: this is not just a school, but a Presidential Lyceum for the comprehensive development of gifted children – 2,500 students from age 3 through high school. At the same time, it is also envisioned as a new civic hub for the entire Sirius territory. In this article, we unpack the structure and architecture of this “lyceum town”.