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​The Line of a Hardened Breakthrough

Designed by Stepan Liphart, the housing complex “Renaissance” continues the line of the historical center of Saint Petersburg, reinterpreting the Leningrad Art Deco and the neoclassical architecture of the 1930-50’s in reference to the civilization challenges posed by our century.

27 December 2019
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Against the background of the visual “white noise” of the sleeping-belt neighborhood, where it is situated, the housing complex “Renaissance”, designed by Stepan Liphart, springs out, causing a momentary retinal burn. The house definitely belongs to a more advanced civilization, one with a higher developed language, and a sense of beauty. Essentially, one can easily tell what kind of civilization this is. This is a remnant of the precious historical center of Saint Petersburg that was accidentally blown over to this sleeping-belt neighborhood in the consequence of an unknown explosion. It would be a good idea to launch such a residential complex to each peripheral residential area so that this injection could change the area’s life, just as pine trees turn a swampy climate into a healing one. And this is exactly how the client, Aleksey Zavyalov, the head of investment and construction company AAG, sees his mission: to build houses worthy of the legacy of the old Saint Petersburg. Thanks to the client focusing on cooperating with the architect, the complex was built very true to the author’s original idea. I will note that both the architect and the client belong to the young generation of people who are in their thirties and forties, and the house looks to be as much as a manifesto statement.

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    View of the facade on the Dalnevostochny Avenue, the evening light. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    View from the northeast, a fragment. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    Overall view from southeast. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    The northern facade, the evening light. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects


The house is called “Renaissance”, and, although this name was proposed by the client, and not by the architect, it does live up to its name, which literally means “revival”. The house revives so many things that they ultimately lead us to new discoveries. So, what does it revive? First of all, “Renaissance” refers us to Leningrad’s Art Deco of the 1930’s. This “airtight” architecture with an injection of constructivism is still a mystery to be unraveled. The artistic value of its form is something that is apparent to everyone. Its contents have long since become the subject of heated debates at scientific conferences and on social media. Second, “Renaissance” has achieved an organic form, very much like a new European symphony, because one can see here the architect’s work with big form and contrastive themes, motif development, and a climax – well, lots of such things that have long since become optional, yet it is still these things that make true art. Third, this architecture picks up the powerful cultural Faustian metaplot of the XX century, “man and machine”, obviously continued in the XXI century. And, fourth, here we can see the artistic tasks of modern architecture solved on the basis of modern technique and modern materials.

The big form

The “Renaissance” house is a monumental ensemble that reaches a height of 24 stories at some places, and holds the space for miles around. Creating a composition of a tall building, and making it into something more than just a sum of its stories, is quite a challenging thing to do. And the architect is handling this task with a consummate skill. “Renaissance” forms a whole elongated city block at the corner of the Dybenko Street and the Dalnevostochny Avenue. The longer side of the complex is marked by grand propylaea that open the way to the in-block park with a plan of Rome’s Piazza del Poppolo; across from them, there is a high terraced tower (the second stage of construction), whose side end overlooks the yard.

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    The master plan. “Renaissance” housing complex
    Copyright: © Liphart Architects
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    Plan of the 1st floor. “Renaissance” housing complex
    Copyright: © A-Architects
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    View of the south facade of the second stage on the Dybenko Street. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects


The left wing of the complex, if we are to look from the propylaea standpoint, is now in construction so far (the third stage). This specific article deals mostly with Stage 1 – the building with a U-shaped plan, joining the Dybenko Street and the Dalnevostochny Avenue. The tall 19-story section, which overlooks the Dalnevostochny Avenue, is flanked by two lower terraced sections on each side. The building looks as if it were sweeping upwards – this is exactly the kind of avant-garde dynamics when the resultant of forces is situated beyond the confines of the building. However, dividing the facades into altitudinal brackets, as well as the diverse and concordant articulation of the wall, are essentially classical techniques, which help the architectural ensemble to keep its integrity and recognizability.
The deleted corner divides the powerful volume into individual buildings, better grasped by human perception, and, instead of hovering over the street or barging into it with a sharp corner, the house recedes, dropping a polite courtesy, accompanied by an inviting gesture from a semi-rotunda.

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    “Renaissance” housing complex
    Copyright: Visualization © Liphart Architects
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    “Renaissance” housing complex
    Copyright: Photograph © AAG
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    The “Renaissance” housing complex
    Copyright: Photograph © AAG
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    A fragment of the facade on the Dybenko Street, the evening light. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects


The big form of the classical city block of a house, invented in the Silver Age (like the Benoit house on the Kamennoostrovsky Avenue), was developed in the neoclassical architecture of the 1930-50’s, for example, in the Moscow “city block” houses built in the form of grand courtyards with parks inside on the Kutuzovsky and Leninsky Avenues, which kept up, with a fair share of success, the harmony of composition. In the 1950’s, the tradition was broken after Khrushchev issued a decree against architectural excesses, and never was revived, but for a few occasional exceptions in the post-Soviet neoclassical architecture. Stepan Liphart has his reasons of addressing it. Here is how he describes his goal:

“A home is a space where a personality lives, or many personalities. The type of housing, which the modernist XX century passed on to us, reaches up to 9 or 11 floors in height, and in most of the cases, personality here is out of the equation. At best, the human-friendly environment is presented by the yard, but almost never by the multistory house itself.

For this reason, I saw my main task in tying in this twelve-story volume with a human scale, at the same time making sure that I don’t fracture the volume itself, and don’t ruin it, giving it some strict logic and some set of rules. In addition, I was to find the composition principles and those details that would allow me to join this rather large and rather diverse complex with one main theme, at the same time avoiding monotony by all means.

As a matter of fact, the main methods for solving these tasks in a certain way can be traced in Moscow’s housing construction of the early 1950’s. A residential building as an element of the city fabric could be a landmark (even of the municipal importance), but what remained unchanged was the articulation of individual segments of such an imposing edifice. This work with the volume consists in dividing it into separate sections: tiers, floors (horizontal), projections, and bay windows (vertical). The basis for the whole system is the cornice of a rather simple shape: it is a pristine shelf and a molded cyma recta, these two “notes” being enough to hold the entire building together.

The main proportion is the vertical waning of the volume. The difference in textures and materials is supplementary, and of secondary importance. Eventually, this method, which at a first glance looks pretty abstract and theoretic, now adds to this building, thanks to its anthropomorphic antique order system and its elements, a harmonious look that can be easily “read” by the human eye. Essentially, it “humanizes” the huge volume of thousands of cubic meters and allows the human being not to get lost against its enormous background”.


The Liphart Rotunda

The “Renaissance” house is essentially a dialogue with the Leningrad Art Deco of the 1930’s, and, specifically, House 14 on the Ivanovskaya Street, designed by Fomin-Levinson. In that house, a separately standing rotunda resting on slim and tall faceted columns marks the side end of the house, serving as a variation of similar porticos, “stripped down” by constructivism, which form the plastique of the facades. In the “Renaissance”, however, the role played by the rotunda is more important. Like a brooch that holds together the flaps of an overcoat, the rotunda holds together all of the parts of the composition. The rotunda stands on the corner, like some sort of inversion of a tower from the Silver Age, yet, compared to the tower, it is more elegant and empathetic. In a symphony, it sometimes happens that all themes develop in accordance with certain laws: exposition, development, reprise, and things take place in due course, but sometimes, during the climax, a new theme comes up, heart wrenching, and very important – some oboe solo in Shostakovich music or some elegiac tune of Mozart’s, and it becomes clear that the whole piece was written with this tune in mind. Likewise, what we are seeing here is an enormous and harmonious building of the symphony, this brittle theme holding the entire composition together. This exquisite rotunda on the corner conducts this house that is going to become a home for about 3000 people – a population of a small town. (Seriously, I am looking forward to this rotunda being actually built. For the time being, its parts are lying in wait at the factory that belongs to the client; this is the factory that also manufactured the other orderly elements and parts from fiber concrete).

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    View from the southeast of the rotunda. “Renaissance” housing project
    Copyright: © Liphart Architects
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    Overall view from the southeast. “Renaissance” housing complex
    Copyright: © Liphart Architects
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    View from the southeast, the evening light. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    An overview from the northeast. “Renaissance” housing complex
    Copyright: © Liphart Architects
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    I.Fomin, E.Levinson. House 14, Ivanovskaya Street, Saint Petersburg. 1940
    Copyright: Photograph © Stepan Liphart


This semi-rotunda can be described as the architect’s “signature”. There is a “Mozart” cadence, and what we are seeing here is a “Liphart” rotunda. Even though this can be also considered as homage to the architecture of the 1930’s or maybe even to the Cameron colonnade of Apollo in the town of Pavlovsk, in this case the product takes on a new quality. The semi-rotunda has only four floors in it, but it is not lost at all against the backdrop of the tall 19-story building, but conversely, takes in, like radar, all the energy of the space around it, crowning three streets: Dybenko, its continuation, and the Dalnevostochny Avenue. It is both climax, and visiting card, and leitmotif. As well as an element with a rich cultural memory; this is always a great thing for a building.

The love and hate of man and machine as a metaplot of architecture

This is an important metaplot of the architecture of the XX century that transited into the XXI century. After Corbusier saw the perfect architecture in dams, and Malevich in steam engines, the techno poetics took root for the long haul, the human individual disappeared from the poetics of modernism, yet it did stay in Art Deco, and the “man and machine” controversy still brings about intellectual fermentation.

Man and machine are not necessarily opposed to one another. What we are dealing with in this case is rather the mutual attraction of two extremes, and sometimes a questionable compromise. A subversion of the “man and machine” metaplot is also the dichotomy “artist and authorities”, which in turn can be traced back to the Faustian “in the beginning, there was power”. The ambivalence of this power, just as the ambivalence of technology and authorities, is known to everyone. Will technology become our tool that will make our lives easier or will it ultimately kill the human species? Is the power essentially a necessary restriction of the chaos inherent to our fallen nature – or is it a tool for repressing one’s freedom? These questions seem to be quite trivial but on the Art Deco manufacture they manifest themselves as vividly as nowhere else, and the topic is still relevant.

In the article entitled “In Search of a Hero”, devoted to the exhibition bearing the same name, Stepan Liphart explained why he opted for Art Deco, and not modernism. When he was studying at the Moscow Institute of Architecture, he visited a lecture read by the famous deconstructionist Tom Maine, asked him about the place of the human individual in the poetics of architecture, and got no answer. In the same article, Stepan elaborated why the theme of the architecture of the 1930’s was close to him. He was interested in the unsolved controversies inherent to the Russian culture and history, which manifested in the 1930’s particularly vividly. The clash between the machine and handmade. The line of heroic architecture of Saint Petersburg, embodied both in the Art Deco of Levinson’s and Trotsky’s and in the bleak archaic marriage of Belogrud and Bubyr (and still earlier in the arch of the Joint Staff), as well as in the monument to Peter the Great. The line of a hardened breakthrough, of overcoming, connected with the nature of the city that was subjected to compulsory Europeanization several times. And in some cases this Europeanization would do this city a lot of good, bringing about the rise of culture that enriched the whole world, and some cases it meant the peril of this city, like in the Russian revolution.

The collision of love and hate between man and machine is sometimes embodied in the aesthetics of Art Deco as a glass grid and antique order, and sometimes in a combination of mechanistic look-alike windows and a vibrant classical detail. If we are to look at a series of “paper” projects by Stepan Liphart, entitled “U Reaktora” (Next to the Reactor), and playing the role of his manifesto, such combination of anthropomorphic matter and grid, a slightly altered order and glass yields some truly magnificent images. The architect himself is saying that the wavy motifs on the facades embody the image of a nuclear reactor as a power that both warms this world and is threatening to destroy it. This energy has something in common with human passion. The nuclear power grid is like a temple, and the theme of deification of machine is also present here. In the “Renaissance” house, all of these motifs were taken to a whole new level. The techniques that the architect found in his “Reactor” project were successfully transferred to the housing complex on the Dybenko Street: the plinth, the grid, and the rock-face coating of the walls. And the semicircle or the rotunda is also some kind of circular tower of the nuclear “temple”.

“Next to the Reactor” Series, 2014. Computer graphics. Paper project
Copyright: © Liphart Architects


The plinth forms a grand podium for the house and a walking terrace for the offices on the second floor. The plinth hosts the public functions, whilst the bottom floors of the brick tier contain small offices with individual entrances; higher up, there are apartments. Just like the introduction to the first part of the symphony includes a leitmotif that resurfaces in the four ensuing parts, the plinth embraces all of the buildings and sets the order theme in the form of a brutal Berens-style colonnade (just like in the German consulate, designed by Berens, in Saint Petersburg) with glass gridded arrangement of columns and Egyptian granite portals. The semi-rotunda and two-storied propylaea are also part of the plinth.

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    A fragment of the facade on the Dybenko Street. Portal of the entrannce to the commercial premises, the evening light. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    View from the southeast, evening light. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects
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    View from the northeast side of the plinth column, a fragment. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects
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    A fragment of the facade on the Dybenko Street, the decoration of the auxiliary entrance to the hallways. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects
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    The colonnade of the plinth. A fragment. The evening light. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects
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    A fragment of the plinth. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects


The mega portico. The magnified theme

Back to the composition of the high-rise building! What do you have to do in order to make this giant look harmonious and human-friendly? Organizing the facades, Stepan Liphart explores the technique that has been known since the Silver Age. When an order system, be that a portico or an arch, is stretched over the entire facade, this immediately adds to its integrity (because we as humans subliminally associate ourselves with columns because of similar proportions). At this point we can remember the Mertens house on the Nevsky Prospect, designed by Lyalevich, with a giant antique order on a glass facade, essentially modern. In one of his other projects, Stepan Liphart used an “arch” frame the height of the entire facade. The rectangular arch is formed by big segments – the role of the supports is played by glass double-axis bay windows, top being formed by a powerful cornice. Such powerful plastique is also characteristic for the “Renaissance” house. The six rectangular bay windows form something like a six-column portico. Being enlarged, this theme holds the structure together really well. The giant six-column “portico” is covered by an “entablement” of the two upper floors. This “mega-colonnade” technique is somewhat familiar to us from the Parisian housing complex of Bofill, where the role of the giant columns was also played by semicircular glass bay windows, even though Stepan Liphart’s order does not look anything like Bofill. Meaning – the forms look nothing like it, but the overall romantic mood is the same.

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    Fragment of the facade on the Dalnevostochny Avenue. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    View of the facade on the Dybenko Street. “Renaissance” housing complex
    Copyright: Photograph © Stepan Liphart /provided by Liphart Architects
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    The concept of the facade solutuions of the residential building within the framework of the project developed by the Atayatnts studio “Opalikha 03”. 2014. Computer graphics.
    Copyright: © Lipghart Architects


The bay windows are the main theme of “Renaissance” consisting of two contrasting elements: the glass grid and the molded order. The theme gets its development, as if sounding in different keys. At first, it “sounds” against the backdrop of a ribbed rock-face wall, then against a thicker stuccoed rock-face wall, and then against the background of a smooth flesh-colored wall. And, what is interesting, the order develops from the blades in the bottom tier to ionic pilasters in the upper one. Plastique-wise, this project is very eventful; there are plenty of things to look at. The bay windows also change: in the upper tier, they become faceted, while in the “entablement” the wall is decorated with faceted balconies and expressive semi-columns, which, like rapiers, “run through” the balconies and soar with their beams of flagstaffs up into the sky – the vivacious order looks as if it has too little room in the facade, and it soars upwards in pinnacles, flagstaffs, and other things (this theme is slightly akin to Art Nouveau architecture, whose semi-columns also often “sprout” flower vases. What also comes to mind is Skryabin music, from which Stepan Liphart also drew his inspiration while doing his “paper” projects).

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    Fragment of the facade on the Dalnevostochny Avenue. The bay windows and the balconies of the top floors. “Renaissance” housing complex
    Copyright: Photograph © Dmitry Tsyrenshchikov /provided by Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects
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    “Renaissance” housing complex
    Copyright: © Liphart Architects
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    Copyright: © Liphart Architects
    Copyright: © Liphart Architects


The vertical structure of the “Renaissance” house is traditional, clear-cut, and classical: the four tiers grow smaller as they go upwards in accordance with the “golden section” principles – accordingly, they have eight, five, three, and two stories in them. The other facades are essentially variations of the architect’s ideas. The bay windows give way to stanzas. The tiers and the golden section remain. The rubber brickwork of the first tier, which added to the wall’s rich play of lights and shadows, is kept throughout the complex, giving the facades a winsome handmade look.

The Cyma Recta and Granny’s Pancakes

About ten years ago, we had a discussion with Alexander Skokan. He contended that, although he does like Palladio and Zholtovsky, he does not believe in modern classics. Because – and I quote him here – “the old masters, architects and mold designers alike, knew how the eaves molding must run, and how the cyma recta must turn the corner. Today’s architect, however, doesn’t know how to do that. It’s like the recipe for you Granny’s pancakes: if you read it in a recipe book, you will also make pancakes, but they’ll look more like balls. And if you used to make pancakes with your granny as a kid, you will get the right kind of pancakes”.

However, as turned out, in the XXI century, in spite of the absence of hand molding, it is quite possible to adapt the process of making the cyma recta and the eaves molding to the fiber cement technology. And Stepan Liphart is telling an exciting story about the difficult path from the hand drawing to the render stage, then to the working draft, and then to making the actual parts at a factory belonging to the client. And the whole thing eventually turned out to be a success, even if it did come at a price. At first, the client’s designers distorted the proportions of the windows, the piers, and the cornices, the whole process had to be reversed back, the drawings had to be redone, and then the designers did stick to the project, getting the approvals for an occasional minor change. In spite of the fact that the order details were made at a factory, the artistic quality of the drawing did remain unchanged. On the corners, the eaves moldings are strengthened and backed up by extra profiles; on the walls, they are flatter. Again, musical comparisons come to mind: the orchestration of the cornices on the corners is denser and more powerful; on the wall it is more transparent. Meaning – the effect is still achieved, yet by different means.



The glass grid and the order. The forecast

As was already said, the metaplot “man and machine” in the architecture of the XX and XXI centuries is expressed in the comparison of the order and the glass grid. The glass grid is responsible for the Cartesian mathematical order. The columns and other “antique” elements – for the presence of the human being in the artistic system of the building. In the 1930’s, Frank Lloyd Wright, inspired by the possibilities that glass opened, once said: “Glass alone, with no help from any of us, would eventually have destroyed classic architecture, root and branch”. As we can see some 90 years later, glass and antique order hit it off very well together, and even enrich one another. Actually, the House of Artists on the Verkhnyaya Maslovka Street (Krinsky/Rukhlyadev, 1934), belonging to the same epoch of the 1930’s, was one of the first cases when the grid and the antique order got together to create completely glass walls of the artists’ studios and the dramatic countenance of the facade. This was the branch that was also explored by the neoclassical architects, for example, Quinlan Terry in his building of Tottenham Court in London. This theme – glass grid / antique order – is a very promising one, and far from exhausted. Function-wise, it makes a perfect answer to the tasks of modern architecture: light spaces, mutual penetration of the interior and the nature, yet the facade at the same time keeps its columns and other antique order details, “human agents” in the poetics of the building. The charismatic and romantic image of “Renaissance” finds and interpreted the line that’s important for our century. And, in my opinion, it has a future.

***

UPD: a commentary on the installment of air conditioning units
The spots for the air conditioning units are provided on the yard-side facades, where they can be installed if approved by the management company. In the apartments that only have access to the street facade, also if approved by the management company, the air conditioning units can be installed in the unheated stanzas in the bay windows. Most of the bay windows are essentially unheated stanzas.


27 December 2019

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ATRIUM architects love ambitious challenges, and for the firm’s thirtieth anniversary, they boldly play a game of words with an exhibition that dives deep into a self-created vocabulary. They immerse their projects – especially art installations – into this glossary, as if plunging into a current of their own. You feel as if you’re flowing through the veins of pure art, immersed in a universe of vertical cities, educational spaces – of which the architects are true masters – and the cultural codes of various locations. But what truly captivates is the bold statement that Vera Butko and Anton Nadtochy make, both through their work and this exhibition: architecture, above all, is art – the art of working with form and space.
Flexibility and Acuteness of Modernity
Luxurious, fluid, large “kokoshniks” and spiral barrel columns, as if made from colorful chewing gum: there seem to be no other mansion like this in Moscow, designed in the “Neo-Russian-Modern” style. And the “Teremok” on Malaya Kaluzhskaya, previously somewhat obscure, has “come alive with new colors” and gained visibility after its restoration for the office of the “architectural ecosystem” as the architects love to call themselves. It’s evident that Julius Borisov and the architects at UNK put their hearts into finding this new office and bringing it up to date. Let’s delve into the paradoxes of this mansion’s history and its plasticity. Spoiler: two versions of modernity meet here, both balancing on the razor’s edge of “what’s current”.
Yuri Vissarionov: “A modular house does not belong to the land”
It belongs to space, or to the air... It turns out that 3D printing is more effective when combined with a modular approach: the house is built in a workshop and then adapted to the site, including on uneven terrain. Yuri Vissarionov shares his latest experience in designing tourist complexes, both in central Russia and in the south. These include houseboats, homes printed from lightweight concrete using a 3D printer, and, of course, frame houses.
​Moscow’s First
“The quality of education largely depends on the quality of the educational environment”. This principle of the last decade has been realized by Sergey Skuratov in the project for the First Moscow Gymnasium on Rostovskaya Embankment in the Khamovniki district. The building seamlessly integrates into the complex urban landscape, responding both to the pedestrian flow of the city and the quiet alleyways. It skillfully takes advantage of the height differences and aligns with modern trends in educational space design. Let’s take a closer look.
Looking at the Water
The site of Villa Sonata stretches from the road to the water’s edge, offering its own shoreline, pier, and a picturesque river panorama. To reveal these sweeping views, Roman Leonidov “cut” the façade diagonally parallel to the river, thus getting two main axes for the house and, consequently, “two heads”. The internal core – two double-height spaces, a living room and a conservatory, with a “bridge” above them – makes the house both “transparent” and filled with light.
The White Wing
Well, it’s not exactly white. It’s more of a beige, white-stone structure that plays with the color of limestone – smoother surfaces are lighter, while rougher ones are darker. This wing unites various elements: it absorbs and interprets the surrounding themes. It responds to everything, yet maintains a cohesive expression – a challenging task! – while also incorporating recognizable features of its own, such as the dynamic cuts at the bottom, top, and middle.
Urban Dunes
The XSA Ramps team designed and built a three-part sports hub for a park in Rostov-on-Don, welcoming people of all ages and fitness levels. The skate plaza, pump track, and playground are all meticulously crafted with details that attract a diverse range of visitors. The technical execution of the shapes and slopes transforms this space into a kind of sculptural composition.
Proportional Growth
The project for the fourth phase of the ÁLIA residential area has been announced. The buildings are situated on an elongated plot – almost a “ray” that shoots out from the center of the area towards the river. Their layout reflects both a response to Moscow’s architectural preferences over the past 15 years, shifting “from blocks to towers”, and an interpretation of the neighboring business park designed by SOM. Additionally, the best apartments here are not located at the very top but closer to the middle, forming a glowing “waistline”.
The “Staircase” Building
In designing the “Details” residential complex in New Moscow, Rais Baishev spiced up the now-popular Moscow theme of a “courtyard” building with an idea drawn from the surrealist drawings by Maurits Escher. He envisioned the stepped silhouettes and descending slopes as a metaphysical mega-staircase, creating a key void within the courtyard that gave the project an internal “spine”. This concept is felt both in the building’s silhouette and on its façades.
Projection of the Quarter
No one doubted that the building that Vladimir Plotkin designed as part of the “Garden Quarters” would be the most modernist of all. And it turned out just that way: while adhering to the common design code, the building successfully combines brick and white stone, rhythmically responding to the neighboring building designed by Ostozhenka, yet tactfully and persistently making a few statements of its own. This includes the projection of the ideal urban development composition “14–9–6”, which can be found right next door, mathematical calculations, including those for various types of terraces (and perhaps the only reminder of the Soviet past of the Kauchuk rubber factory!), and the white “cross-stitch” pattern of the façade grid.
Domus Aurea
In this issue, we examine the “Tessinsky-1” house, designed by Sergey Skuratov and completed in 2023. Located in the middle of the Serebryanicheskaya Embankment district, at the intersection of its main streets, this house assumes a sort of “nodal” role: it not only responds to everything around it and preserves many memories of the former EMA factory within itself, but it weaves all this into a newly directed pattern, reconciling bright “gold” and dark-colored brick, largely with the help of the new, modern-yet-archaic Columba brick, which, come to think about it, is the most precious element here.
The Chimney of Nikola-Lenivets
In this issue, we are examining the “Obelisk House” designed by KATARSIS and built for the Arkhstoyanie 2023 festival. However, it was only finished later on, and this is why we are examining it now. It seems to us that after the “Obelisk House” appeared in Nikola-Lenivets, a dialogue and a few inner connections appeared between the temporary structures built here. These houses no longer look like “accidental neighbors”, more of which below.
​Periscope by the Bay
The jury awarded the second place in the competition for a public and cultural center in Petropavlovsk-Kamchatsky to the companies GORA (“Mountain”) and M4. In the consortium’s proposal, the building resembles a sperm whale with a calf swimming next to it or a periscope, whose lenses capture the most spectacular views from the surrounding landscape.
From Arcs to Dolmens
While working on the competition project for Petropavlovsk-Kamchatsky, ASADOV Architects prioritized the value of the natural and urban environment, aiming to preserve the balance of the location while minimizing the resemblance of the volume that they designed to a “traditional building”. The task was challenging, and the architects created three versions, one of which having been developed after the competition, where their main proposal took third place. However, the point of interest here is not the competition result but the continuity of creative thinking.
Hide and Seek
The ID Moskovskiy house, designed by Stepan Liphart in St. Petersburg, in the courtyards near Moskovskiy Avenue beyond the Obvodny Canal and recently completed, is notable for several reasons. Firstly, it has been realized with considerable accuracy, which is particularly significant as this is the first building where the architect was responsible not only for the facades but also for the layouts, allowing for better integration between the two. On the other hand, this building is interesting as an example of the “germination” of new architecture in the city: it draws on the best examples from the neighborhood and becomes an improved and developed sum of ideas found by the architect in the surrounding context.
The Big Twelve
Yesterday, the winners of the Moscow Mayor’s Architecture Award were announced and honored. Let’s take a look at what was awarded and, in some cases, even critique this esteemed award. After all, there is always room for improvement, right?
Above the Golden Horn
The residential complex “Philosophy” designed by T+T architects in Vladivostok, is one of the new projects in the “Golubinaya Pad” area, changing its development philosophy (pun intended) from single houses to a comprehensive approach. The buildings are organized along public streets, varying in height and format, with one house even executed in gallery typology, featuring a cantilever leaning on an art object.
Nuanced Alternative
How can you rhyme a square and space? Easily! But to do so, you need to rhyme everything you can possibly think of: weave everything together, like in a tensegrity structure, and find your own optics too. The new exhibition at GES-2 does just that, offering its visitor a new perspective on the history of art spanning 150 years, infused with the hope for endless multiplicity of worlds and art histories. Read on to see how this is achieved and how the exhibition design by Evgeny Ace contributes to it.
Blinds for Ice
An ice arena has been constructed in Domodedovo based on a project by Yuri Vissarionov Architects. To prevent the long façade, a technical requirement for winter sports facilities, from appearing monotonous, the architects proposed the use of suspended structures with multidirectional slats. This design protects the ice from direct sunlight while giving the wall texture and detail.