По-русски

Andrey Chernikhov. Interview by Andrey Filozov

Andrey Chernikhov is one of the the participants of the exposition of Russian pavilion of XI Venetian biennial of architecture

12 September 2008
Report
mainImg

What does taking part in the architecture biennale at Venice mean to you?

It’s the number one venue in the world. And at last, instead of the marginal exhibition concepts of recent years – which have been elegant, aesthetic, etc., in their own way, but more suited, incidentally, to the other Venice biennale, the art biennale – Russia is presenting a proper exhibition of architecture. This is not a school of architecture or a team of architects belonging to one stylistic trend, but rather a gallery of architectural portraits. Yes, when you look at the main parameters for modern architecture - proper high technology; projects and buildings that are extremely expensive (enormously more expensive than their Russian equivalents); a conceptually different approach to architecture and investment and development; a different social and cultural status for architecture in society – then you can’t help seeing that we exist and act in a different civilization. But you shouldn’t forget that this different civilization is extremely young. Russia has only just acquired relative economic stability and is learning an altogether different ‘lifestyle’ through a process of trial and error. In a fantastically short period of time a huge quantity of what is admittedly bourgeois and nouveau-riche rubbish has been built, but at the same time we have seen the formation of a private sector of freely practising architects, and it is this which is today mainly responsible for setting the standard of architecture in Russia. And the next generation, which naturally has weaker links to the past than we do, is already demonstrating a new aesthetic and a new take on architecture. This new wave, I think, will very soon be represented at Venice. But let’s forget these things – the technology and the money. After all, you can’t stop being an architect just because your country lacks these resources. We architects differ from one another above all in the way that we personally feel space, form, and proportions. And the architect is someone who rightfully exercises mastery over space, just as the surgeon possesses authority over the living organism. Previously, there was this great desire to be present at Venice; we wanted to express ourselves and so to enter into dialogue with the rest of the architectural world. As far as architecture goes, we are an insular country; we stand apart from the global architectural process. But with the years this desire has receded into the background and today it’s simply interesting how we will look to outside eyes. And, finally, this year’s biennale coincides with the 500th anniversary of Andrea Palladio’s birth, which presents us with a great opportunity to be present at both these festivals of architecture simultaneously. And I should tell you that in recent years I have discovered the other side of the Venetian coin. Now I regularly visit the city for the art biennale as well. The last biennale left me with a feeling of the feasting of aesthetes – a very radiant feeling, which was even nuanced by deep shadows and half-tones. I visited Bill Viola’s Ocean three times. The feeling of catharsis I got from Viola’s installation is something that regrettably never came to me during the most recent architecture biennales. And then, finally, there’s the wonderful Russian part of the biennale. Probably, we too little reflect on what is most important – on what, for instance, Aleksey Gerrman and the Strugatskys talk about in the film ‘Difficult to be God’. The commercialization of architecture does not mean its death as art: there have always been and will always be many talented and original artists. But today’s ‘architecture business’ is deforming the architect’s consciousness and, as in a devil’s lens, distorting trajectories and targets. Viola speaks to us of that which is concealed, the only important and tragic thing – the despair of life and death. And each time I come to Venice, it’s as if I’m travelling with Iosif Brodsky, with his ‘Fondamenta degli Incurabili – which is the most architectural essay, although written by a non-architect.

Do you think the distinction between artand arch- is ontological or simply a whim of the modern consciousness? Do you yourself see architecture as art or as something of equal value but parallel to art?

For me personally, ever since I was a baby, architecture is Art. I grew up surrounded by the fantastical works of Yakov Chernikhov – to say nothing of Flemish painting, French bronzework, and an old library. I suppose it’s in my blood, in my genes, in all my impressions of childhood. It’s when you read ‘Woe from Wit’ in the edition by Marks and immediately begin learning the ‘Griboedov Waltz’ from the last pages of the second volume. It’s the Moscow Conservatoire, which was nearby and where I was a constant presence from the age of eight: I sang in the children’s choir and took piano lessons. Accordingly, when the time came to continue the family line and enter the Moscow Architecture Institute (MAR CHI ), I told Mama that to design what was being built all around us would be a senseless waste of life. This was the middle of the 1960s and ‘architectural progress’ was a matter of the switch from 5- and 9-storey block-built and prefabricated houses to 12- and 16-storey ones. And I set off for Leningrad to take a look at the Faculty of Naval Architecture. Mama, of course, burst into tears but, fortunately, some mysterious force returned me to the architect’s path. The present division has occurred, I think, as a result of a need to organize and a tendency to keep businesses separate. If we follow Cicero’s dictum that ‘all arts are joined by a single thread’, they should be linked to the mother of arts – architecture – and presented in a uniform format. Modern architecture, like modern art, is incredibly diverse. It has everything: excursions into the future, journeys to the past, and trips to the subconscious… It has a great number of interesting personalities and concepts. So why not hold a universal biennale of the arts? Incidentally, one of our most recent projects – the Business Technopark at Nagatino in Moscow (with a floor area that runs to almost one million square metres; the first stage is being built to a design by the studio of Vladimir Kolosnitsyn at Mosproekt-2, and we’re doing everything that comes after this) – includes the idea of creating a world ART EX PO. The site for this development in itself makes an oppressive impression, due to its aura and environs: it’s what used to be a typical industrial zone on the edge of Moscow; opposite is a district of grey prefabricated buildings from the 60s and 70s, which is also a rather gloomy sight. Here, on a thirty-hectare plot, we have to construct an enormous business technocentre. And one of the questions we’re faced with is: What are people going to do here after seven in the evening and at weekends, when thousands of managers will get in their cars and leave and the entire complex will be swallowed up by darkness? So we proposed incorporating an art expo – i.e. architecture and design and all kinds of things including fashion, video art, cinema, and theatre.

A project like this is, you could say, very much in the ‘mould’ of the type of development that is being built today, both in Moscow and in Russia in general. Do you believe that you are simply compelled to do this, given that it’s not you who ‘calls the tune’? It’s not just a matter of money; there is a concept of historical imperative, i.e. a wave that we feel and which many of us have to ride because we have no other wave. Or would it be truer to say that all this depends on a particular movement in architecture in Russia? A process of architectural thought, architectural vision?

I’ll treat your questions in reverse order, OK ? Architectural thought or, as you said, vision arises from a particular necessity, whether it’s the need for social re-ordering, construction of new cities – even on the moon, – creation of space for praying in – a church or a space for exhibiting works of art, like the Guggenheim Museum… It may be self-sufficient, i.e. may derive from the need for a new model of space as a reflection of a new model of the world. All the more so with an architectural movement. If we take this term to mean a collective association of architects working in a new typology, then it’s too early for that. If it’s the mainstream we’re talking about, then, as a rule, that’s not a matter of function. Yes, this wave, if you wish, is technogenic, but it should be considered together with what is, to my view, a rather more interesting phenomenon – the creation of world centres of higher education. Education is a sphere in which huge amounts of money are circulating today, one of the top-ten sectors in business. But in Russia it’s more a fashion than a necessity, just like the high-rise Moscow City. No one really knows, you see, what a technopark is – in a country where new technologies exist only at the level of declaration. Just as no one can say why we need to build so many skyscrapers in the cities of Siberia. We all know very well what a skyscraper is, whom it serves and for what, and how much it costs – and not just to build, but to operate as well. And normal architects, in addition to wanting to affirm themselves and to have their say on the subject of the high-rise, will have a justifiably sceptical attitude to the inculcation of skyscraper-building in Russia. Especially in cases – as at Moscow City, where there are 20 such structures of different sizes, some higher, some fatter – where there is a feeling of déjà vu. At Moscow City there are skyscrapers that are beautiful in their own way – the Federation Tower, for instance – while others are absolutely banal. In fact, the number of banalities exceeds the norm, which means that this entire island of skyscrapers is itself banal. Manhattan, for instance, is entitled to indulge in architectural mediocrity, given that the concept on which it is based is the gridiron. So in one square you have a masterpiece – an Empire State Building or a Chrysler – and around about you can have anything you like. Taken all together, it’s a growth of architectural stalactites which looks magical from various points of view. Furthermore, there’s also a patch of undergrowth, old Manhattan, which gives you a change of scale. It would have been possible to make Moscow City not just a high-density zone of skyscrapers, but an island dedicated to the Russian Avant-garde – and so pay homage to the great dreamers and masters who laid the foundations for modern architecture and created so many designs for highrise masterpieces without any one of them actually being built! You remember Konstantin Mel’nikov’s magnificent exclamation: “If we could have realized everything that we thought up then, we would have deprived architecture of its future for several decades to come.” But everything I’ve said is really a problem not for architecture, but for culture.

In his day Le Corbusier called the house a ‘machine for living in’. In Russia – and not just in Russia – this definition is taken in utterly the wrong way, giving rise to a picture of a soulless conveyor designed to mechanistically fulfil certain fundamental functions and serve the most basic instincts of a characterless human unit. But in fact, of course, Le Corbusier had in mind the exact opposite. In miniature, this is the concept of the Swiss watch. The machine is an image of the creative work that we do together with God.

For Western culture the machine has always been an image of perfection, a small model of God’s Creation. Above all, this machine works – which is to say that it opposes entropy, disintegration, confusion, and ambiguity: in it everything is harmoniously connected. It is not a soulless mechanism, but something that is simultaneously beautiful and perfect – truly like a S wiss watch, – whose function is to embellish life and make it easier for us. It is no coincidence that Le Corbusier himself had Swiss roots. And for this reason the ideal house should be precisely such a machine for living in, i.e. living in it should be organic, easy, and free – all its components, both those that are simple and the most complex, should be taken into account and interconnected. It’s an ideal envelope for daily life, which is one of the hypostases of architecture. Corbusier tried to embody this ideal in his apartment block at Marseilles. True, by no means everything worked out, but he is the creator of the model of a new ordering of life in architecture. He is one of the last exponents of the spirit of that great Utopia in which our grandfathers lived so sincerely and the analogue of which we expect today. All in all, architecture, in my view, is now coming to the end of its classical phase; it is drifting towards modern art. Both architecture and modern art use the very latest technology. Incidentally, not a single 20th-century science-fiction writer of those known to me predicted the discovery of the Internet…

Andrey Filozov



12 September 2008

Headlines now
Daring Brilliance
In this article, we are exploring “New Vision”, the first school built in the past 25 years in Moscow’s Khamovniki. The building has three main features: it is designed in accordance with the universal principles of modern education, fostering learning through interaction and more; second, the façades combine structural molded glass and metallic glazed ceramics – expensive and technologically advanced materials. Third, this is the school of Garden Quarters, the latest addition to Moscow’s iconic Khamovniki district. Both a costly and, in its way, audacious acquisition, it carries a youthful boldness in its statement. Let’s explore how the school is designed and where the contrasts lie.
A Twist of the Core
A clever and concise sculptural solution – rotating each floor by N degrees – has created an ensemble of “dancing” towers: similar yet different, simple yet complex. The designers meticulously refined a single structural node and spent considerable effort on the column construction – after that, “everything else was easy”. The architects also rotated the core walls on each floor to maximize the efficiency of the office spaces.
The Sculpting of Spring Forest Matter
We’ve been observing this building for a couple of years now: seemingly simple, perhaps even unassuming, it fits in remarkably well with the micro-district context shaped by the Moscow MCD road junctions. This building sticks in the memory of everyone who drives along the highway, even occasionally. In our opinion, Sergey Nikeshkin, by blending popular architectural techniques and approaches of the 2010s, managed to turn a seemingly simple structure into a statement “on the theme of a house as such”. Let’s figure out how this happened.
Water and Wind Whet the Stone
The Arisha Terraces residential complex, designed by Asadov Architects, will be built in a district of Dubai dedicated to film and television production. To create shaded spaces and an intriguing silhouette, the architects opted for a funnel-shaped composition and nature-inspired forms of erosion and weathering. The roofs, podium, and underground spaces extend leisure opportunities within the boundaries of a man-made “oasis”.
Elevation 5642
The Genplan Institute of Moscow has developed a comprehensive development project for three ski resorts in the Caucasus, which have been designated as special economic zones of the tourism and recreation type. The first of these zones is Elbrus. The project includes the construction of new ski runs, cable cars, and hotels, as well as the modernization of stations and improvements to the Azau tourist meadow. To expand the audience and enhance year-round appeal, a network of eco-trails is also being developed. In this article, we provide a detailed breakdown of each stage.
The IT Town
Taking the example of the first completed phase of the “U” district, we examine how the new neighborhood in Innopolis will be organized. T+T Architects and HADAA formed a well-balanced and ingenious master plan with different types of housing, a green artery, a system of squares, and a park in the town’s central part.
The Heart Lies Within
The second-phase building of the Evgeny Primakov School already won multiple awards while still in the design stage. Now that it’s completed, some unfinished nuances remain – most notably, the exposed ceiling structures, which ideally should have been concealed. However, given the priority placed on the building’s volumetric composition, this does not seem critical. What matters more is the “Wow!” effect created by the space itself.
Magnetic Forces
“Krylatskaya 33” is the first large-scale residential complex to appear amidst the 1980s “micro-districts” that harmoniously coexist with the forests, the river, the slopes, and the sports infrastructure. Despite its imposing scale, the architects of Ostozhenka managed to turn the complex into something that can be best described as a “graceful dominant”. First, they designed the complex with consideration for the style and height of the surrounding micro-districts. Second, by introducing a pause in its tallest section, they created compositional tension – right along the urban planning axis of the area.
Orion’s Belt
The Stone Khodynka 2 office complex, designed by Kleinewelt Architekten for the company Stone, is built with an ergonomic layout following “healthy building” principles: natural light, ventilation, and all the necessary features for an efficient office environment. On the outside, it resembles – like many contemporary buildings – an iPhone: sleek, glowing, glass-and-metal, edges elegantly rounded. Yet, it responds sensitively to the Khodynka context, where the main theme is the contrast between vertical and horizontal lines. The key intrigue lies in the design of the “stylobate” as a suspended passage, leaving the space beneath it open for free pedestrian movement.
Grigory Revzin: “It Was a Bold Statement Made on the Sly. Something Won”
In this article, we discuss the debates surrounding the circus competition and the demolition of the CMEA building with the most renowned architectural critic of our time. A paradox emerges in the process: while nostalgia for the Brezhnev era seems to be in vogue in Russia, a landmark building – the “axis” of the Warsaw Pact – has been sentenced to demolition. Isn’t that strange? We also find out that wow-architecture has made a comeback as a post-COVID trend. However, to make a truly powerful statement, professionals still remain indispensable.
Exposed Concrete
One of the stages of improving a small square in the town of Lermontov was the construction of a skatepark. Entrusting this part of the project to the XSA team, the city gained a 250-meter trick track whose features resemble those of land art objects – unparalleled in Russia in both scale and design. Here’s a look at how the experimental snake run in the foothills of the Caucasus was built.
One Step Closer To the Dream
The challenges of getting all the mandatory approvals, an insufficient budget, and construction site difficulties did not prevent ASADOV Bureau from achieving its main goal in the realization of the school project in the town of Troitsk – taking another step away from outdated notions of educational spaces toward creating a fundamentally new academic environment.
Chalet on the Rock
An Accor hotel in Arkhyz, designed by A.Len, will be situated at the gateway to the resort’s main tourist hubs. The architects reinterpreted the widely popular chalet style while adding an unexpected twist – an unfinished structure preserved on the site. The design team transformed this remnant into an exciting space featuring an open-air pool and a restaurant with panoramic views of the region’s highest mountain ridges.
Sergey Skuratov: “By and large, the project has been realized in line with the original ideas”
In this issue, we talk to the chief architect of Garden Quarters, looking back at the history and key moments of a project that took 18 years to develop and has now finally been completed. What interests us most are the transformations that the project underwent during construction, and the way the “necessary void” of public space was formed, which turned this remarkable complex into a fragment of a whole new type of urban fabric – not just at the horizontal “street” level but in its vertical structure as well.
A Unique Representative
The recently concluded year 2024 can be considered the year of completion for the “Garden Quarters” residential complex in Moscow’s Khamovniki. This project is well-known and, in many ways, iconic. Rarely does one manage to preserve such a number of original ideas, achieving in the end a kind of urban planning Gesamtkunstwerk. Here is a subjective view from an architecture journalist, with an interview with Sergey Skuratov soon to follow.
Field of Life
The new project by the architectural company PNKB (an acronym for “Design, Research, and Advisory Bureau”), led by Sergey Gnedovsky and Anton Lyubimkin, for the Kulikovo Field Museum is dedicated to the field as a concept in its own right. The field has long been a focus of the museum’s thorough and successful research. Accordingly, the exterior of the new museum building is gentler than that of its predecessor, which was also designed by PNKB and dedicated specifically to the historic battle. Inside, however, the building confidently guides the visitor from a luminous atrium along a spiral path to the field – interpreted here as a field of life.
A Paper Clip above the River
In this article, we talk with Vitaly Lutz from the Genplan Institute of Moscow about the design and unique features of the pedestrian bridge that now links the two banks of the Yauza River in the new cluster of Bauman Moscow State Technical University (MSTU). The bridge’s form and functionality – particularly the inclusion of an amphitheater suspended over the river – were conceived during the planning phase of the territory’s development. Typically, this approach is not standard practice, but the architects advocate for it, referring to this intermediate project phase as the “pre-AGR” stage (AGR stands for Architectural and Urban Planning Approval). Such a practice, they argue, helps define key parameters of future projects and bridge the gap between urban planning and architectural design.
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
GloraX plans to develop a residential complex spanning 14 hectares along the Volga River in Nizhny Novgorod. The winning design in a closed-door competition, created by GORA Architects, features housing typologies ranging from townhouses to terraced high-rise slabs, a balance of functions, diverse ways of engaging with the water, and even a dedicated island (no less!) for the city residents.
Life Plans
The master plan for the residential district “Prityazheniye” (“Gravity”) in Naberezhnye Chelny was developed by the architectural company A.Len, taking into account the specific urban planning context and partially implemented solutions of the first phase. However, the master plan prioritized its own values: a green framework, a system of focal points, a hierarchy of spaces, and pedestrian priority. After this, the question of what residents will do in their neighborhood simply doesn’t arise.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
A Step Forward
The HIDE residential complex represents a major milestone for ADM architects and their leaders Andrey Romanov and Ekaterina Kuznetsova in their quest for a fresh high-rise aesthetic – one that is flexible and layered, capable of bringing vibrancy to mass and silhouette while shaping form. Over recent years, this approach has become ADM’s “signature style”, with the golden HIDE tower playing a pivotal role in its evolution. Here, we delve into the project’s story, explore the details of the complex’s design, and uncover its core essence.