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​The Ring on the Saisara Lake

The building of the Philharmonic Hall and the Theater of Yakut Epos, standing on the shore of the sacred lake, is inscribed into an epic circle and contains three volumes, reminiscent of the traditional national housing. The roof is akin to the Alaas – a Yakut village standing around a lake. In spite of its rich conceptual agenda, the project remains volumetrically abstract, and keeps up a light form, making the most of its transparency, multiple layers, and reflections.

27 January 2020
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The project of the building that unites the State Philharmonic Hall of Yakutia and the Arctic Center of Epos and Fine Arts was commissioned to Reserve Union by the republic administration a little less than a year ago, in the end of February 2019. One of its prime movers and the heart and soul of the project is Andrey Borisov, the former C.E.O of the Sakha theater, the former C.E.O of the Olonkho theater, named after the Yakut epos, the former minister of culture and spiritual development of the republic in 1990-2014, and now a State Councilor.

By May 2019, the first versions of the concept were ready; in summer, a second version was discussed, and, finally, in mid-October, the project got an architectural and urban planning image, which made it possible to publish relatively extensive information about it. Nevertheless, the project is still being developed and updated, and the architects are promising to show a more detailed version later on.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The complex is situated in the southern part of Yakutsk, not far away from the city center, on the shore of the legendary Saisara Lake. The lake is considered to be sacred; the cape, where the Philharmonic Hall and the Arctic Center are about to be built, up until the 1990’s, was the place where Ysyhakh, the main national festivity, took place; in 2014, they also planned to build here a complex named “Zemlya Olonkho” – but back then they considered a much larger territory of 47 hectares. Today, the building occupies 2.2 hectares in the triangle between the Oikunskogo Street leading to the city center, the Dezhneva Street, and a sprout of the lake.

Location plan. International Center of Epics of Eurasian peoples in Yakutsk
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The plan is based on a circle – a perfect shape that has an extremely important meaning in the Yakut mythology: the circle is the sun, the floor plan of a hut built around a fire, and the symbol of the yearly cycle – and it is not by chance that when Reserve Union took part in the competition for landscaping the Lenin Square in Yakutsk last summer, the main shape of the project was also a circle, the traditional protective charm with lots of superordinate ring openings.

There are two main parts inscribed into the circle of the plan – the philharmonic hall and the theater of Yakut Epos, with a common entrance zone, yet separate foyers, which allows them to function independently. Due to the fact that because of permafrost underground construction is not feasible, the mechanical rooms underneath the stages could not be deepened, and all of the spectator halls had to be elevated rather high up – 6.6 meters above the ground level – there are two broad staircases, flanked by escalators, leading upwards from the entrance zone and the reception area with the ticket offices.

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    Section view 1-1 along the Theater halls. International Center of Epics of Eurasian peoples in Yakutsk
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    Section view 3-3, longitudinal. International Center of Epics of Eurasian peoples in Yakutsk
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    Section view 2-2 along the Philharmonic Hall. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 1st floor at the elevation +0.000. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 4th floor at the elevation +9.900. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 2nd floor at the elevation +3.300. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 5th floor at the elevation +13.200. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 6th floor at the elevation +16.500. International Center of Epics of Eurasian peoples in Yakutsk
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    Plan of the 7th floor at the elevation +19.800. International Center of Epics of Eurasian peoples in Yakutsk
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    Master plan (simplified). International Center of Epics of Eurasian peoples in Yakutsk
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The Center of Arctic Epos consists of three pavilions, whose shape is inspired by the traditional Yakut summer house – Uras. The pavilions are interconnected, two of them including stage spaces with spectator seats arranged in a circular order, the third one being a rehearsal studio. The central and the biggest pavilion of the Olonkho theater is united with the drama theater Sakha, which occupies the eastern sector of the circle: here, the spectator seats continue higher and further. The spaces can be divided and merged with the help of mobile partitions.

Plan of the 3rd floor at the elevation +6.600. International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


One of the schemes for positioning the halls of the Olonkho and Sakha theaters. International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The roof is designed as an operated one; there will be festivals organized upon it; the circular skylight, which lightens the entrance zone by day, symbolizes the lake, while the whole roof is likened to Alaas – a giant meadow amidst the Taiga, the result of melted permafrost with a peat lake in the middle and arable land around it; historically, alaases were the basic units of Yakut agriculture and settlement. By the way, the glacier lake, also circular, as a rule, and the circular meadow with tasty grass for the horses – explain to a large extent the meaning of the circle for the Yakut culture and mythology.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


Here, on the roof of the philharmonic hall and the theater, the lake is just tiny, and the “uras” huts are larger, yet the picture is still recognizable: one can see the “lake”, the “meadow”, and the hipped roofs, and the picture becomes part of the scenario of the entire building. It may seem as if a perfect cylinder were cut out from the permafrost – with some space-age laser, for example – and was pushed up from the ground, so the village ended up on the roof, while the chthonic forces that supported it turned into the power of theater and music; gods, and especially shamans in many cultures travel towards the underground fire, while in this specific instance it turns out that it was taken out from the earth and laid as the basis of, let’s say, performative creativity.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The cylindrical volume of the complex rises slightly eastward, where the entrance is situated, oriented, in full accordance with the cultural patterns of the Yakut epos, towards the sunrise. The facades are double bound: on the inside, the walls are made of glass, which is meant to ensure plenty of light in the foyer and the lobby; on the outside, the walls are covered with a mounted casing. Down below, its contour rises in large waves that look like arches – everything works together to create a hovering effect, responding to the theme of water, at the same time strengthening the “iceberg” effect – the likeness to the fragment of permafrost cut out from the soil. The building is icy and iridescent; the glass in its basement looks like pure ice that trapped the outlines of the floors and pillars, clearly discernible from the outside.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


The entrance is made deeper by a smooth parabola – a volumetric wave that recedes before the small plaza. The outlines of this plastique depression behind the screen of the outside casing look like yet another linear wave, kicking into play, based on the gauze semi-transparency and visual permeability of the building. We will note here that the outside casing does not bend at the same time, “holding” the diameter; the waves are pretty geometric, the shape is large, yet at the same time delicate and pure, all of the analogies and parallels staying within the confines of the abstract, and not indulging into any literal interpretations.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


There will be a broad wooden boardwalk running along the shoreline, and a small venue for open air events. At some point, the architects were considering the construction of a full-fledged stage next to the water, yet later on they refrained from that idea.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


In the first May version, the structural and ethereal character of the solution – the glass cylinder with a wavy ribbon cast over it, hovering in the air – could be read ever more clearly: the casing was composed of white vertical lamellas that formed clear and transparent strokes, reflected in the curves of the glass surface, resonating with the lines of the framework of the glass walls with a rhythm of pillars inside. All of this served to create a “mirage” image, and, to a certain extent, “dematerialized” the building, setting at the same time the appropriate tone of the graphic discipline and completion. The bands were rather large to be seen from a distance, yet still thin enough to hold the volume together. This version also provided for a thin cornice line on top, marking the edge of the roof.

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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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Also, in the first version, the mutual positioning of the spectator halls in respect to one another was different: the group of theaters was lined up in one row right of the entrance, the philharmonic hall was on the left; the two modules were separated by the ravine of the atrium, elongated and overlooking the sacred lake with its end opposite from the entrance. As a result, the lobby was getting more ambient light from above and could claim a more important role of the indoor plaza, something like a covered public space between the theater and concert halls.

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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 1, 05.2019
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However, one of Andrey Borisov’s requirements was about creating a panorama of all the three uras pavilions from the side of the lake, and the theater was moved from the north over to the west, the arrangement of the elements inside the circle changing, and the plan getting a configuration looking like an hourglass: one trapezoid part from the entrance is narrowing, the other, closer to the lake, is widening.

The facade with vertical lamellas was also another point of concern of the client’s – due to the fact that nearby, eight hundred meters away from the philharmonic hall, the building of the complex “Russia, My History” was built, whose facades also sport light-colored verticals, even if differently constructed. Then the client had a desire to include in the project, in addition to the already-employed imagery, rather rich as it is, a reference to the Lena Pillars, the most magnificent natural monument in the Sakha Republic. This is how two more versions of the project came about: one with an opaque golden pattern resembling, albeit remotely, the famous rocks, like a pixel picture, the other – with a media screen, which would broadcast the images of this natural sight, along with billboards and live broadcasts. 

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    International Center of Epics of Eurasian peoples in Yakutsk, Version 2, 06.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 2, 06.2019
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    International Center of Epics of Eurasian peoples in Yakutsk, Version 2, 06.2019
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In fall, the “orange” version with the Lena Pillars was replaced by a lighter one – now the outside screen of the facade consists of aluminum ovals, mounted diagonally on the grilled octahedral structure, which makes it possible to mount the outside surface at a rather large distance from the glass of the main volume.

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    The facade solution formed on the volumetric shaft system with a rectangular module. International Center of Epics of Eurasian peoples in Yakutsk
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    The facade solution formed on the volumetric shaft system with a triangular module. International Center of Epics of Eurasian peoples in Yakutsk
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    A fragment of the facade (a volumetric shaft system with a triangular module). International Center of Epics of Eurasian peoples in Yakutsk
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    A fragment of the facade. The perspective view (a volumetric shaft system with a rectangular module). International Center of Epics of Eurasian peoples in Yakutsk
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    A fragment of the facade. The perspective view (a volumetric shaft system with a rectangular module). International Center of Epics of Eurasian peoples in Yakutsk
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The resulting structure must show glitter, yet not like in the first version, where it looked like ice with organized streaks, but rather like snow or cloud. And transparent, too: from the side of the lake one can clearly see the imposing, slightly bent, buildings of the theater, belted by a glass floor and something like a scarf or a necklace rising up towards the east. The picture is half traditional, half cosmic.

International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’


International Center of Epics of Eurasian peoples in Yakutsk
Copyright: © Creative Union ‘Reserve’



27 January 2020

Headlines now
​The Power of Lines
The building at the very beginning of New Arbat is the result of long deliberations over how to replace the former House of Communication. Contemporary, dynamic, and even somewhat zoomorphic in character, it is structured around a large diagonal grid. The building has become a striking accent both in the perspective of the former Kalinin Avenue and in the panorama of Arbat Square. Yet, unfortunately, the original concept was not fully realized. In 2020, the Moscow ArchCouncil approved a design featuring an exoskeleton – an external load-bearing structure, which eventually turned into a purely decorative element. Still, the power of the supergraphic “holds” the building, giving it the qualities of a new urban landmark with iconic potential. How this concept took shape, what unexpected associations might underlie the grid’s form, and why the exoskeleton was never built – all this is explored in our article.
Resort on the Kama River
Wowhaus has developed a project for the reconstruction of Korabelnaya Roshcha (“Mast Grove”), a wellness resort located on the banks of the Kama River.
Nests in Primorye
The eco-park project “Nests”, designed by Aleksey Polishchuk and the company Power Technologies, received first prize at the Eco-Coast 2025 festival, organized by the Union of Architects of Russia. For a glamping site in Filinskaya Bay, the authors proposed bird-shaped houses, treehouses, and a nest-shaped observation platform, topping it all with an entrance pavilion executed in the shape of an owl.
The Angle of String Tension
The House of Music, designed by Vladimir Plotkin and the architects of TPO Reserve, resembles a harp, and when seen from above, even a bass clef. But if only it were that simple! The architecture of the complex fuses two distinct expressive languages: the lattice-like, transparent, permeable vocabulary of “classical” modernism and the sculptural, ribbon-like volumes so beloved by today’s neo-modernism. How it all works – where the catharsis lies, which compositional axes underpin the design, where the project resembles Zaryadye Concert Hall and where it does not – read in the article below.
How Historic Tobolsk Becomes a Portal to the Future
Over the past decade, the architectural company Wowhaus has developed urban strategies for several Russian cities – Vyksa, Tula, and Nizhnekamsk, to name but a few. Against this backdrop, the Tobolsk master plan stands out both for its scale – the territory under transformation covers more than 220 square kilometers – and for its complexity.
St. Petersburg vs Rome
The center of St. Petersburg is, as we know, sacred – but few people can say with certainty where this “sacred place” actually begins and ends. It’s not about the formal boundaries, “from the Obvodny Canal to the Bolshaya Nevka”, but about the vibe that feels true to the city center. With the Nevskaya Ratusha complex – built to a design that won an international competition – Evgeny Gerasimov and Sergei Tchoban created an “image of the center” within its territory. And not so much the image of St. Petersburg itself, as that of a global metropolis. This is something new, something that hasn’t appeared in the city for a long time. In this article, we study the atmosphere, recall precedents, and even reflect on who and when first called St. Petersburg the “new Rome”. Clearly, the idea is alive for a reason.
On the Wave
The project of transforming the river port and embankment in the city of Cheboksary, developed by the ATRIUM Architects, involves one of the city’s key areas. The Volga embankment is to be turned into a riverside boulevard – a multifunctional, comfortable, and expressive space for work and leisure activities. The authors propose creating a new link with the city’s main Krasnaya (“Red”) Square, as well as erecting several residential towers inspired by the shape of the traditional national women’s headdress – these towers are likely to become striking accents on the Volga panorama.
Valery Kanyashin: “We Were Given a Free Hand”
The Headliner residential complex, the main part of which was recently completed just across from Moscow City, is a kind of neighbor to the MIBC that doesn’t “play along” with it. On the contrary, the new complex is entirely built on contrast: like a city of differently scaled buildings that seems to have emerged naturally over the past 20 years – which is a hugely popular trend nowadays! And yet here – perhaps only here – such a project has been realized to its full potential. Yes, high-rises dominate, but all these slender, delicate profiles, all these exciting perspectives! And most importantly – how everything is mixed and composed together... We spoke with the project’s leader Valery Kanyashin.
​The Keystone
Until quite recently, premium residential and office complexes in Moscow were seen as the exclusive privilege of the city center. Today the situation is changing: high-quality architecture is moving beyond the confines of the Third Ring Road and appearing on the outskirts. The STONE Kaluzhskaya business center is one such example. Projects like this help decentralize the megalopolis, making life and work prestigious in any part of the city.
Perpetuum Mobile
The interior of the headquarters of Natsproektstroy, created by the IND studio team, vividly and effectively reflects the client’s field of activity – it is one of Russia’s largest infrastructure companies, responsible for logistics and transport communications of every kind you can possibly think of.
Water and Light
Church art is full of symbolism, and part of it is truly canonical, while another part is shaped by tradition and is perceived by some as obligatory. Because of this kind of “false conservatism”, contemporary church architecture develops slowly compared to other genres, and rarely looks contemporary. Nevertheless, there are enthusiasts in this field out there: the cemetery church of Archangel Michael in Apatity, designed by Dmitry Ostroumov and Prokhram bureau, combines tradition and experiment. This is not an experiment for its own sake, however – rather, the considered work of a contemporary architect with the symbolism of space, volume, and, above all, light.
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
The old railway station in Kapan, a city in southern Armenia, has been given new life by the Paris-based design firm Normal Studio. Today, it serves as a TUMO center.
A Deep, Crystal Shine
A new luxury residential development by ADM architects is set to rise in the Patriarch’s Ponds district, not far from Novopushkinsky Square. It will replace three buildings erected in the early 1990s. The project authors, Andrey Romanov and Ekaterina Kuznetsova, have placed their bets on the variety among the three volumes, modern design solutions, and attention to detail: one of the buildings will feature smoothly curved balconies with a ceramic sheen on their undersides, while another will be accented by glass “sculpture” columns.
Grigory Revzin: “What we should do with the architecture of the seventies”
Soviet modernism came in two flavors: the good, author-driven kind, and the bad, standardized kind. The good kind was “on the periphery”, while the bad kind was in the center – geographically, in terms of attention, scale, and everything else. Can we demolish it? “That would be destroying public consensus out of thin air”. So what should we do? Preserve it, but creatively: “Bring architecture into places where it hasn’t yet appeared”. Treat these buildings not as monuments, but as urban landscape. Read our interview with Grigory Revzin on the pressing topic of saving modernism – where he proposes a controversial, yet really intriguing, way of preserving 1970s buildings.
A Roadside Picnic of Urban Planning Theorists
Marina Egorova, head of Empate Architectural Bureau, brought together urban planning theorists – the successors of Alexey Gutnov and Vyacheslav Glazychev – to revive the substance and depth of professional discourse. At the first meeting, much ground was covered: the participants revisited the theoretical foundations, aligned their values, examined a cutting-edge case of the Kazan agglomeration, and concluded with the unfathomable intricacies of Russian land demarcation. Below, we present key takeaways from all the presentations.
Perspective View
CNTR Architects has designed a business center for a new district in Yekaterinburg, aiming to reduce the need for commuting and make the residential environment more diverse. The architectural solutions are equally focused on creating spatial flexibility, comfortable working conditions, and a memorable image that could allow the building to become a spatial landmark of the district.
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
The design of the new building for Tyumen State University (TyumSU) was initially developed before the pandemic but later revised to meet new educational requirements. The university has adopted a “2+2+2” system, which eliminates traditional divisions into groups and academic streams in favor of individualized study programs. These changes were implemented swiftly – right at the start of construction. Now that the building is complete, we are taking a closer look.
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”.