The City of the Sun

The history of designing VTB Arena Park is about 15 years long; to a large extent, it reflects the main “milestones” of the most recent times of Moscow architecture. Originally, it was designed as an office complex (at one point – with a very large output of useful floor space), but then it took on a mixed function: the Hyatt hotel, 4 office buildings, and apartments. Then the complex shrank down to a size of 400,000 square meters, and the design task was divided between two companies: SPEECH and Reserve Union, the former retaining the role of the chief designer, the plastique design of the buildings being split approximately even. A year ago we shared about the history of its design, examining the then-completed Stage One. Now the complex, situated at one of the most important transport junctions of Moscow, namely, at the crossing of the Third Transport Ring and the Leningrad Highway, quite familiar to all the motorists of the nation’s capital, is fully completed – its construction took 7 years.

zooming — The multifunctional complex VTB Arena Park

Copyright: Photograph © Aleksey Naroditsky

The twelve buildings are lined up along the Third Transport Ring where it coincides with the Novaya Bashilovka Street, on the territory that widens towards Maslovka. Next to the crossroads, stands the Hyatt Hotel, followed by three office buildings; the wide five-faceted part is occupied by the housing complex “VTB Arena Park” consisting of six houses with apartments. The outside east corner, the one that faces the Third Transport Ring, contains an office tower.

The line of the facades running along the highway is reasonably straight, while the landscaped park “Dynamo” is faced by a wide arc of the complex. The first and the second stages are separated by a boulevard, at the wide mouth of which one can plainly see the blue “cap” of the renovated stadium.

This street then leads to an underground crossing underneath the Third Transport Ring, providing a shortcut for getting from the Dinamo metro station to the houses on the opposite side, walking through the park. However, all the inner streets of the first stage are open and landscaped; one can already wander around them. The territory of the residential complex is closed with a fence, but the volumes are placed separately, with breaks between them, and this makes the complex permeable to the eye and the wind.

On both sides, from the side of the park, and from the side of the road, the buildings are placed rhythmically, almost like a musical scale, no bulges or mergers, house-rest-house-rest, different but similar, or the other way around.

The whole scene looks as if somebody staged here an experiment on fostering in Moscow – a city, whose “raunchy” town planning character many people mistake for its genius loci – a habit of order and modesty without losing the subtlety in expressing various ideas.

In many respects, the complex has become almost the perfect benchmark for developing a considerable chunk of land in a large modern city. It is big, yet not excessively tall, generally 11-16 stories high, and only the furthest volumes, the ones standing next to Maslovka – one residential, one offices – reach out to 26 and 24 floors respectively. The complex is indeed multifunctional; it is divided between offices, a hotel, and housing stock in comparable proportions. The buildings of the first stage already have cafes and shops open in the bottom floors, the second stage having a car-free yard.

The complex is surrounded by greenery from all sides, both by trees and rather extended lawns: all of this is meant to compensate for the location at the crossing of the nation capital’s two busiest highways, which, on the other hand, ensure great transport accessibility. All the facades are covered by light-colored plasterwork, which unambiguously points to the high class of both housing and offices, at the same time creating an effect of inner integrity of this new city fragment. It is sufficiently remote from the Third Transport Ring, it is rather quiet, light, and cozy here, particularly on a sunny day, when the buildings cast shadows and highlights on one another, as well as numerous specks of light.

The ensemble has two authors – Sergey Tchoban and Vladimir Plotkin. Within the framework of one common task, they, however, strictly obeyed the height restrictions, vertical proportions of the facade pattern, and the snow-white design code, combined with a fair amount of glass. Yet, at the same time, they both presented a vector of one’s own – conditionally speaking, modern classics and today’s modernism – in a way as clear as possible. And they also gave everyone who is interested an opportunity to compare these two styles in a real, albeit carefully designed, living environment.

The buildings designed by SPEECH, accounting for the classical part, more agile, yet, at the same time, more massive, formed the framework of the composition and the basis for its stability. The Hyatt hotel opens up towards the center of the territory with the trapeze of its wings – and it is answered by a similar trapeze or the tallest (26 floors) residential building on the opposite side; its silhouette is slightly reminiscent of the head and the paws of a Sphinx, which is also quite a steady figure. On the sides, the house is “guarded” by two “semi-frame” city blocks, while in the central axis of the hotel there are two more, seemingly identical, volumes, designed by SPEECH.

I will admit at this point that defining Sergey Tchoban’s buildings as “classicist” would be not entirely correct in this case. Rather, they might be considered as the pole of the “traditional” architecture (again, I use the term in inverted commas) within the logic of the overall narrative of this specific project.

The Hyatt hotel is turned to the Leningrad Highway and takes on the role of the “head” of the comet or the captain’s cabin of the steamer – the comparison is not accidental because the ventilation exits on the roof of the first building are designed as sculpted ship’s funnels. The forward motion is highlighted by the prevalence of the horizontal lines, yet it is at the same time restrained by the golden-bronze fluted verticals; the facades are treated as grids. The rounded corners and flexible ribbons gravitate towards retro-technical design, the funnel reminds of Le Corbusier's “steamer” house, or of steamships and steam locomotives in general, semicircular bay windows – of the Vesnins architecture. The very idea of likening the house to a steamer or a locomotive engine refers to avant-garde, yet here it became an organic part of Art Deco – the kind of post-constructivism that Russia has not seen yet. On the other hand, another thing that comes to mind is Samuel Marshak’s satirical poem “Mister Twister”: “Mister Twister, man of great worth, owner of factories, ships, journals, boats, is going to the USSR on a guided tour”. Such an “owner of factories” can easily fit in at such a hotel.

The second building is a trailer for the locomotive. There is less metal in the second building but more flutes and piers. It trails in the wake, and it is lighter because all of it is beige and stone, while the first building looks more metallic yellow when viewed from a distance (for more details on the structure and interiors of the hotel, see here).

Comparing the head building to a locomotive engine also makes you take a different look at the other buildings: they do indeed look like train cars of different shapes and sizes. However, the “tail of the comet” widens, and the string of cars turns into something more complex.

If in the second iteration, Hayat’s building was solid, but had two wings, at the third stage, the volumes were divided into three separate buildings: two on the sides were designed by Reserve Union, and the small central one was designed by SPEECH – this is the first place where one can see a proximity of two models, and, let’s note that the style of the “traditional” building is also different from what we see in the hotel, and is resonant with the ensuing buildings designed by the same architects. This third line looks like a pivot joint – here, in addition to other things, the turn of the arc of the border between the complex and the park is strengthened. All the three buildings are office ones, and it is them that park cut by the Chislenko Street, which divides the complex into two halves, separating the public part from the residential one.

The contrast between the two approaches is particularly tangible here. The buildings designed by Vladimir Plotkin, standing on the sides and facing the two “facade” sides, i.e. the Third Transport Ring and the park, make unambiguous statements about the fact that they are different (see more about these differences here): white color instead of beige, no cornices, and an agile minimalist design, light and almost weightless. These buildings form a dynamic antithesis to the purposeful yet very robust-looking hotel building.

Turned onto the park, the west building, in spite of its considerable height (15 floors), is comparable, as far as its pattern goes, to the park pavilions made from white slender colonnades. A well-articulated set of white straight lines becomes a contrasting background for the flexible lines of the geo-plastic hills.

The floors are grouped in twos here to form horizontal bands, while the verticals, slender and pure, are smoothly spaced out in the north corner, sharp on the plan. In the volumes of the upper and lower tiers, the acute angle is chamfered, and is only fenced off by a stone grille: one can pass underneath, while on top the slender colonnade surrounds the terrace, at the same time marking the ventilation outputs.

The other building, designed by Reserve Union, and situated closer to the Third Transport Ring, is more “of the city”; collected and material. The cells are single-tiered, and there are no horizontal trusses at all – the plaques between the windows are intertwined like fingertips or like some kind of metaphysical macramé: glass the warp, stone the weft.

On the corners, glass and stone alternate, obeying the clear and almost infallible inner logic; the central part of the building is “pleated” consecutively, due to which it looks a little bit like a “thing in itself”. The livening-up asymmetry is provided by pylons at the top and at the bottom, i.e. at the basement floor and at the attic level – the imposing “undone queues” of the main belt. The volumetric character of the east building brings up associations with the novocento metaphysics, as if the Roman EUR were devoid of its arches and slightly turned, like a rubix cube, or unbraided, like fabric.

Which gives us yet another variant of allusion to the 1930’s, contrastive to the hotel building, as if representing a different pole of ideas and events. But then again, all the conceptual layers are so subtle here that one should think that you could easily prove that they were never there in the first place. But still, this is much better than direct borrowing.

The office building – the one that was designed by SPEECH, and placed between these two – is declaratively unlike them in many respects, first of all in its completeness, steadiness, and, of course, its decoration – here the decoration reaches its climax: all the six broad bands running between the floors and collecting the building into a single whole, are beautifully ornamented.

The type of carving is large and flat, like the one you may see on the Byzantine House, Wine House, and the neighboring Czar Square; the motifs are neo-classical ones. The corners are rounded; there are flutes in the attic tier. All put together reminds the “bank” modernist style, such as in Moscow’s Kitay Gorod.

However, despite all the classic nature of the pattern with the laurel wreath, the building does not have a crowning cornice; its floors between the bands consist of quite modernist triangular bay windows: one facet is glass, and the other is stone – as if the ornamental bands were holding the stripes of some volumetric stone-and-glass track. If we are to get back to the theme of the locomotive engine, set by the architecture of the hotel building, we will probably see the “mechanical core” of the entire composition. This is also the place where the decorative ornament is stated for the first time, and immediately in full effect, too – in both senses, the building justifies its central and symmetric location in the overall composition.

1 / 5

The multifunctional complex VTB Arena Park. Building 4, offices

Copyright: Photograph © Aleksey Naroditsky
2 / 5

The multifunctional complex VTB Arena Park

Copyright: Photograph © Aleksey Naroditsky
3 / 5

The multifunctional complex VTB Arena Park. Building 4, offices

Copyright: Photograph © Aleksey Naroditsky
4 / 5

The multifunctional complex VTB Arena Park. Building 4, offices

Copyright: Photograph © Aleksey Naroditsky
5 / 5

The multifunctional complex VTB Arena Park. Building 4, offices

Copyright: Photograph © Aleksey Naroditsky

Building 9 on the opposite side of the Chislenko Street generally mirrors its “laureled” neighbor, even if only in terms of height, volume and the same kind of ornamental bands. This building, however, is more Art Nouveau, there are only three ornamental bands here, top and bottom, the pattern is less sophisticated, the corners are not as rounded and don’t look like “pillars”, while the “saw” of the projections is replaced by alternating windows and piers, which, for the record, do stand out a little bit in their middle part, taking on a certain resemblance to the triangular bay windows. But then again, the cornice here does not manifest itself either – it seems as though Building 9 were passing the baton of the imagery found in office building No. 5 to the apartment complex.

1 / 5

The multifunctional complex VTB Arena Park. Building 9

Copyright: Photograph © Aleksey Naroditsky
2 / 5

The multifunctional complex VTB Arena Park. Building 9

Copyright: Photograph © Aleksey Naroditsky
3 / 5

The multifunctional complex VTB Arena Park. Building 9

Copyright: Photograph © Aleksey Naroditsky
4 / 5

The multifunctional complex VTB Arena Park. Building 9

Copyright: Photograph © Aleksey Naroditsky
5 / 5

The multifunctional complex VTB Arena Park. Building 9

Copyright: Photograph © Aleksey Naroditsky

The smallish, yet capable of holding the composition axis, Building 9 is flanked on both sides by large semi-quarters designed by Reserve Union, specifically buildings No. 10 and 6. Both stand facing the above-described office buildings 3 and 5 standing across the road, but, whilst the two vis-a-vis of SPEECH noticeably echo each other, Vladimir Plotkin proposes a different solution for these residential buildings: the facades are subjugated by a relief grid, the main motif of which are chamfers – the chamfered piers that asymmetrically flank the glass patches, gathered into horizontal bands. Their sharp edges look like the blades of white ceramic knives, which once again highlight the contrast with totally rounded corners of the buildings designed by SPEECH. An oval there and a sharp corner here, no terms.

The chamfers are “combed” to one side, and the bay windows are turned in the same direction as well: a lot of them face the park, only one faces the street, and none are on the side of the Third Transport Ring.

The “grid” or the “mesh” behaves very freely – we have already compared Building 5 with pleating, but here the pattern looks like a stretched “hippie” sweater: there is a lot of glass at the two outer and southern corners, and the stone gradually thickens northward. From the side of the yards, the chamfers disappear, but the agile alternating rhythm remains, added by flat recessions.

The three residential buildings designed by Sergey Tchoban also have a U-shaped plan with wings stretching out into the yard. The house on the far side of Maslovka, as we remember, rises significantly in its central part, up to 26 floors. We have already compared it with the Sphinx – it has a tangible importance, comparable to the impression produced by a Stalinist skyscraper, especially if viewed from the outside. If you want to bother such a person of consequence, you need to have a good reason for that.

1 / 5

The multifunctional complex VTB Arena Park. Building 12

Copyright: Photograph © Aleksey Naroditsky
2 / 5

The multifunctional complex VTB Arena Park. Building 12

Copyright: Photograph © Aleksey Naroditsky
3 / 5

The multifunctional complex VTB Arena Park. Building 12

Copyright: Photograph © Aleksey Naroditsky
4 / 5

The multifunctional complex VTB Arena Park. Building 12

Copyright: Photograph © Aleksey Naroditsky
5 / 5

The multifunctional complex VTB Arena Park. Building 12

Copyright: Photograph © Aleksey Naroditsky

All the three SPEECH houses are subjugated to one and the same theme, already stated in buildings 4 and 9 – referring to the modernist architecture of the early XX century, and to the buildings that could have become the climax of developing the typology of tenements and bank offices. Perhaps, even to the well-known ideal of 1913. This choice is quite understandable, both for residential and office buildings; at the same time, the prototype is interpreted here in a general manner – modernist architecture is diluted by a tangible taste for up-to-date technological solutions, and, as we saw earlier, by a slight twist of “Stalin” architecture.

In addition to the ornamental bands and the “flutes” in the attic tier, the three houses are getting crowning cornices – of smooth proportions, and, of course, without cantilevers. All the corners are rounded: corners of the houses, of the projections, and the vertical “blade” piers. All the houses feature risalits, wide and hollow; sometimes they are placed in the middle, and sometimes the facade is getting two asymmetric risalits.

The risalits on the ends of the wings reaching out into the yard occupy their entire width; they are made of dark glass with dark lintels, and they look like jewelry cabochons. They significantly add to the “mirror-like” quality of the house and proudly sport the curvilinear glass.

1 / 4

The multifunctional complex VTB Arena Park. The yard of the housing complex

Copyright: Photograph © Aleksey Naroditsky
2 / 4

The multifunctional complex VTB Arena Park. The yard of the housing complex

Copyright: Photograph © Aleksey Naroditsky
3 / 4

The multifunctional complex VTB Arena Park. The yard of the housing complex

Copyright: Photograph © Aleksey Naroditsky
4 / 4

The multifunctional complex VTB Arena Park. The yard of the housing complex

Copyright: Photograph © Aleksey Naroditsky

And, finally, the office building on the corner, authored by Vladimir Plotkin, Building No. 8, is only two floors smaller than its residential “neighbor”. While the whole complex presents itself to the city and the park with calm dignity, this building is slightly more on the active side. They take full advantage of both its height and its “corner” location at the bend of the Third Transport Ring; this building is one of the highlights, with which VTB Arena Park establishes itself with the city. When you come driving to the complex from the side of the Savelovsky railway station, at some point it seems that this buildings is about three times higher than the rest, and from the opposite side, from the Leningrad Highway, the height of the tower at first disappears, but then you can feel well how its corner is decomposed into parts, directing us to the right almost like a traffic controller.

The office tower on the corner features virtually the same dynamics and openness as the two other office buildings designed by Reserve Union, Buildings 3 and 5, yet here it works in a slightly different way. The whole building is subjected to the light-colored grid, similar to the kind that is used on the facades of the Kommunarka clinic; the outside facades sport a mesh that is finely textured, on the inside facades the lines are wider and flatter, but it always has vertical proportions and is simple as parallels and meridians in the globe, is not to be measured by any gradient successions, does not “teeter” optically, and keeps perfect stability. On the other hand, the slenderness of the lines on the outside makes the building look deliberately fragile: the facade grid here is lighter than in any of the other buildings, and can only be compared to the attic tier of Building 3.

The clarity and the simplicity of the facade pattern highlight the partial turn of the volume: the building looks slightly like a volumetric puzzle at the beginning of the transformation movement. This turn is, of course, resonant with the turn of the highway, but some of the volume looks exactly as if it was “taken out” and “unfolded” – and it is echoed by the turn of the place in the lower tier of the north facade from the Maslovka side, under the same angle.

In the same spot, the lower tier stands out northward, about three cells of the grid, in the direction of the residential Building 12. At the bottom, an arch appears – a cantilever with a mirror ceiling rests on two rows of very slender “legs” (and one support of a larger size). It opens yet another, additional, view into the courtyard, emphasizing the subtlety of the building, which seems to have set one elegant “leg” aside.

The two tall towers – the office one (24 floors, designed by Reserve), and the residential one (26 floors, designed by SPEECH) – become the high-rise highlights of the north part of the complex, which, as we remember, raises its height from the Leningrad Highway towards the Maslovka Street. These two buildings also enter a dialogue based on contrast: symmetric-asymmetric, rounded-sharp, robust-lightweight, a third one within this complex.

Each of the dialogues built here is based on different techniques, and each time it takes on a new key. All of them are united by the balance of tension and coherence, coupled with the elaboration of each solution. Each building here is a statement, and one that must be viewed in the context of a joint conversation, built up consistently with the expectation of showing the strong sides of one method or another, highlighting the differences why their closeness, but reconciling them with one common denominator.

This is not the first time that Vladimir Plotkin and Sergey Tchoban venture into such an experiment, one of the close examples at hand (in terms of the approach) being the high-end residential complex Wine House, where the facades, including stone-white ones, are alternating. The case of VTB Arena Park is the largest in this paradigm. It even seems that the authors “walk” the observer through the entire history of the controversies of the architecture of the XX century: modernism, avant-garde, Art Deco, and metaphysics of the forms in the “cross-sectional” view – in a subtle manner, without thrusting their meditation on the city people, but saving them up for those who will want to think about the architecture in general. In addition, the two architects are meeting each other halfway: the modernism is rather on the classical side, it has a lot of vertical flavor about it, while the Art Nouveau and the Art Deco are significantly generalized and merged with the technology aesthetics, characteristic of modernism.

In this case, the very dialogue between the two major directions turns into a subject of creative work, which somehow entitles us to use, when describing its results, not just the clichéd market term “complex”, but, rather a more emotional and image-laden term “ensemble”. What is also interesting, by the way, is the fact that the interaction of the parts of the complex takes place not in accordance with the classic or modernist rules, but poses new questions, which are, possibly, the new agenda of our day and age, for example, the question of the need for diversity and the permissibility of using “different languages”.

We will note here that the topic that is developed here is resonant with a more global dialogue taking place in the nation’s capital: Moscow is essentially a conglomerate of classicist and modernist buildings, “Stalin” versions of these styles, and modernist statements, mixed sometimes by chance, and sometimes by design. Sometimes they are indifferent to one another, but more often they are bickering back and forth. Here, on the other hand, at the crossroads next to the Dinamo metro station, the conversation turned out to be different, regulated, and tolerant – some kind of special “architectural parliament” where no one interrupts anyone, as if the task is to set an example. At the same time, the two architects were able to form the proverbial “comfort town”, big enough to satisfy the developers’ interests, yet not excessively large and comparable, scale-wise, to the nearby streets.

If this is not perfection, then I don’t know what is.

07 October 2020

Written by:
Julia Tarabarina
Translated by:
Anton Mizonov

Headlines now

Object

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.

News

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.

Object

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.

Object

Gold in the Sands

A new office for a transcontinental company specializing in resource extraction and processing has opened in Dubai. Designed by T+T Architects, masters of creating spaces that are contemporary, diverse, flexible, and original, this project exemplifies their expertise. On the executive floor, a massive brass-clad partition dominates, while layered textures of compressed earth create a contextually resonant backdrop.

Object

Layers and Levels of Flight

This project goes way back – Reserve Union won this architectural competition at the end of 2011, and the building was completed in 2018, so it’s practically “archival”. However, despite being relatively unknown, the building can hardly be considered “dated” and remains a prime example of architectural expression, particularly in the headquarters genre. And it’s especially fitting for an aviation company office. In some ways, it resembles the Aeroflot headquarters at Sheremetyevo but with its own unique identity, following the signature style of Vladimir Plotkin. In this article, we take an in-depth look at the United Aircraft Corporation (UAC) headquarters in the Moscow agglomeration town of Zhukovsky, supplemented by recent photographs from Alexey Naroditsky – a shoot that became only recently possible due to the fact that improvements were finally made in the surrounding area.

Object

Light and Shadow

In this article, we delve into the architectural design of the “Chaika” house by DNK ag architects, which was recently completed in 2023 as part of the collection of signature designs at ZILArt. As is well-known, all the buildings in this complex follow a design code, yet each one is distinct. This particular building stands out not only for its whiteness and minimalism but also for the refined use of a limited number of techniques that, together, create what can confidently be called synergy.

View

Casus Novae

A master plan was developed for a large residential area with a name of “DNS City”, but now that its implementation began, the plan has been arbitrarily reformatted and replaced with something that, while similar on the surface, is actually quite different. This is not the first time such a thing happens, but it’s always frustrating. With permission from the author, we are sharing Maria Elkina’s post.

Report

Treasure Hunting

The GAFA bureau, in collaboration with Tegola and Arkhitail, organized an expedition to the island of Kilpola in Karelia as part of Moskomarkhitektura’s “Open City” festival. There, amidst moss and rocks, the students sought answers to questions like: what is the sacred, where does it dwell, and what sustains it? Assisting the participants in this quest were landscape engineer Evgeny Levin, artist Nicholas Roerich, a moose, and the lack of cellular connection. Here’s how the story unfolded.

Object

Depths of the Earth, Streams of Water

In the Malaya Okhta district, the Akzent building, designed by Stepan Liphart, was constructed. It follows a classic tripartite structure, yet it’s what you might call “hand-drawn”: each façade is unique in its form and details, some of which aren’t immediately noticeable. In this article, we explore the context and, together with the architect, delve into how the form was developed.

Object

Fir Tree Dynamics

The “Airports of Region” holding is planning to build an airport in Karachay-Cherkessia, aiming to make the Arkhyz and Dombay resorts more accessible to travelers. The project that won in an invitation-only competition, submitted by Sergey Nikeshkin’s KPLN, blends natural imagery inspired by the shape of a conifer seed, open-air waiting spaces, majestic large trees, and a green roof elevated on needle-like columns. The result is both nature-inspired and WOW.

Object

A Brick Shell

In the process of designing a clubhouse situated among pine trees in a prestigious suburban area near Moscow, the architectural firm “A.Len” did the façade design part. The combination of different types of brick and masonry correlates with the volumetric and plastique solutions, further enhanced by the inclusion of wood-painted fragments and metal “glazing”.

Report

Word Forms

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.

Object

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”.

Interview

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.

Object

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.

Object

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.

Object

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.

Object

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.

Object

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”.

Object

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.

Object

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.

Object

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.

send.project

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.

Contest Results

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.

Object

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?

Object

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.

Report

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.

Object

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.

​The City of the Sun

The City of the Sun