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​Binary Opposition

In this article, we are examining a rather rare and interesting case – two projects by Evgeny Gerasimov situated on one street and completed with a five years’ difference, presenting the perfect example of example for analyzing the overall trends and approaches practiced by the architectural company.

22 March 2021
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The Tverskaya Street, which connects the Tavrichesky Garden and the Smolny Garden, was one of the first, with which Evgeny Gerasimov bureau started to work: the pencil sketches for this place appeared still back in 1991, in the year the company was founded. Curiously, at first the architects saw here a building in the style a-la Russ, the dream of which they were able to implement much later. Gradually, however, during the conferences with the client, who owned not just one but two sites on this street, the concept changed. First, in 2004 they built a modernist house on Tverskaya 6, and exactly five years later right across from it appeared its neighbor designed in the style of Northern Art Nouveau. Comparing them reveals some regularities in the work of the company.

The residential house at Tverskaya, 6
Copyright: © Evgeniy Gerasimov & Partners

 
Courage to make a statement
 
The two houses on Tverskaya Street present two answers to the question about how you build in a historical center. One way is to look clearly modern and oppose the surrounding context with new forms and materials. The other is to try and learn to speak the language of your predecessors, reconsidering their legacy. Both approaches are known to have their advocates and critics.
 
The Tverskaya Street is a good place for architectural experiments because this area is incredibly rich in architectural styles: within a five-hundred-meter radius, you may find baroque, classicism, eclectics, Northern Art-Nouveau, as well as representatives of Soviet architecture from every decade. Closing two lacunae in this post-perestroika city collage, the architects tried various approaches, pushing the limits of the possible.
 
However, in spite of the fact that the two houses look obviously different, there are things that they do have in common. 

Evgeny Gerasimov, «Evgeniy Gerasimov & partners»

What these two houses have in common is the uncompromising drawing on the chosen subject. They are not at all shy of themselves. The mimicry effect is just not the case here. They declare: I am made this way, if you like me – thank you, but if you do not like me – please go on your way. We can say that these houses are competing for your attention. Like in Dostoevsky’s White Nights, remember?

 
We will remind you, just in case: 
 
“I know the houses too. As I walk along they seem to run forward in the streets to look out at me from every window, and almost to say: “Good morning! How do you do? I am quite well, thank God, and I am to have a new story in May,” or, “How are you? I am being redecorated tomorrow;” or, “I was almost burnt down and had such a fright,” and so on.
 
Meaning, both houses, which is also quite applicable for other projects by this company, with all due respect for their predecessors, look nothing like the overly “tolerant” background construction, do not dissolve in the context, but with a feeling of dignity show their own unique personality.
 
Now we shall examine each one in more detail. 
 
The junction and the merger 
 
The house at Tverskaya 6 is a recognizable monument to its time, but, instead of high-tech – Evgeny Gerasimov categorically refuses to recognize the term “Caprom” because he says its meaning is too vague – this place could have gotten “a corner of Russian antiquity”. The first sketch with “stone-white” walls and romantic turrets was most likely inspired by the vicinity of the Old Believer Church of the Sign of the Mother of Christ. However, as it seems now, an a-la Russ house does not seem to be such a good marketing idea, as the “Russian House” that appeared 15 years later. In addition, the site from the courtyard side borders on the Archive of Historical and Political Documents and the Archive of Film and Photo Documents, and combining late-Soviet architecture with Old Russian motives would have been quite prudent, to say the least. Therefore, the client and the architects opted for brutal forms, glass and metal.

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    The residential house at Tverskaya, 6. A sketch
    Copyright: © Evgeniy Gerasimov & Partners
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    The residential house at Tverskaya, 6. A sketch
    Copyright: © Evgeniy Gerasimov & Partners


Before the company came to the land site, it had lain vacant for quite a long time, save for a small wooden house. Nevertheless, the composition of Tverskaya 6 is made in such a way, as if the architects were recreating the structure of the streets and building up some “lost” house above the new volumes. This technique of “building up” traditional architecture with modern forms is quite recognizable, and in the 2000’s when the design and construction of this house were done, was still widely spread.

The residential house at Tverskaya, 1
Copyright: © Evgeniy Gerasimov & Partners

 
It may seem that if you remove the glass volumes, you will be left with a house that could well have been designed today: a shopping gallery, six floors, a three-part build, and a fold quite in the spirit of early Art Nouveau and a noble cladding material – an ideal example of those “70/30” about which Sergei Tchoban often speaks. However, strange as it may seem, the impression from the photographs is deceptive – standing on the Tverskaya, you will not see anything accidental or imposed in this house – just the perfect balance of forms, masses, and materials.

The residential house at Tverskaya, 1
Copyright: © Evgeniy Gerasimov & Partners

 
Such a merger technique – a merger between a more traditional in its scale and structure part of the building and more modernist shapes – was used by Evgeny Gerasimov a few more times: in the “New Star” on the Pesochnaya Embankment, and in “Le Grand” house at Nevsky Prospect, 152. However, already by the end of the 2000’s this technique exhausted itself and became irrelevant, which you cannot say about historicism.

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    Le Grand housing complex
    Copyright: © Evgeniy Gerasimov & Partners
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    “New Star” housing complex
    Copyright: © Evgeniy Gerasimov & Partners. Photograph: K.Smirnov

 
Multilayered historicism 
 
Tverskaya, 1 is a reconsideration of Northern Art Nouveau, the path of historicism, which is closer to and more understood by the St. Petersburg architects today, yesterday, and, possibly, for generations to come. This trend is something that the company has been exploring and perfecting for decades. 
 
Across from it, there are two Art Nouveau houses at once, the gray one on the corner being the first project by Aleksey Buber, whose works inspired many modern architects, while the terra cotta house was designed by Dmitry Ustrugov. Still another corner house, the closest neighbor of Tverskaya-1, is a combination of eclecticism and, again, Art Nouveau – it is known for the fact that one of the most famous literary and art salons of its time was held in its tower in the apartment of Vyacheslav Ivanov: Anna Akhmatova, Alexander Blok, Nikolai Gumilyov visited this place; on summer nights, readings could even be held on the roof. The new house picks up the mood of this part of the street and presents an impregnable romantic facade capable of withstanding any St. Petersburg blizzard.

The residential house at Tverskaya, 1
Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners

 
We gave a detailed discussion of the prototypes and references to the Northern Art Nouveau in this article. We will only repeat that, working in historical styles, Yevgeny Gerasimov does not remain within the framework of one direction, and, like in a good book, one more layer can be found in his facades behind the main storyline. In this case, having looked at the rough “fur coat” of rock-face surface and the trapezium of windows with a fine glazing pattern, we will notice that the tectonic logic is reversed and corresponds more to modernism, while the lines of bay windows gravitate towards constructivism, and the “headdresses” above the windows of the topmost-but-one floor convey something Egyptian to the building’s image.
 
The tactile details
 
Yet another fundamental that the company sticks to, and which is something that the two houses have in common is the expressive and tactile details. Evgeny Gerasimov many times said that he strives to ensure that people want to not only look closer at his buildings, but also touch them. On Tverskaya, the contrast in this regard works for the general benefit: if one house is rough and matte, the second one looks even smoother against its background, more glossy and polished. For Tverskaya, 1, the architects used Ukrainian Pokostovsky granite, which was hewn by hand – the rare case when there are no two identical stones on the modern facade. The contrast of materials and expressive texture, which is emphasized by the sun and evening illumination, in this case are successfully replaced by decorative elements.

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    The residential house at Tverskaya, 1
    Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners
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    The residential house at Tverskaya, 1
    Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners
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    The residential house at Tverskaya, 1
    Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners
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    The residential house at Tverskaya, 1
    Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners
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    The residential house at Tverskaya, 1
    Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners

 
A mirror or a frame
 
As was already mentioned, one of the most important “characters” of the Tverskaya Street is the old believers Znamenskaya Church, authored by Dmitry Kryzhanovsky, which was restored during about the same period as the new houses were built. Tverskaya, 6, responds to the church with a large reflective “screen” – a large elliptic curve with recessed balconies.

The residential house at Tverskaya, 6
Copyright: © Evgeniy Gerasimov & Partners

 
In subsequent years, the architectural company worked with other areas where the tone was set by the church – like a pearl that needs a frame just as beautiful. So, the house in Kovensky lane politely recedes from the walls of the Church of Our Lady of Lourdes, thereby forming a piazzetta and opening the western facade of the temple. Reflective surfaces, by the way, are to be seen there as well. In the “Tsarskaya Stolitsa” complex, the Feodorovsky Cathedral also determines the overall layout – its central position is marked by a semicircular square and beams of streets that open up a perspective of the temple from distant vantage points.
 
In the case of Tverskaya, the interaction with the church is more active and assertive, which is primarily due to the specifics of the site: the house is actually a corner one, and the volumes of the church complex are growing in the opposite direction from it.

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    The residential house at Tverskaya, 6
    Copyright: © Evgeniy Gerasimov & Partners
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    The residential house in the Kovensky Lane
    Copyright: © Evgeniy Gerasimov & Partners
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    The residential house in the Kovensky Lane
    Copyright: © Evgeniy Gerasimov & Partners
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    “Tsarskaya Stolitsa” housing complex. A drone photo
    Copyright: © Evgeniy Gerasimov & Partners
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    “Tsarskaya Stolitsa” housing complex
    Copyright: © Evgeniy Gerasimov & Partners


Other couples

In conclusion, we will note that similar pairs of houses, located close to each other, but representing completely different approaches, were built by the company in other parts of the city as well. The most vivid example is the house in the Kovensky Lane and the “Russian House”; with a little stretch, we can also name the houses on St. Petersburg’s Nevsky 137 and 152. Which, in fact, once again testifies to the company’s versatility, confirming the words by Evgeny Gerasimov himself: “I would die of boredom if somebody told me that I would draw only pilasters my whole life”.
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    The residential house at Tverskaya, 1
    Copyright: Photograph © A. Naroditsky / Provided by Evgeniy Gerasimov & Partners
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    The residential house at Tverskaya, 6
    Copyright: © Evgeniy Gerasimov & Partners


22 March 2021

Headlines now
A Glazed Figurine
In searching for an image for a residential building near the Novodevichy Convent, GAFA architects turned to their own perception of the place: it evoked associations with antiquity, plein-air painting, and vintage artifacts. The two towers will be entirely clad in volumetric glazed ceramic – at present, there are no other buildings like this in Russia. The complex will also stand out thanks to its metabolic bay-window cells, streamlined surfaces, a ceremonial “hotel-style” driveway, and a lobby overlooking a lush garden.
A Knight’s Move via the Cour d’Honneur
Intercolumnium Architects presented to the City Planning Council a residential complex project that is set to replace the Aquatoria business center on Vyborgskaya Embankment. Experts praised the overall quality of the work, but expressed reservations about the three cour d’honneurs and suggested softening the contrast between the facades facing the embankment and the Kantemirovsky Bridge.
A Small Country
Mezonproekt is developing a long-term master plan for the MEPhI campus in Obninsk. Over the next ten years, an enclave territory of about 100 hectares, located in a forest on the northern edge of the city, is set to transform into a modern center for the development of the nuclear energy sector. The plan envisions attracting international students and specialists, as well as comprehensive territorial development: both through the contemporary realization of “frozen” plans from the 1980s and through the introduction of new trends – public spaces, an aquapark, a food court, a school, and even a nuclear medicine center. Public and sports facilities are intended to be accessible to city residents as well, and the campus is to be physically and functionally connected to Obninsk.
Pearl Divers
GAFA has designed an apartment complex for Derbent intended to switch people from a work mode to a resort mindset – and to give the surrounding area a much-needed jolt. The building offers two distinct faces: restrained and laconic on the city side, and a lushly ornate façade facing the sea. At the heart of the complex, a hidden pearl lies – an open-air pool with an arch, offering views of a starry sky, and providing direct access to the beach.
A Satellite Island
The Genplan Institute of Moscow has prepared a master plan for the development of the Sarpinsky and Golodny island system, located within the administrative boundaries of Volgograd and considered among the largest river islands in Russia. By 2045, the plan envisions the implementation of 15 large-scale investment projects, including sports and educational clusters, a congress center with a “Volgonarium”, a film production cluster, and twenty-one theme parks. We explain which engineering, environmental, and transportation challenges must be addressed to turn this vision into reality. The master plan solutions have already been approved and incorporated into the city’s general development plan.
The Amber Gate
The Amber City residential complex is one of the redevelopment projects in the former industrial area located beyond Moscow’s Third Ring Road near Begovaya metro station. Alexey Ilyin’s studio proposed an original master plan that transformed two clusters of towers into ceremonial propylaea, gave the complex a recognizable silhouette, and established visual connections with new high-rise developments on both right and left – thus integrating it into the scale of the growing metropolis. It is also marked by its own futuristic stylistic language, based on a reinterpreted streamline aesthetic.
A Theater Triangle
The architectural company “Chetvertoe Izmerenie” (“Fourth Dimension”) has developed the design for a new stage of the Magnitogorsk Musical Theater, rethinking not only theater architecture but also the role of the theater in the contemporary city.
Aleksei Ilyin: “I approach every task with genuine interest”
Aleksei Ilyin has been working on major urban projects for more than 30 years. He has all the necessary skills for high-rise construction in Moscow – yet he believes it’s essential to maintain variety in the typologies and scales represented in his portfolio. He is passionate about drawing – but only from life, and also in the process of working on a project. We talk about the structure and optimal size of an office, about his past and current projects, large and small tasks, and about creative priorities.
​A Golden Sunbeam
A compact brick-and-metal building in the growing Shukhov Park in Vyksa seems to absorb sunlight, transform it into yellow accents inside, and in the evening “give it back” as a warm golden glow streaming from its windows. It is, frankly, a very attractive building: both material and lightweight at the same time, with lightness inside and materiality outside. Its form is shaped by function – laconic, yet far from simple. Let’s take a closer look.
Architecton Awards
In 2025, the jury of the Architecton festival reviewed the finalist projects through live, open presentations held right in the exhibition hall – a rather engaging performance, and something rarely seen among Russian awards. It would be great if “Zodchestvo” adopted this format. Below, we present all the winning projects, including four special nominations.
Garden of Knowledge
UNK architects and UNK design created the interiors of the Letovo Junior campus, working together with NF Studio, which was responsible for developing the educational technology that takes into account the needs and perception of younger and middle school children.
The Silver Skates
The STONE Kaluzhskaya office quarter is accompanied by two residential towers, making the complex – for it is indeed a single ensemble – well balanced in functional terms. The architects at Kleinewelt gave the residential buildings a silvery finish to match the office blocks. How they are similar, how they differ, and what “Silver Skates” has to do with it – we explore in this article.
On the Dynastic Trail
The houses and townhouses of the “Tsarskaya Tropа” (“Czar’s Trail”) complex are being built in the village of Gaspra in Crimea – to the west and east of the palaces of the former grand-ducal residence “Ai-Todor”. One of the main challenges for the architects at KPLN, who developed the project, was to respond appropriately to this significant neighboring heritage. How this influenced the massing, the façades, and the way the authors work with the terrain is explored in our article.
A New Path
The main feature of the Yar Park project, designed by Sergey Skuratov for Kazan, is that it is organized along the “spine” of a multifunctional mall with an impressive multi-height atrium space in its middle. The entire site, both on the city side and the Kazanka River embankment, is open to the public. The complex is intended not to become “yet another fenced enclave” but, as urban planners say, a “polycenter” – a new point of attraction for the whole of Kazan, especially its northern part, made up of residential districts that until now have lacked such a vibrant public space. It represents a new urban planning approach to a high-density mixed-use development situated in the city center – in a sense, an “anti-quarter”. Even Moscow, one might say, doesn’t yet have anything quite like it. Well, lucky Kazan!
Beneath the Azure Sky
A depository designed by Studio 44 will soon be built in Kenozersky National Park to preserve and display the so-called “heavens” – ceiling structures characteristic of wooden churches in the Russian North, painted with biblical scenes. For each of these “heavens”, the architects created a volume corresponding in scale and dimensions to the original church interior. The result is a honeycomb-like composition, with modules derived directly from the historic monuments themselves, allowing visitors to view the icons from the historically accurate angle – from below, looking upward. How exactly this works is the subject of our story.
​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.