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​Stream and Lines

Stepan Liphart’s projects of Art Deco villas demonstrate technical symbolism in combination with a subtle reference to the 1930s. One of the projects is a “paper” one; the others are designed for real customers: a top manager, an art collector, and a developer.

02 August 2021
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If Russia of the 1930s had not chosen the socialist path and had become a bourgeois democracy, possibly, private residences would have looked like houses designed by Stepan Liphart. The portrait of the customer for these three villas is far from simple because it requires an exposed life, as if you were constantly being filmed in a movie. Another thing that comes to mind is the architect Mallet-Stevens – not his Art Deco Paris mansions and villas (which are closer to modernism), but his “dandy” image and his work as a Haut Couture artist. The Stepan Liphart villas, on the other hand, demonstrate some “pan-aesthetic” course to the future, this course lying through the impending dark ages, which even yields a heroic note in the pan-aesthetic concept laid out before us.

A “hydroelectric power station” house

Coauthored by Boris Kondakov, the project of a “hydroelectric power station” villa was created in 2007 for the architectural contest called “Dom-Avtonom” (“Autonomous House”), the task of which was to design housing independent of any utility lines. The organizers tried to deliver an environmental message, but the two young architects, inspired by the revolutionary romanticism of the 1930s and works by Erich Mendelssohn, Noah Trotsky, and Evgeny Levinson, rather treated it as a union of art and technology. According to Liphart, the two main themes here were the movement of water and the classical order. It is the latter, which many architects today consider to be boring “architectural Latin” that hinders their creative fantasy, that Stepan Liphart draws his inspiration from.

The “Hydroelectric Power Station” house. The project for the international “Dom-Avtonom” competition was performed within “Jophan′s Children” creative group. Graphics: Boris Kondakov
Copyright: © Stepan Liphart, Boris Kondakov


The conditional Dorian frieze with triglyphs separates the bottom tier of the building from the top one; the residential enfilade above the waterfall is a gallery with columns that asserts humans over the crushing power of the cascading water. On the one hand, what we are seeing is the conquest of the water element, and on the other – the combination of human, technological, and natural energy into a single whole. This synergy has a prototype.

Ever since I was a kid, I’ve been greatly impressed by the buildings of the Moscow Canal, the spirituality of their essentially functional architecture, which looked particularly impressive when the gateway locks were in operation: how the water rose in them, how the giant ships gradually rose to the level of the openwork turrets and belvederes. Rukhlyadev and Krinsky, functionalists, who in the 1920s boldly experimented with form and space, combined here their avant-garde experience with classical material, and the fruitfulness of such synthesis and synergy is quite obvious. On the other hand, the scale of these hydraulic structures is close to the typology of a large country house. So the image of the “hydraulic power station” is in the return from the gateway to the villa.


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    The “Hydroelectric Power Station” house. The project for the international “Dom-Avtonom” competition was performed within “Jophan′s Children” creative group. Graphics: Boris Kondakov
    Copyright: © Stepan Liphart, Boris Kondakov
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    The “Hydroelectric Power Station” house. The project for the international “Dom-Avtonom” competition was performed within “Jophan′s Children” creative group. Graphics: Boris Kondakov
    Copyright: © Stepan Liphart, Boris Kondakov
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    The “Hydroelectric Power Station” house. The project for the international “Dom-Avtonom” competition was performed within “Jophan′s Children” creative group. Graphics: Boris Kondakov
    Copyright: © Stepan Liphart, Boris Kondakov
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    The “Hydroelectric Power Station” house. The project for the international “Dom-Avtonom” competition was performed within “Jophan′s Children” creative group. Graphics: Boris Kondakov
    Copyright: © Stepan Liphart, Boris Kondakov


Evidently, such a house will not lack light and warmth. Sitting on top of an energy flow and transforming its energy for the best purposes is probably the mission of a potential owner of such a villa. One cannot help but remember Director’s House in the Ideal City of Chaux designed by Claude Nicolas Ledoux, where the river flows through the cylindrical part of the house, without bringing any practical benefits whatsoever. Another thing that comes to mind is the iconic building of the XX century, the idol of all architects, the Fallingwater Villa, designed by Frank Lloyd Wright, in which the part of cascading water is also purely decorative. Wrapping it up for historical associations, I will remind you of the incident with Le Corbusier, who once, accompanied by a poet friend of his, visited a constructed dam in the Alps, expressed his admiration to the escorting engineers, but was misunderstood. Here is how he describes this incident: “We tried to explain it to them, why we found the dam so marvelous: the sheer scale of such work, applied to the practice of city construction, could become a total game changer. And suddenly, these people were indignant: “What? Do you want to maim our cities? You are real vandals! You forget about the rules of aesthetics!” Probably, you could say that in the “power station villa” this conflict has been resolved: the aesthetics of the Order and the technological energy coexist quite peacefully here. 

The ITR villa

The ITR acronym stands for “inzhenerno-tekhnichesky rabotnik” (“engineering and technical coworker”), an early-Soviet term, the difference being that, of course, the Soviet ITRs, for very few exceptions, could not afford to live in villas, and, even if they did have a country home, it was a regular dacha.

The country house was designed in 2011 for the son of a well-known developer. At that time, the client headed an industrial enterprise, meaning, with a certain stretch you could describe him as an “ITR”. Hence the image of the villa: a residence of the technocratic elite. The aerodynamic streamlined design, multiplication of lines in the metallic railings, parallels in verticals, and rounded corners – all these techniques refer to one of the variations of Art Deco, specifically, streamline, characteristic for the industrial design of the 1930s, from cars and steamboats to dirigibles… with an adjustment to our epoch.

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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart


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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart


The villa in fact consists of two units, perpendicular to one another. The two-story unit includes bedrooms; the single-story one, glazed, includes a living room and a kitchen. The roof of the first floor supports a grand terrace, which can be accessed both by the inner staircase leading to the hall of the second floor, and directly by the monumental stairs of the main facade. The key idea of the outdoor staircase is motion, enhanced by the decorative stream of water, cascading next to it. Many people, me included, took this staircase for an escalator at first, because the graphic lines of the railings and barriers create an impression of flowing dynamics of a conveyor belt in operation.

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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart
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    ITR villa: a private residence in the Chekhovsky district of Moscow Region. Commissioned by a private client, 2011, not implemented.
    Copyright: © Stepan Liphart


The moving aesthetics are also tied up with the ergonomics: underneath the staircase, there is enough room for a vehicle to drive in that delivers groceries to the kitchen via a special shaft, while the kitchen elevator, situated in a bas-relief-decorated buildup, elevates the meals to the rooftop. The main facade is framed by a small mote with a “colonnade” pergola stretching along it and ensuring the connection between the main kitchen and the outdoor one. The coverage of the pergola, made of slim metallic planks, continues the main theme, adding to the image of the organized motion of streaming lines.

Lecayet Pavilion

The client of the next project, Alexander Lecayet, is a passionate collector of Soviet vintage cars, and an author of a number of books dedicated to this subject. The ground for his acquaintance, and later cooperation, with Stepan Liphart was the fact that the architect’s grandfather – Andrey Aleksandrovich Liphart – was for a long time the chief designer of the Gorky motor plant, and is one of the founders of the Russian motor building school. In 2015, Alexander Lecayet turned to Stepan Liphart with an idea of building a reception house with a hall for exhibiting vintage cars. The project of the pavilion was created with no reference to any specific location, on the verge of an architectural fantasy.

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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart


Other things that influenced the project were the passion for the 1930s that they shared, and some expositional attitude. On the wall of the mansion, as a deliberate controversy, a Stalinist quote appears that Soviet Russia does not have to follow Europe, it is time to follow our own path.

A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
Copyright: © Stepan Liphart


The Lecayet Pavilion consists of two parts: these are one and two-story volumes, interpreted by the architect as a leader and a follower, and if the concepts are coordinated with the theory of Ilya Golosov, as objective and subjective.

In the single-story “subjective” unit, cars are displayed; the two-story “objective” one is essentially the space for “exhibiting” the master of the house, a place for representation and aesthetic pastime. The six stained glass windows resemble a six-column portico - because you need to give the private abode a dignified look! In accordance with its function (a house for grand receptions), the grand entrance of the pavilion is crowned with a peculiar detail: a balcony for addressing the guests; this tribune is accessed from the second floor, which includes a spacious master’s study with five-meter-high ceilings.

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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    A reception house and a private museum in Odintsovsky District of Moscow Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart


Acropolis Litorinum Villa

The conclusion of this series of projects - so far, the biggest one - is a sketch of a villa for the St. Petersburg partner of Stepan Liphart’s, a developer who bought a strip of land on the shore of the Gulf of Finland a few years back.
The place is the high coast of the retreating Litorin Sea, a prehistoric reservoir, at the bottom of which significant coastal areas of the modern Baltic Sea were located, and the city of St. Petersburg as well. The terra cotta verticals of the pine trees, the slope, cascading down to nonexistent element, sea breezes, and sea skies brought to life the idea of a picturesque Acropolis. However, the context here does not just come down to the poetry of the sea. Right there, next to the trenches of the Great Patriotic War, the concrete foundation of the coastal cannon from the Mannerheim Line era was preserved, and the whimsical lines of old trees, which obviously experienced the destructive fire of the war, bear traces of battles. All of this, not without creative audacity, Stepan Liphart included in the imagery of the villa.

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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart


Acropolises, just like the palaces of Roman nobility, were picturesque multi-component ensembles. This also influenced the structure of Acropolis Litorinum, consisting of three parts connected by galleries.

On the west side, there is a tall “wing” of the master’s bedroom and library, which, when viewed from certain angles, looks like a ship with a mast and a captain’s cabin, reflected in stained glass windows.

Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
Copyright: © Stepan Liphart


The glazed passage from the west gallery leads to the central part, turned with bent curves of its balconies and glass walls to the world and the sea. The verticals on the stained glass windows looks like the soundboards of some musical instruments. The plastique of the concave facades and their Art Deco nature display an homage to the Parisian palaces of the era of Expo 1937.

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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart
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    Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
    Copyright: © Stepan Liphart


The west gallery has yet another peculiar feature: lined up along the architectural mote, its nonexistent facial supports are marked by the lines of the stained glass windows’ glazing pattern, which look as if they were marking the shadows of columns.  The latter look almost weightless, but the capitels and the ebtablement still emphasize that these are supports, i.e. part of the order. In reality, the ceiling of the gallery rests on cantilever beams, and these, in turn, on pillars along the axis of the rear wall. The idea of ​​the reflection of ethereal columns in the water of the trench is a technique in the style of “Reflections” by Debussy: the columns are already glass projections of themselves, and reflections of reflections appear in the water surface.

Acropolis Litorinum. A private residence in Peski settlement in Lenongrad Region. Commissioned by a privaate client, 2015, not implemented.
Copyright: © Stepan Liphart


The east gallery, running from the central part and bypassing the mote, directs one’s gaze to a small triumphal arch, which, at the same time plays the part of a sightseeing Belvedere. This, in turn, can be accessed by a staircase that essentially rises from the depth of the ancient sea, building a visual connection between the gone water, the firm ground, and the celestial spheres.



In his yet-unimplemented villa projects, Stepan Liphart proposed a few elegant solutions in the Art Deco style, reinterpreted and continued in the contemporary. And, while the “hydroelectric power station” house is essentially a declaration of ideas, the ITR, Pavillon Lecayaet, and Acropolis Litorinum display the architect’s recognizable manner, which opens up new prospects for the future.

02 August 2021

Headlines now
Field of Life
The new project by the architectural company PNKB (an acronym for “Design, Research, and Advisory Bureau”), led by Sergey Gnedovsky and Anton Lyubimkin, for the Kulikovo Field Museum is dedicated to the field as a concept in its own right. The field has long been a focus of the museum’s thorough and successful research. Accordingly, the exterior of the new museum building is gentler than that of its predecessor, which was also designed by PNKB and dedicated specifically to the historic battle. Inside, however, the building confidently guides the visitor from a luminous atrium along a spiral path to the field – interpreted here as a field of life.
A Paper Clip above the River
In this article, we talk with Vitaly Lutz from the Genplan Institute of Moscow about the design and unique features of the pedestrian bridge that now links the two banks of the Yauza River in the new cluster of Bauman Moscow State Technical University (MSTU). The bridge’s form and functionality – particularly the inclusion of an amphitheater suspended over the river – were conceived during the planning phase of the territory’s development. Typically, this approach is not standard practice, but the architects advocate for it, referring to this intermediate project phase as the “pre-AGR” stage (AGR stands for Architectural and Urban Planning Approval). Such a practice, they argue, helps define key parameters of future projects and bridge the gap between urban planning and architectural design.
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
GloraX plans to develop a residential complex spanning 14 hectares along the Volga River in Nizhny Novgorod. The winning design in a closed-door competition, created by GORA Architects, features housing typologies ranging from townhouses to terraced high-rise slabs, a balance of functions, diverse ways of engaging with the water, and even a dedicated island (no less!) for the city residents.
Life Plans
The master plan for the residential district “Prityazheniye” (“Gravity”) in Naberezhnye Chelny was developed by the architectural company A.Len, taking into account the specific urban planning context and partially implemented solutions of the first phase. However, the master plan prioritized its own values: a green framework, a system of focal points, a hierarchy of spaces, and pedestrian priority. After this, the question of what residents will do in their neighborhood simply doesn’t arise.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
A Step Forward
The HIDE residential complex represents a major milestone for ADM architects and their leaders Andrey Romanov and Ekaterina Kuznetsova in their quest for a fresh high-rise aesthetic – one that is flexible and layered, capable of bringing vibrancy to mass and silhouette while shaping form. Over recent years, this approach has become ADM’s “signature style”, with the golden HIDE tower playing a pivotal role in its evolution. Here, we delve into the project’s story, explore the details of the complex’s design, and uncover its core essence.
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.
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.
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.
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.
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.
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.
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.
​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”.
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.
Flexibility and Acuteness of Modernity
Luxurious, fluid, large “kokoshniks” and spiral barrel columns, as if made from colorful chewing gum: there seem to be no other mansion like this in Moscow, designed in the “Neo-Russian-Modern” style. And the “Teremok” on Malaya Kaluzhskaya, previously somewhat obscure, has “come alive with new colors” and gained visibility after its restoration for the office of the “architectural ecosystem” as the architects love to call themselves. It’s evident that Julius Borisov and the architects at UNK put their hearts into finding this new office and bringing it up to date. Let’s delve into the paradoxes of this mansion’s history and its plasticity. Spoiler: two versions of modernity meet here, both balancing on the razor’s edge of “what’s current”.
Yuri Vissarionov: “A modular house does not belong to the land”
It belongs to space, or to the air... It turns out that 3D printing is more effective when combined with a modular approach: the house is built in a workshop and then adapted to the site, including on uneven terrain. Yuri Vissarionov shares his latest experience in designing tourist complexes, both in central Russia and in the south. These include houseboats, homes printed from lightweight concrete using a 3D printer, and, of course, frame houses.
​Moscow’s First
“The quality of education largely depends on the quality of the educational environment”. This principle of the last decade has been realized by Sergey Skuratov in the project for the First Moscow Gymnasium on Rostovskaya Embankment in the Khamovniki district. The building seamlessly integrates into the complex urban landscape, responding both to the pedestrian flow of the city and the quiet alleyways. It skillfully takes advantage of the height differences and aligns with modern trends in educational space design. Let’s take a closer look.
Looking at the Water
The site of Villa Sonata stretches from the road to the water’s edge, offering its own shoreline, pier, and a picturesque river panorama. To reveal these sweeping views, Roman Leonidov “cut” the façade diagonally parallel to the river, thus getting two main axes for the house and, consequently, “two heads”. The internal core – two double-height spaces, a living room and a conservatory, with a “bridge” above them – makes the house both “transparent” and filled with light.
The White Wing
Well, it’s not exactly white. It’s more of a beige, white-stone structure that plays with the color of limestone – smoother surfaces are lighter, while rougher ones are darker. This wing unites various elements: it absorbs and interprets the surrounding themes. It responds to everything, yet maintains a cohesive expression – a challenging task! – while also incorporating recognizable features of its own, such as the dynamic cuts at the bottom, top, and middle.
Urban Dunes
The XSA Ramps team designed and built a three-part sports hub for a park in Rostov-on-Don, welcoming people of all ages and fitness levels. The skate plaza, pump track, and playground are all meticulously crafted with details that attract a diverse range of visitors. The technical execution of the shapes and slopes transforms this space into a kind of sculptural composition.