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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
The Forum of Time
The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.
Mirrors Everywhere
The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.
The Steppe Is Full of Beauty and Freedom
The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.
The Snowstorm Fish
The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.
The Mirror of Your Soul
We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.
Part of the Ideal
In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.
The Fortress by the River
ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.
In the Rhombus Grid
Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.
​Generational Connection
Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.
Three Dimensions of the City
We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived
New “Flight”
Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.
The Yauza Towers
In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.
Architecture and Leisure Park
For the suburban hotel complex, which envisages various formats of leisure, the architectural company T+T Architects proposed several types of accommodation, ranging from the classic “standard” in a common building to a “cave in the hill” and a “house in a tree”. An additional challenge consisted in integrating a few classic-style residences already existing on this territory into the “architectural forest park”.
The U-House
The Jois complex combines height with terraces, bringing the most expensive apartments from penthouses down to the bottom floors. The powerful iconic image of the U-shaped building is the result of the creative search for a new standard of living in high-rise buildings by the architects of “Genpro”.
Black and White
In this article, we specifically discuss the interiors of the ATOM Pavilion at VDNKh. Interior design is a crucial component of the overall concept in this case, and precision and meticulous execution were highly important for the architects. Julia Tryaskina, head of UNK interiors, shares some of the developments.
The “Snake” Mountain
The competition project for the seaside resort complex “Serpentine” combines several typologies: apartments of different classes, villas, and hotel rooms. For each of these typologies, the KPLN architects employ one of the images that are drawn from the natural environment – a serpentine road, a mountain stream, and rolling waves.
Opal from Anna Mons’ Ring
The project of a small business center located near Tupolev Plaza and Radio Street proclaims the necessity of modern architecture in a specific area of Moscow commonly known as “Nemetskaya Sloboda” or “German settlement”. It substantiates its thesis with the thoroughness of details, a multitude of proposed and rejected form variants, and even a detailed description of the surrounding area. The project is interesting indeed, and it is even more interesting to see what will come of it.
Feed ’Em All
A “House of Russian Cuisine” was designed and built by KROST Group at VDNKh for the “Rossiya” exhibition in record-breaking time. The pavilion is masterfully constructed in terms of the standards of modern public catering industry multiplied by the bustling cultural program of the exhibition, and it interprets the stylistically diverse character of VDNKh just as successfully. At the same time, much of its interior design can be traced back to the prototypes of the 1960s – so much so that even scenes from iconic Soviet movies of those years persistently come to mind.
The Ensemble at the Mosque
OSA prepared a master plan for a district in the southern part of Derbent. The main task of the master plan is to initiate the formation of a modern comfortable environment in this city. The organization of residential areas is subordinated to the city’s spiritual center: depending on the location relative to the cathedral mosque, the houses are distinguished by façade and plastique solutions. The program also includes a “hospitality center”, administrative buildings, an educational cluster, and even an air bridge.
Pargolovo Protestantism
A Protestant church is being built in St. Petersburg by the project of SLOI architects. One of the main features of the building is a wooden roof with 25-meter spans, which, among other things, forms the interior of the prayer hall. Also, there are other interesting details – we are telling you more about them.
The Shape of the Inconceivable
The ATOM Pavilion at VDNKh brings to mind a famous maxim of all architects and critics: “You’ve come up with it? Now build it!” You rarely see such a selfless immersion in implementation of the project, and the formidable structural and engineering tasks set by UNK architects to themselves are presented here as an integral and important part of the architectural idea. The challenge matches the obliging status of the place – after all, it is an “exhibition of achievements”, and the pavilion is dedicated to the nuclear energy industry. Let’s take a closer look: from the outside, from the inside, and from the underside too.
​Rays of the Desert
A school for 1750 students is going to be built in Dubai, designed by IND Architects. The architects took into account the local specifics, and proposed a radial layout and spaces, in which the children will be comfortable throughout the day.
The Dairy Theme
The concept of an office of a cheese-making company, designed for the enclosed area of a dairy factory, at least partially refers to industrial architecture. Perhaps that is why this concept is very simple, which seems the appropriate thing to do here. The building is enlivened by literally a couple of “master strokes”: the turning of the corner accentuates the entrance, and the shade of glass responds to the theme of “milk rivers” from Russian fairy tales.
The Road to the Temple
Under a grant from the Small Towns Competition, the main street and temple area of the village of Nikolo-Berezovka near Neftekamsk has been improved. A consortium of APRELarchitects and Novaya Zemlya is turning the village into an open-air museum and integrating ruined buildings into public life.
​Towers Leaning Towards the Sun
The three towers of the residential complex “Novodanilovskaya 8” are new and the tallest neighbors of the Danilovsky Manufactory, “Fort”, and “Plaza”, complementing a whole cluster of modern buildings designed by renowned masters. At the same time, the towers are unique for this setting – they are residential, they are the tallest ones here, and they are located on a challenging site. In this article, we explore how architects Andrey Romanov and Ekaterina Kuznetsova tackled this far-from-trivial task.
In the spirit of ROSTA posters
The new Rostselmash tractor factory, conceptualized by ASADOV Architects, is currently being completed in Rostov-on-Don. References to the Soviet architecture of the 1920’s and 1960’s resonate with the mission and strategic importance of the enterprise, and are also in line with the client’s wish: to pay homage to Rostov’s constructivism.
The Northern Thebaid
The central part of Ferapontovo village, adjacent to the famous monastery with frescoes by Dionisy, has been improved according to the project by APRELarchitects. Now the place offers basic services for tourists, as well as a place for the villagers’ leisure.
Brilliant Production
The architects from London-based MOST Architecture have designed the space for the high-tech production of Charge Cars, a high-performance production facility for high-speed electric cars that are assembled in the shell of legendary Ford Mustangs. The founders of both the company and the car assembly startup are Russians who were educated in their home country.
Three-Part Task: St. Petersburg’s Mytny Dvor
The so-called “Mytny Dvor” area lying just behind Moscow Railway Station – the market rows with a complex history – will be transformed into a premium residential complex by Studio 44. The project consists of three parts: the restoration of historical buildings, the reconstruction of the lost part of the historical contour, and new houses. All of them are harmonized with each other and with the city; axes and “beams of light” were found, cozy corners and scenic viewpoints were carefully thought out. We had a chat with the authors of the historical buildings’ restoration project, and we are telling you about all the different tasks that have been solved here.
The Color of the City, or Reflections on the Slope of an Urban Settlement
In 2022, Ostozhenka Architects won a competition, and in 2023, they developed and received all the necessary approvals for a master plan for the development of Chernigovskaya Street for the developer GloraX. The project takes into account a 10-year history of previous developments; it was done in collaboration with architects from Nizhny Novgorod, and it continues to evolve now. We carefully examined it, talked to everyone, and learned a lot of interesting things.