Analysis and Synthesis

The embankment of the Big Neva of the Vasilyevsky Island is a place that is very quickly changing its character: in the east part, it starts with Strelka, Stock Exchange, Kunstkamera the old building of the University, and other famous tourist attractions. Then it continues with the Academy of Arts, an exquisite building designed by Vallain Delamont. And it ends with the Dorian portico of the Mining University, an austere, almost harsh statement in the pure dialect of classicism. However, this is where it all ends – the industrial area begins with a port area and ships in the distance. The city of museums and monuments abruptly gives way to a few constructivist buildings, which back in their days were built to cater for the factories. West of the Mining University, starts the territory of the Baltic Shipyard and a few factories of a smaller scale: ropes, leather, and electrical appliances. Here, on the Neva, one can even now see two atomic icebreakers, Siberia and Urals.

The industrial areas, however, are already being transformed, partially into art clusters – like the Sevkabel factory situated a kilometer and a half away from here – but chiefly into city housing projects. The city, as is the custom in our postindustrial time, is gradually invading the factory grounds, turning them from restricted areas into residential ones, and, to various degrees, public. Specifically, west of the Mining University, the developer company Setl City is building two housing complexes: one of them, situated further away from the river, named “Palazzo” is almost complete – it consists of differently colored sections that take their colors from the neighboring lines of the Vasilyevsky island with a slight enhancement of their brightness. The other housing complex, built by the same developer, has been recently designed by Nikita Yavein’s Studio 44 in a more obliging place – right on the waterfront, next to the Voronikhin portico. The city council considered and approved the project in April.

zooming — “Krasin” housing complex. Left: Krasin Icebreaker. Right: the mining University

Copyright: © Studio 44

The housing complex “Krasin”, named after the icebreaker, which has now been turned into a museum, moored directly in front of it, is located on the territory of the former boiler design bureau, which moved in 2018. Historically, this place is known as “Maslyany Buyan” (“Buyan”, a dated Russian word, was a moor for unloading cargoes, and a place where warehouses were situated). As early as in the 1940s, it became an artificial island, separated from the mainland by the Maslyany Channel, which the ships could enter for loading and unloading, and where they subsequently moored like in a bay. By the 1960s, the canal was filled up, but the surrounding area on both sides of the street is named “Oil Channel”.

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“Krasin” housing complex. Detailed plan of St. Petersburg by Major General Schubert 1828, plan of Leningrad 1934

Copyright: © Studio 44
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“Krasin” housing complex. Plan of “Maslyany Buyan” in its Vasilevsky Island part, 1876

Copyright: © Studio 44
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“Krasin” housing complex. The Oil Channel, Luftwaffe footage, 1942

Copyright: © Studio 44
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“Krasin” housing complex. A photograph made by an American satellite

Copyright: © Studio 44
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“Krasin” housing complex. Topographic plan of Leningrad, a fragment, 1977

Copyright: © Studio 44
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“Krasin” housing complex. Topographic plan of Leningrad, a fragment, 1989

Copyright: © Studio 44

The surroundings, as was already said, are contrastive and valuable, albeit in different ways. The ice breaker and the portico of the Mining University work together to create the classic “St. Petersburg tourist attraction” theme, making it necessary for the new buildings to be a little bit uptight, and, of course, it was the Voronikhin building that became the reason for the height restrictions – 22m close to it, 33m a little bit further away from it. In addition, the site is situated within the limits of the “historical settlement”, and the complex will be plainly visible from the Neva, which makes the height restrictions particularly strict: hence the pitched roofs with a 25-degree tilt, the decrease of the height towards the river, a moderate tone of the facades, and natural-looking textures of brick and stone.

Other elements of the context are not as obvious, but also important. These are the Paramonov Leather Factory, located in the west, on the opposite side of the Maslyany Kanal Street, and the late 19-century buildings in the spirit of industrial historicism of the classic nature – there are plans that these will host a health center and a school; nearby in the north there will probably be still another block of the housing complex.

The Maslyany Kanal Street makes a right-angle turn to the right, and one can see here yet another landmark – the water tower of the rope shop, built by Yakov Chernikhov, an elegant urban accent on slender concrete legs.

In addition, the residential buildings of Vasilievsky Island, situated to the east and north, provide an example of a restrained and diverse development front, ranging from classicism to historicism to modernism, while factory buildings of the 19th century to the west show an inclination towards the red-brick style of facades. As for the territory of the Maslyany Buyan itself, it was built up in the late Soviet era with three dull factory buildings, one of which was leased out for offices in recent years.

Thus, it comes as no surprise that the work for such an obliging place was preceded by a serious urban planning analysis – first of all, it covered the place of the new complex as part of the hippodamus grid of the streets of Vasilievsky Island. As is known, it is clear and simple, consisting of rather large rectangles: back in the day, Trezzini proposed a grid of streets with a cell 320 meters wide. Then finer fracturing came about, and the space between the streets stretching from northwest to southeast is now 160 meters. Historically, however, inside some of the quarters, there was a longitudinal internal passage, dividing the block into parts longitudinally (and sometimes transversely) – this is how the narrowest street in the city, Repin Street, appeared. If we take into account such cases and divide the cell in half by meridian, the cell width is already close to the “Manhattan” type: 80 meters.

“Krasin” housing complex. Project plan of Vasilievsky Island Domenico Trezzini 1717

Copyright: © Studio 44
“Krasin” housing complex. Development of Vasilievsky Island according to the fixing plan. Fragment of the plan of 1726

Copyright: © Studio 44

The architects also take into account this division, which historically existed in an unmanifested form, but is read in the intra-quarter voids, and is supported by the peculiar numbering of the streets: on Vasilievsky Island, they do not count the driveways as such, but the lines of houses, so each street has a “paired” name, for example, “Lines 4 and 5”. The street that leads to Maslyany Buyan is “Lines 24 and 25”.

“Krasin” housing complex. Map of valuable elements of the planning and landscape-compositional structure

Copyright: © Studio 44
“Krasin” housing complex. Line 24-25 of Vasilyevsky Island

Copyright: © Studio 44

The architects took the most fractional division module as a basis – the site was divided into three equal strips with two internal streets, one of which continues the line “24 and 25”. Currently, Lines 24 and 25 stop in a dead end in front of the Maslyany Canal Street – in the project it is planned to extend it to the embankment with a pedestrian promenade running inside the housing complex, although, according to the developer’s decision, it will, unfortunately, be open only to its residents. However, it will create, nevertheless, a promising passage.

“Krasin” housing complex. Preserved in the present time internal passages and meridional connections

Copyright: © Studio 44
“Krasin” housing complex. The streets and the inner passages

Copyright: © Studio 44

The result is compact 4 and 6-story city blocks, subjugated to the grid of Vasilievsky Island and at the same time drawn more regularly, with thin extended frames. The Neva makes a turn here, and the rectangles systematically grow in an arc, not following the curve of the embankment, but protruding forward in “angle” steps. The authors “spied” this planning technique on the neighboring embankment of the 18th-19th centuries, where all the facades are parallel to the direction of the avenues of Vasilievsky Island, and are thus inscribed in a common orthogonal grid. In front of the arc of the river, they form “angle” steps.

In the Krasin residential complex, this “step-like” character of the plan is more pronounced from the side of the waterfront: while in the historical front the zigzag contour is formed by the facades of individual houses, here it is formed by the ends of the city blocks, two sections in each. From the side of the river, triangular plazas are formed between them – this architectural gesture as a whole becomes more monumental, the juxtaposition of geometric angles and the smooth river bend becomes a contrast between man-made and natural, showing one of the characteristic features of St. Petersburg.

The indentations of the side ends of the city blocks are also uniform in the spirit of the “megalithic” attitude to volumes, typical of Nikita Yavein’s projects. Each end receives a continuation in the front of the neighboring block in the form of narrow, as if cut with a knife, gaps – they support the transverse direction of the grid and provide laconic caesuras, making it possible to avoid excessively long rows, at the same time opening passages to the courtyards.

Thus, it turns out that at the level of general outlines of volumetric construction, the ideas were discovered by the architects in the historical development of Vasilyevsky Island – taken as a basis, but brought to a certain stereometric denominator, and thereby sharpened and strengthened. This approach to the context is particularly interesting because of its analytical nature.

As for the facades, the opposite process takes place – while the volumes as a whole tend to regularity and enlargement, the facades are made deliberately fragmented, enlivened by a variety of textures, materials and geometry. Each section – 44 in total – received its own pattern and height, slightly different from the neighboring ones, which resulted in slight fluctuations in the silhouette. The parameters of all the sections were also the result of an analysis of the building structure of Vasilievsky Island, primarily its waterfront.

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“Krasin” housing complex. The current parcellation

Copyright: © Studio 44
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“Krasin” housing complex. The current state

Copyright: © Studio 44
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“Krasin” housing complex. The project proposal.

Copyright: © Studio 44

Therefore, the width of most of the sections is like that of the historical facades along the river, which ie 22 meters. From the rear side of the complex, this figure doubles up to 50 m – but no more than that. Here, the side-end houses are crowned with colonnades of attics, which is why they acquire greater monumentality, building on this side a semblance (or, perhaps, a “seed”) of an avenue.

The facades pick up the rhythm and scale of the old buildings, but completely exclude direct quotes from the decor of historical architecture, focusing on rhythm, proportions, texture and tone. From the side of the Mining University and the regular historical city, where the altitude is lower, stone and light colors prevail. From the opposite side, from the west, as well as from the north, where the complex borders on industrial buildings and grows in height, there are more dark bricks. The complex responds with facades to almost all of its neighbors.

Closer to the water tower designed by the avant-garde architect Yakov Chernikhov, the role of round windows, characteristic of the architecture of the 1920s-1930s and, in addition, loved by Nikita Yavein, becomes more noticeable (he considers it necessary to add at least one round window to each of his projects; such a window is also to be seen in the architect’s study).

On the facades, the “multilayered” method is actively used: one material, for example a brick, is treated as a large external “grid”, another, for example a stone, as the internal matter. Glass livens up the traditional materials with protrusions of balconies and bay windows, thin fences and plastic “sightseeing” cylinders at the corners – but in general the glass is not really abundant, there is even a diagram in the design materials that clearly demonstrates the predominance of “stone” surfaces.

On the other hand, the architects are not using painted stucco at all here – which is a little bit counterintuitive because this is the “signature” facade material for the Vasilyevsky Island. This makes it possible to avoid garishness and enhance the respectability – for a modern housing complex in the center of the city, “natural facade materials” are definitely a plus.

If historical details are ethically prohibited for architects, then the historical silhouette, on the contrary, is quite the right thing to do. In addition to the slight variability of the height of the sections and pitched roofs, ventilation outlets, designed in the form of plates resembling groups of chimneys, and in some cases placed on the sidewalls we and sharply reminiscent of fireplaces, work to make the silhouette of the “old city” recognizable.

The yards inside the city blocks are elevated to the stylobate floors. From the street, they can be accessed by monumental staircases with amphitheaters.

The city gallery stretches along the western facade of the complex along Maslyany Canal Street in front of a continuous line of shops: it expands the sidewalk, allowing you to walk past the shop windows and hide from the rain. At the same time, it partially makes up for the residents-only status of the inner streets of the complex – you can easily walk past it to the Lieutenant Schmidt embankment.

Underneath each of the blocks, there is a tier of underground parking, combined with storage rooms for the residents. Beneath the courtyard, there is another level of parking, the overland one. The spaces located at the city level are complex and, of course, not all of them are occupied by parking lots: many cafes and shops are planned along the outer perimeter of the buildings, and some of the premises under the courtyards within the city blocks are given to fitness facilities with two swimming pools, one of them, of a larger size, being illuminated by large beautiful skylights from the yard. Thus, despite the fact that the inner streets of the complex will only be accessible to the residents, the complex will still give the city a lot.

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“Krasin” housing complex. Section View 3-3

Copyright: © Studio 44
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“Krasin” housing complex. Section View 2-2

Copyright: © Studio 44
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“Krasin” housing complex. Section View

Copyright: © Studio 44
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“Krasin” housing complex, Section View A-A

Copyright: © Studio 44
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“Krasin” housing complex. Plan of the basement

Copyright: © Studio 44
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“Krasin” housing complex. Plan of the 1st floor

Copyright: © Studio 44

On the first floors there are apartments with their own front gardens facing the inner boulevards. The complex is quite expensive (this is how the press describes it, and its location and low altitude oblige it to a “closed-door” format), so its apartment layout is pretty diverse – there are three- and four-room apartments – the latter are grouped mainly at the corners with sweeping views of the Neva.

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“Krasin” housing complex. Plan of the 2nd floor

Copyright: © Studio 44
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“Krasin” housing complex. Plan of the standard floor

Copyright: © Studio 44
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“Krasin” housing complex. Plan of the 7th floor

Copyright: © Studio 44

As we can see, this premium class residential complex in the center of St. Petersburg is the result of thoughtful analytical work with the context – in addition to responding to the visual features of the environment, it is tuned in to the continuation and development of the structure of the urban fabric, dating back to the regular planning of the 18th century. Some of its features are deliberately enhanced and exaggerated for the sake of responding to the features of the site and the task at hand. A small, comfortable height is due to the height restrictions and is supported by the high-end status of the project. The emphasized rhythmic diversity becomes a response to the fine cut of the facades of historical buildings. Ultimately, the complex becomes a kind of “transitional link” between two very different parts of the city: historical center and the industrial area. The port cranes and ships, both museum and under construction, add some piquancy to the atmosphere; the residential complex is becoming the next step in the urban fabric, comfortable and inhabited, a step towards expansion and replication based on the module once set by Trezzini and Leblond.

30 September 2021

Written by:
Julia Tarabarina
Translated by:
Anton Mizonov

Headlines now

Faraday Grid

The project of the Omsk airport by ASADOV Architects is another concept among the 14 finalists of a recent competition. It is called “The Bridge” and is inspired by both the West Siberian Exhibition of 1911 and the Trans-Siberian Railway bridge over the Irtysh River, built in 1896. On one hand, it carries a steampunk vibe, while on the other, there’s almost a sense of nostalgia for the heyday of 1913. However, the concept offers two variants, the second one devoid of nostalgia but featuring a parabola.

Review

Midway upon the Journey of Our Life

Recently, Tatlin Publishing House released a book entitled “Architect Sergey Oreshkin. Selected Projects”. This book is not just a traditional book of the architectural company’s achievements, but rather a monograph of a more personal nature. The book includes 43 buildings as well as a section with architectural drawings. In this article, we reflect on the book as a way to take stock of an architect’s accomplishments.

Inverted Fortress

This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.

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Transformation of Annenkirche

For Annenkirche (St. Anna Lutheran Church in St. Petersburg), Sergey Kuznetsov and the Kamen bureau have prepared a project that relies on the principles of the Venice Charter: the building is not restored to a specific date, historical layers are preserved, and modern elements do not mimic the authentic ones. Let’s delve into the details of these solutions.

The Paradox of the Temporary

The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.

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.

Report

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.

Object

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.

Object

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.

Object

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.

Object

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

Object

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.

Object

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.

News

Arch, Pearl, Wing, Wind

In the social media of the governor of the Omsk region, voting was conducted for the best project for the city’s new airport. We asked the finalists to send over their projects and are now showcasing them. The projects are quite interesting: the client requested that the building be visually permeable throughout, and the images that the architects are working with include arches, wings, gusts of wind, and even the “Pearl” painting by Vrubel, who was actually born in Omsk.

Object

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”.

Overview

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”.

Object

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.

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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.

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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.

Object

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.

Object

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.

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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.

Object

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.

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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.

Object

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.

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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.

​Analysis and Synthesis

Analysis and Synthesis