The World Expo is a gigantic event; it is difficult to give it one definition or cover it at a glance. All the more so – such an ambitious and record-breaking fair as the one that is now open in Dubai despite all the pandemic restrictions. By no means claiming to present an all-rounded review, we are making an attempt to examine Expo 2020, where signs of aesthetic tolerance of a developer project begin to loom behind the imposing-looking “wings” of “star” architects and delights from space exploration.
Written by: Julia Tarabarina Translated by: Anton Mizonov
18 October 2021
Report
The very first World Expo, at the time called World’s Fair, took place in 1851 in London, UK, and covered an area of 10 hectares with 25 countries participating in it. Since then the area of the exhibition varied from tens of hectares in Europe to 500 hectares in the US, but the number of participating nations rarely exceeded one hundred. Over the last 20 years, four big Expos have been held, the Expo in Dubai being the fifth one. Interestingly, in Hannover, Germany, in 2000, in Nakaguta, Japan, in 2005, and in Milan, Italy, in 2015, the area of the exhibition grounds was 160, 173, and 110 hectares respectively, and the number of participating nations was 155, 121, and 145, which provides some average figures for generalized main fairs of the 21st century – these figures are large, but not final. Against this background, the World Expo in Shanghai purposefully broke all the records, its area being 528 hectares, its number of visitors 73 million people, the number of nations participating 192 – considering the fact that the number of independent nations in the world oscillated between 195 and 197. Meaning – almost the whole planet was involved.
The current World Expo 2020 in Dubai, the first one held in an Arabian country, set a goal if not to surpass then to be on a level with the Shanghai expo in terms of all the key figures, which was almost achieved: the number of nations participating is 192 – not the biggest figure ever but precisely as many as was involved in the Shanghai exhibition. The area is slightly smaller but still big enough – 438 hectares. Considering the 2020 coronavirus pandemic, because of which the exhibition had to be postponed for a year (keeping the “key” number of 2020 in its name), such figures can also be considered a kind of record.
The fairgrounds are located within the city limits in its southern part, behind the industrial areas and next to the new airport. Unlike in Shanghai, the future of this district has been carefully planned: 80% of the exhibition infrastructure, including the high-profile pavilions, particularly the ones that are LEED- and Platinum-certified, will be preserved. Around them, housing complexes and mixed-use developments will be built, which will ultimately result in the appearance of a sustainable and environmentally friendly area called “District 2020” – the master plan for subsequent development is available here; below is the comparison of the plan and the nucleus that the exhibition currently occupies. You can see that around the “fan” semicircle, where now the parking lots are situated, at least two additional semicircles must appear, and the exhibition center next to the metro station must expand.
Master plan for the development of District 2020 after the completion of the Expo with the distribution of functions. When compared with the plan, it can be seen that office buildings and multilevel parking lots appear between the petals of th
The plan of the Expo 2020 exhibition. The 3 main petals proposed in the HOK master plan, the spaces between them, and the central square under the dome are filled in. The exhibition center at the entrance is only half built, maybe even a third. The buildi
The prospects of turning it into an innovation district – a mini-city at the southern outskirts of Dubai – make the World Expo 2020 project, on the one hand, really sustainable (because all of the resources are spent on something permanent instead of temporary), and, on the other hand, make you want to take a closer look at its infrastructure, components, and history. All of these things, as is usually the case with large-scale developments, have a number of “layers”.
The most prominent layer – crème de la crème – are the projects by “star” architects. In this respect, the indisputable leader is the pavilion of the host nation, the UAE, designed by Santiago Calatrava: white, with a dome inside and a sunken-in multi-tier yard on the outside, covered with giant “wings” whose ends hover half a meter above the ground, forming a shady gallery around the building. The wings are inspired by the image of a local falcon “in flight”, their flaps are movable, they smoothly rise and fall from time to time, demonstrating either a “tousled” or a “combed” version of the building. After the Expo, the pavilion will become a cultural center.
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the UAE pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
Calatrava designed yet another pavilion at the Expo, the one of the state of Qatar – small, looking like an elegant white sail, it is inspired by the image of a boat, the main means of transportation of fishermen and pirates who historically inhabited the peninsula.
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Santiago Calatrava, the Qatar pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the Qatar pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Santiago Calatrava, the Qatar pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
Another pavilion that probably deserves the “star” status is Singapore’s, designed by WOHA, locally based, but known worldwide. The pavilion completely consists of vertical greenery, surrounded by large trees symbolizing a rainforest. The visitors are offered to walk down the ramps, winding between three conical structures; there is a pond in front of the pavilion. There are steam guns here and there, but they are of little help – since there are no external walls, the surrounding climate of the desert is taking its toll, and some of the plants (not all of them, but just a few) dried up.
Other beautiful and attention-worthy pavilions in terms of architecture are those of Finland, Luxembourg, Great Britain, Bahrain, Brazil, Poland, Portugal, Germany, France, Belgium, Switzerland, Austria, Japan – we hope to review these interesting pavilions in the near future. The Russian Pavilion, designed by Sergei Tchoban, occupies a prominent place among them; it is planned that this pavilion, along with a few others, will be preserved after the Expo.
The motto of the exhibition is “Connecting Minds, Creating the Future”, and to explore this topic, the participants were offered three keywords or “subthemes”: mobility / sustainability / opportunity. And, in accordance with the master plan, developed by HOK, Populous, and Arup, the fairgrounds are divided into three subtheme “petals”, each of which ends in a large pavilion that does not belong either to a country or a corporation, but is meant to reveal one of the subthemes. Initially, in 2016, one giant pavilion from “star” architects was announced for each of the thematic zones: the theme of mobility was developed by Foster and Partners, Nicholas Grimshaw worked on sustainability, and the opportunity pavilion was designed by Bjarke Ingels. Out of three, two were left.
The Mobility pavilion (or “Alif”, which is the first letter of the Arabic alphabet), designed by Norman Foster, can arguably be considered the next “star” one, second only to Calatrava’s “white bird”. The giant trefoil expands from the bottom up with ledges of metal outriggers, which helps to form a shadow around, in particular, for a couple of amphitheaters. Another thing that attracts attention are the high-quality concrete elements at the basis of the building.
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Foster and Partners. The Mobility pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Foster and Partners. The Mobility pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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Foster and Partners. The Mobility pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
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World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
Unlike the Calatrava pavilion, which deserves to be seen because of its architecture alone, the exposition of the Mobility pavilion, devoted to the history of travel, starting from the great transmigration of people and ending in space exploration, is mesmerizing in itself: we are greeted by giant naturalistically executed heads of Arab travelers, then a projection on a giant ball in the central hall and a bright, rainbow-like, “journey to the future”, which consists of projects of cities proposed by children and a lot of iridescent butterflies at the end. The visitors are brought to the beginning of the exposition by an elevator platform located in the core of the trefoil and capable of lifting up to 160 people at a time.
From the outside, the pavilion is surrounded by a bypass, partially buried in the ground, partially elevated on bridges – apparently, a 330-meter track was originally announced, on which the visitors would be able to observe state-of-the-art devices in action; but so far there are no devices detected on this road, it is also impossible to walk upon it, and the earlier announced “path” partially surrounding the Mobility pavilion remains a mystery.
It is expected that later on the building will be used as an office center.
The track in the south part of the Mobility pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
The track in the south part of the Mobility pavilion. World Expo 2020 in Dubai, 10.2021
Copyright: Photograph : Archi.ru
The main thematic pavilion of another petal – the “sustainability” one, also named Terra – was designed by Nicholas Grimshaw in the form of a giant tilted funnel surrounded by smaller “flowers”. All the structures collect solar energy, as well as rainwater and condensed water. The building has received a LEED certificate – it is “zero” in terms of energy consumption and emissions. The funnel covers the sunken-in courtyard with its shadow; a garden is laid out in the raised part above it – but due to the large size and winding paths, it takes painfully long to circle the building, getting up and down, and asking for directions – in this sense, the Mobility pavilion is positioned in a clearer and simpler way, although there are no gardens around it.
The center of the large funnel comes to a symbolic deepened "well" in the interior – it has an installation on the topic of collecting condensate, with large drops on plastic leaves. However, this “well” collects water only symbolically: its top is covered with a transparent cloth, and it is this piece of cloth that accumulates water – which the attendants disperse with mops from time to time.
The gigantic Sustainability pavilion, just as the metallic “umbrellas” around it, are seen from numerous angles on the exhibition territory – they palpably dominate in space, vividly demonstrating what powerful substructures and what a significant amount of metal are required in order to collect solar energy an rainwater and achieve the “zero emission” effect. Seeing this edifice, I recalled the flowers from the old Soviet cartoon “Secret of the Third Planet” – the ones that were used by the “bad guys” to record the cosmonauts on video.
It is planned that later on this building will host a children’s research center.
The story of the main building of the third “Opportunity” petal with a motto of “Mission possible” turned out to be far from simple. Initially, in 2015, the project of a triangular building with recessed portals and a green courtyard was developed by Bjarke Ingels and BIG. In 2018, the organizers abandoned it in favor of the Cox Architecture project, almost three times smaller in area (4,500 m2 in the Cox project vs 12,000 m2 in BIG).
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The Opportunity pavilion / Dubai Expo, the 2015 version, BIG architects
This one, however, was later on replaced by a project submitted by AGi Architects, an architectural company, founded, as its website says, by Harvard professors, with offices in Madrid and Kuwait. The project is dated 2021 – in other words, apparently, it appeared right before the opening of the exhibition. The building is a frame lying around a spacious interior area, covered with metal structures clad in transparent fabric. This building is not marked on the master plan of the future city, which may have to do either with the complex history of this project or with the fact that it is not meant to be preserved – but then again, we could not find a definitive answer to the question about the future of this building.
A similar fate befell some elements of the HOK master plan – the one with which the UAE won the right to host the World Expo back in 2013. The trefoil structure did survive, immersed in the radial-and-circle plan of the semicircle of the future city, but the ropeway for moving around the exhibition and viewing it from up above, which was promised in 2013, remained on paper, being substituted by a system of shuttle busses cruising up and down the exhibition lanes.
The overview from the cable car has been partially compensated by the elevator designed by the famous Briton Asif Khan – it lifts the visitors to a height of 55 meters above the exhibition for 5 minutes for 30 dirhams. A small garden on the platform is formed by peltophorum trees, with leaves like acacia and yellow flowers, familiar to the local climate; in the lower part, there is an air-conditioned space for those who prefer to survey the surroundings with comfort.
Asif Khan also designed three openwork gates made of lightweight carbon fiber in front of the entrance to each of the petals – they are opened and closed in the morning and evening, and they stand a little apart, in the middle of the desert, because they meet those who approach from the side of the parking lots; but there are no gates on the subway side.
Next to the watchtower, there is a so-called Water Feature – a white funnel with waterfalls, designed and built by the California-based WET Design (they are the authors of the fountain in front of Burj Dubai, as well as the music for the “Game of Thrones” series) in collaboration with the architects of SWA Group, urbanists with eight offices, most of which are based in the USA, and one in the neighboring city of Sharjah. The circular square is surrounded by walls, over which water flows sometimes slowly and sometimes in torrents; the sculpture of petals in the center of the square produces steam. It is difficult to say whether this structure is of interest from the point of view of architecture because it looks more like a tourist attraction of some water park – but in the local climate, where many visitors are looking to relax, it looks more than appropriate.
Particularly amazing is the central “dome” square, to which three planning petals converge. In the preliminary sketches, the awnings of the alleys converged to the center in flying white petals – the result was a massive metal dome Al Wasl, designed by the British architectural companies Adrian Smith + Gordon Gill Architecture – a unique, the world’s largest screen for 360° projection. Its diameter is 130 m, height 67.5 m, and the weight of the steel structures is 2.544 tons, compared with the weight of 25 blue whales. The authors liken the dome with the traditional design of the oriental bazaar.
The structure, however, looks heavyweight and more like an element of some sideshow amusement park than the center of the World Fair – its key function is indicated only by its gigantic size and non-trivial task, but aesthetically the dome can be rated as “C” at the most. It totally misses the lightness and the paradoxical nature of a mirage in the desert, which are demonstrated by the entrance structures designed by Asif Khan; however, probably, the portals will be taken apart later on, and the dome will remain. It presents a particularly striking contrast next to the white wings of the Santiago Calatrava pavilion.
The buildings that surround the dome – 3 office ones and 2 hotels – step up really close to it, cramming up the surrounding space and forming a contour that looks like Hagia Sophia from the outside, which is quite authentic for the Occident, but still not really beautiful. In addition, their facades are as commonplace as can be – I must say, they were somewhat more interesting in the project; in general, there is a feeling that some not the most pretentious chunk of Dubai’s office buildings of previous years was simply “transplanted” into the center of the exhibition. I even went as far as to check whether these buildings were some kind of legacy of some housing complex that used to be here back in the day – but no, these buildings were constructed special for this expo, the territory is being developed now. This complex presents a different, very “local” layer of the exhibition, which blithely stands up next to the pavilions designed by “star” Europeans, both thematic and national representations, creating an explosive mix, in which, for example, the white “shell” of the Luxembourg pavilion finds itself on one futuristic pole, and the Ukrainian pavilion, on the other hand, supports a retro trend.
Here, just as you would expect on an oriental bazaar, you may find a little something to everybody’s taste, but, thanks to the pile of the office buildings in the center of the territory, we begin to see that the multicolored fabric of this international exhibition, designed to produce a WOW-effect, masks a rather trivial development project, indifferent to aesthetic issues, and ready to distort any design solution for the sake of various external reasons: economic, organizational, or the good old “because I want it that way!” But then again, who says this is NOT our future? Probably, the future is not only for space programs, Mars exploration, water extraction from the air and networks of mini-satellites, but also for the tolerance of aesthetic solutions observed here, so multi-level and at the same time coexisting so peacefully and “normally” that it makes you hair stand up on end.
Special for Expo 2020 and as one of the arguments for holding the exhibition in Dubai, a new metro line was designed and built, branching off from the main “red line” running along the coast. Its length is 15 km; its task is, on the one hand, to serve the flow of Expo visitors, and on the other, to help the development projects in the territory extending from the coast and into the desert. The project is authored by the London-based architectural firm Weston Williamson+Partners. The way from the city to the Expo is indeed most convenient by metro, since the terminal station goes directly to the exhibition center and its entrance. Visually, however, the golden canopies proposed by the British architects look like they were designed pretty fast and loose: the silhouette with a spread of ribbed wings is seen from afar – my colleagues even suspected the authorship of Santiago Calatrava – yet when you come up close, the implementation seems rather clumsy: the ribs are too thick, the spread is not too great, and the paint is too yellow. Nothing is left of the originally planned “golden structures growing into the interiors”, and nothing is left from the intended winter gardens – even though the galleries of the metro station are wide and full of backlighting. Apparently, the most refined elements of the idea of 2016, which can be found here, were lost during the adaptation of the project.
The less critical parts of the infrastructure look calmer and better. The visitor centers with grocery stores, toilets, and even shower cabins, very handy in the climate of Dubai, are simple, white, and light; it is unknown, however, whether or not they will be preserved.
The standard buildings in the “petals”, however, will probably be preserved: the 4 to 6-story houses made of prefabricated panels with decorative screens – currently, they are designed to host the pavilions of the countries that cannot afford to implement an independent project of their own, this was made in order to reach the “record-breaking” number of participants – later on, the ones that are closer to the center will be turned into housing stock, and those that are farther away from the center will host various businesses.
Landscaping is the best part here that raises no questions – a lot of money has been invested in it: a lot of greenery has appeared in the desert, including mature palm trees. There are several playgrounds and parks on the fairgrounds, inspired by the image of “wadi” rivers arising in the desert after heavy rains. The park was designed by the same company as the Water Feature – SWA Group.
Yet another interesting project is the benches in the form of Arabic inscriptions denoting various good words, for example, “happiness” – they, just as the gate and the observation tower, were invented by Asif Khan together with the Arabic typographer Lara Captan. Some of them are fitted with steam generators. Fountains of drinking water are placed on the alleys, which is very appropriate; in some places there are “dry” fountains.
Otherwise, Expo 2020 is a great celebration. The pavilions glow on the inside by day and on the outside by night. It gets dark early; the peak of attendance is planned for the winter, when the evening time will take up almost half of the working time of the exhibition. The three planes of the Saudi Arabian pavilion, for example, have been turned into one large screen for media projection. Everything moves and shines. It entertains you, and does not impose tedious “reading” on you – but then again, studying a huge exhibition requires a lot of effort in any case.
The numerous movie theaters and media screens create an absolutely enchanting impression – from all sides we are told how close is the fantastic future with universal equality and space flights for everyone, at the same time not alien to environmental responsibility. Your reason tells you how unrealistic this is, but your feelings say the opposite – in fact, Dubai itself is a territory of successful terraforming, turning the desert into blooming gardens, and Expo 2020 is a new, technically advanced example of all of these things, such as successful human impact on nature, as stated, with zero emissions and very sustainable – despite all the energy of the invasion, and despite the abundance of concrete, metal, and electricity. At some point, you buy into these flashing shows and really start believing that everything is possible: the progress, the sustainability, and the unity of opposites – you only need to calculate it right. In some ways, this is like a Luna Park that makes its visitors believe that they are already on the Moon, falling for the temptation of shining projections, not noticing how inappropriate the heavy metal dome is and how trivial the offices around it are.
Expo 2020 is open until March 31, 2022, the pavilions are open until 22:00, fairgrounds are open for visiting Sat-Wed until 0:00, Thu-Fri until 02:00.
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.
Proportional Growth
The project for the fourth phase of the ÁLIA residential area has been announced. The buildings are situated on an elongated plot – almost a “ray” that shoots out from the center of the area towards the river. Their layout reflects both a response to Moscow’s architectural preferences over the past 15 years, shifting “from blocks to towers”, and an interpretation of the neighboring business park designed by SOM. Additionally, the best apartments here are not located at the very top but closer to the middle, forming a glowing “waistline”.