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​Yuliy Borisov: “We created a system that is flexible, yet manageable and accumulating competences”

UNK has announced a new stage of its reorganization. Now it is an ecosystem consisting of 9 companies interacting with one another “seamlessly and horizontally”. We asked Yuliy Borisov to elaborate on the essence of the reform.

02 February 2022
Interview
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According to the press release, UNK is now “a single system, all of whose elements are independent, yet linked to one another”, interacting within “a single seamless environment” aimed at solving various tasks, accompanying the client throughout all the stages of architectural project development, both chronologically – from concept to completion – and scale-wise – from large town-planning tasks to “design elements”. According to Yuliy Borisov, “such a system is, first of all, beneficial for the client, because they get assured quality from the same hands, i.e. integrated and interconnected solutions, thus reducing the time spent on preparing the construction documentation.”

Totally, the ecosystem consists of 8 companies: UNK project, UNK architects, UNK engineering, UNK interiors, UNK landscape, UNK lighting, UNK facade, and UNK design. Plus the ninth company, as proceeds from the interview below, is UNK. We asked the leader of UNK Yuliy Borisov a few questions about the specifics of the new ecosystem.

Archi.ru:
A year ago you announced that UNK became a group of companies. Now you are saying that UNK is an ecosystem. What is the difference between an ecosystem and a group of companies?

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Yuliy Borisov:
First of all, the form of ownership. The controlling stake belongs to the parent company UNK. This company handles property issues, manages finances through corporate procedures, manages the HR, and regulates activities within the ecosystem. That’s for starters.

Second, an ecosystem is more open; it is focused on increasing the number of its links. It is expected that the divisions will generate new businesses within themselves, and the number of specialized companies will be growing. Currently, we are still developing our structure.

OK, currently you are a system of 9 companies, one of which is the head one. How does this correlate with your administrative structure?

We have different levels of management. The top level is the board of directors: it includes the heads of all the companies, and it solves strategic issues, such as issues of interconnection of the companies and further adjustment of the structure of their interaction. There is also a level of making tactical decisions, which is delegated to individual companies.

Are all the companies located in one place? 

Today, we have three offices, two of which are located next to each other on the Luzhnetskaya Embankment. We came to this accommodation gradually, and we are still working on its optimization. Of course, the perfect situation would be to get everyone to work in one place, and we are working on that.

The UNK office at work
Copyright: Provided by UNK


You’ve been speaking about seamless interaction. What is this? What makes it different from regular interaction between divisions or departments within one company? 

The usual structure of a large project organization is arranged within a single system of specialist management, a single “entrance door” for the client, and a single contract. This is a vertical structure, and it’s good for working with standard tasks. 

Another structural pattern is the general designer and subcontractors – this structure is better suited for unique and varied tasks. It is more sustainable financially, but it’s not always good for getting a real high-quality result. The life cycle of design and construction is rather lengthy – about 5 or 6 years, and not all of the subcontractors will stay with you throughout this entire period. At the same time, we do not fully control our subcontractors, and many of the developments “leave” together with them – no accumulation of competences takes place.

We at UNK created a system that is flexible and horizontal at the same time – it does not turn into a “mastodon”, yet it is still under our full control, and it is capable of accumulating unique expertise inside of it.

How do you ensure the announced “horizontal structure” if everyone knows for a fact that Yuliy Borisov is the key decision maker here?

Me the key decision maker? Not at all! We have great leaders that are competent in various management areas, as well as in the areas of architecture and design – specialists who really know their stuff when it comes to construction technologies.

My goal is to ensure the connection between all the companies in terms of goal setting and solve the strategic tasks.

What is your strategy about?

First of all, it is about creating high-quality solutions for unique tasks. I am the guarantor of quality and stability for most of our clients. At the same time, over the 22 years of our existence, the main value of UNK was team work, combined with our ability to efficiently act both formally and informally in the system of our common goal setting. These fundamentals are unchanged; they have been practice-tested, and they’ve been known to bring results: all our development and all of our projects are proof of that. And now we are entering a whole new level: we have new specialists and new partners but the principles and values on which we base ourselves in our work, our products, and our relationships, remain unchanged.

We try to think big, stay away from going with the mainstream, and always be cutting-edge.

The large-scale Ostrov housing project – was it a bit of a challenge to you?

Of course, it was a challenge. Today we are trying, together with the developer, to propose solutions for this project with an overall area of about 1.5 million square meters based on our principles and approaches. And the new structure of our company is very helpful in efficiently solving this task. Earlier, we would not have been physically able to apply our approaches to such a volume of construction implying complex tasks – including working with totally different classes of housing. I don’t think that either a vertically organized holding or hiring subcontractors would allow us to perform a task of such magnitude.

How much has the number of your employees grown? How many coworkers do you have now? 

What matters for us is not the number of our employees – not how many of them are sitting in their cubicles – but first of all the competences of the team. What is important is the fact that the competences have grown dramatically. Currently, we can say that our main pool totals 250 people, which is an all-time high.

What competences did you master in 2021?

We developed a great landscaping and land development team, just as the team that does integrated lighting design. We also formed a team that is expert in construction technologies of implementing unique facade solutions, and can oversee the construction; also, we have a few interior design branches because tasks and specializations in this area are very diverse. Interiors appear that are connected with highly specialized tasks: sports, educational, and a number of other tasks that require special competences, and this is why we created a dedicated team for that.

Incidentally, what is the exact difference between UNK Interiors and UNK Design?

Interiors has been operating within the structure of UNK for quite a while; its operation is based on traditional approaches to designing. Design, on the other hand, presents a fundamentally different approach based upon the principles of sustainable development. UNK design’s responsibility area includes development of interior design, both public and corporate.

The subdivision of corporate interiors headed by Nikolai Milovidov – it did not fit in with the UNK ecosystem, did it? 

Nikolai Milovidov chose to take an independent path of his own. We still stay friends. Within the framework of the ecosystem, I repeat, this work is done by UNK design.

And the subdivision guiding the construction of complex and unique facades – it is preoccupied with working design of facades, correct? 

Not quite. Their competences are required from the very start of the work. They are connected with both technologies of facade implementation and with economic rationale – today, in every technical brief, you need to be very clear on the cost of facade implementation – and, approximately, the technology of construction. Our experts in this area have expertise not just in facade design, but they also have profound understanding of construction and manufacturing processes. As is known, there are companies all over the world that specialize in facade consulting, guiding the design process at all of its stages – from concept to overseeing on the construction site. In Russia, most of our colleagues use the services of companies that simply rehash existing facades; you cannot consider them independent.

It is for this reason that we took the path of accumulating and using our competences – we already have considerable expertise. For example, at the Water Sports Palace project, we mastered the practice of working with reinforced fiber-concrete, including reproducing historical reliefs in an enlarged format. Also, sophisticated facade systems were implemented in the “Akademik” business center.

“Academic” business center on the Vernadskogo Avenue
Copyright: Photograph © Dmitry Chebanenko / UNK project


Unique facades with glass insulated units more than 12 meters high without upper clamping and with radial pull-out partitions was something that we designed for the Rosatom Pavilion at the All-Russia Exhibition Center; it’s nearly complete, you can already take a peek at the facades from behind the fences. The interiors of the main hall, also important for the outdoor perception, will be completed in the first half of the current year.

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Rosatom Pavilion at the All-Russia Exhibition / 2022 / under construction
Copyright: Photograph © UNK


In addition, we have a lot of developments in the area of premium-class housing: we do know how to make beautiful things, which are at the same time cost effective and economical in terms of further operation of the facades. We accumulate these competences inside the company in order to further improve the quality of our product. 

An “ecosystem” sounds very up-to-date and very broad at the same time. It seems to me that you are trying to broadcast a message that now UNK can do everything.

Quite the opposite – we are not trying to do everything. We are focused on a rather narrow product – on buildings and locations where people live, work, study, do sports, and generally do positive things. We are not looking to work with infrastructure projects, for example, even though we did have an interior design project for an airport, but this is not quite our niche. We are focused on a human being and their needs. 

At the same time, we don’t do premium projects, you know, of the super-high-end type, and, on the other hand, we almost never work with mass and social housing. We also did a few renovation projects, but it is not our thing. Thus, we are focused on people who have approximately the same level of income as we do – and we work virtually for the same people as we are.

Meaning – upper middle class?

I guess you could say that.

But we are real experts in our field, not just in the traditional understanding of the subject but also in making competent project documentation for the construction of beautiful facades: we raise our competences on the profound understanding of how various technological processes take place, and what will happen in the future. We make brainstorming sessions, trying to anticipate the client’s desires, and offer things that we hope will be relevant in a five or seven years’ time. This is also an extremely important thing – to be able to the future. Like I already said, the construction cycle takes up 4 to 5 years, and it is important that when your project is complete it must still be cutting edge, not fall behind.

In this case, I cannot resist the temptation to ask you about your forecasts for the next five years.

It is obvious that the world is becoming increasingly dynamic. The basic segments will remain the same, though: there will be housing, there will be offices, and there will be trade – but the borders between them will become blurred. For example, designing a housing project, we spent almost a week discussing how the delivery services would operate, so that the consumers would be able to get all these services, yet at the same time we could avoid the annoying jams of bicycles and delivery persons at the entrances. Thus, it turns out that we need complex technologies with back doors and dedicated elevators. This is already a reality: mixing housing where we need privacy, rest and peace, and the logistics of product delivery, which is now part of our lives. Another example is a large number of co-working spaces in housing complexes. Third is the paths of development of shopping malls: clearly, as online shopping develops, they will have to change their format – possibly, into entertainment, cultural, or educational centers.

You don’t plan to introduce a futurology department, do you?

No, we don’t, we’re not that formal. But we do organize discussions. We draw information and ideas from many of our clients, and we share our insights with them as well. To recapitulate: no, we don’t have a futurology department, but our ideology is that we must actively transform the world for the best, be cutting-edge, and one of the key requirements for any specialist of ours, starting from an architect and ending with a master plan engineer – they must be active in innovations. 

We plan to create an educational department.

As far as I know, you, just like many other architectural companies, had trial periods. What’s the difference between those and the educational department? Whom will you teach and what? 

Our business is based both on our own competences, and on the competences of our employees – of course, we are interested in attracting highly skilled specialists. This is why we are trying to introduce a branch for supplementary education for architects, engineers, designers, project managers, and other specialists.

At first, we plan to organize remote instruction, then the final full-time internship in companies that are part of the UNK ecosystem. What makes it different from a one-time internship is that we, among other things, plan to prepare advanced training programs, that is, we will approach the task more systematically.

If we are to be more specific about the future – what other companies do you plan to create within your ecosystem?

I cannot say right now. Usually we build a strategic plan from a five-year perspective, and at the moment we are ahead of schedule. Therefore, now we are focused on tactical tasks.

02 February 2022

Headlines now
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.
​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”.
The “Staircase” Building
In designing the “Details” residential complex in New Moscow, Rais Baishev spiced up the now-popular Moscow theme of a “courtyard” building with an idea drawn from the surrealist drawings by Maurits Escher. He envisioned the stepped silhouettes and descending slopes as a metaphysical mega-staircase, creating a key void within the courtyard that gave the project an internal “spine”. This concept is felt both in the building’s silhouette and on its façades.
Projection of the Quarter
No one doubted that the building that Vladimir Plotkin designed as part of the “Garden Quarters” would be the most modernist of all. And it turned out just that way: while adhering to the common design code, the building successfully combines brick and white stone, rhythmically responding to the neighboring building designed by Ostozhenka, yet tactfully and persistently making a few statements of its own. This includes the projection of the ideal urban development composition “14–9–6”, which can be found right next door, mathematical calculations, including those for various types of terraces (and perhaps the only reminder of the Soviet past of the Kauchuk rubber factory!), and the white “cross-stitch” pattern of the façade grid.
Domus Aurea
In this issue, we examine the “Tessinsky-1” house, designed by Sergey Skuratov and completed in 2023. Located in the middle of the Serebryanicheskaya Embankment district, at the intersection of its main streets, this house assumes a sort of “nodal” role: it not only responds to everything around it and preserves many memories of the former EMA factory within itself, but it weaves all this into a newly directed pattern, reconciling bright “gold” and dark-colored brick, largely with the help of the new, modern-yet-archaic Columba brick, which, come to think about it, is the most precious element here.
The Chimney of Nikola-Lenivets
In this issue, we are examining the “Obelisk House” designed by KATARSIS and built for the Arkhstoyanie 2023 festival. However, it was only finished later on, and this is why we are examining it now. It seems to us that after the “Obelisk House” appeared in Nikola-Lenivets, a dialogue and a few inner connections appeared between the temporary structures built here. These houses no longer look like “accidental neighbors”, more of which below.
​Periscope by the Bay
The jury awarded the second place in the competition for a public and cultural center in Petropavlovsk-Kamchatsky to the companies GORA (“Mountain”) and M4. In the consortium’s proposal, the building resembles a sperm whale with a calf swimming next to it or a periscope, whose lenses capture the most spectacular views from the surrounding landscape.
From Arcs to Dolmens
While working on the competition project for Petropavlovsk-Kamchatsky, ASADOV Architects prioritized the value of the natural and urban environment, aiming to preserve the balance of the location while minimizing the resemblance of the volume that they designed to a “traditional building”. The task was challenging, and the architects created three versions, one of which having been developed after the competition, where their main proposal took third place. However, the point of interest here is not the competition result but the continuity of creative thinking.
Hide and Seek
The ID Moskovskiy house, designed by Stepan Liphart in St. Petersburg, in the courtyards near Moskovskiy Avenue beyond the Obvodny Canal and recently completed, is notable for several reasons. Firstly, it has been realized with considerable accuracy, which is particularly significant as this is the first building where the architect was responsible not only for the facades but also for the layouts, allowing for better integration between the two. On the other hand, this building is interesting as an example of the “germination” of new architecture in the city: it draws on the best examples from the neighborhood and becomes an improved and developed sum of ideas found by the architect in the surrounding context.
The Big Twelve
Yesterday, the winners of the Moscow Mayor’s Architecture Award were announced and honored. Let’s take a look at what was awarded and, in some cases, even critique this esteemed award. After all, there is always room for improvement, right?
Above the Golden Horn
The residential complex “Philosophy” designed by T+T architects in Vladivostok, is one of the new projects in the “Golubinaya Pad” area, changing its development philosophy (pun intended) from single houses to a comprehensive approach. The buildings are organized along public streets, varying in height and format, with one house even executed in gallery typology, featuring a cantilever leaning on an art object.
Nuanced Alternative
How can you rhyme a square and space? Easily! But to do so, you need to rhyme everything you can possibly think of: weave everything together, like in a tensegrity structure, and find your own optics too. The new exhibition at GES-2 does just that, offering its visitor a new perspective on the history of art spanning 150 years, infused with the hope for endless multiplicity of worlds and art histories. Read on to see how this is achieved and how the exhibition design by Evgeny Ace contributes to it.
Blinds for Ice
An ice arena has been constructed in Domodedovo based on a project by Yuri Vissarionov Architects. To prevent the long façade, a technical requirement for winter sports facilities, from appearing monotonous, the architects proposed the use of suspended structures with multidirectional slats. This design protects the ice from direct sunlight while giving the wall texture and detail.
Frozen Magma
A competition for the creation of a public and cultural center was held in Petropavlovsk-Kamchatsky. Three architectural companies made it to the final, and we consider it important to share about the work of each. Let’s start with the winner – the consortium led by Wowhaus.
Campus within a Day
In this article, we talk about what the participants of Genplan Institute of Moscow’s hackathon were doing at the MosComArchitecture booth at the “ArchMoscow” exhibition. We also discuss who won the prize and why, and what can be done with the territory of a small university on the outskirts of Moscow.
Vertical Civilization
Genpro considered the development of the vertical city concept and made it the theme of their pavilion at the “ArchMoscow” exhibition.
Marina Yegorova: “We think in terms of hectares, not square meters”
The career path of architect Marina Yegorova is quite impressive: MARHI, SPEECH, MosComArchitectura, the Genplan Institute of Moscow, and then her own architectural company. Its name Empate, which refers to the words “to draw” in Portuguese and “to empathize” in English, should not be misleading with its softness, as the firm freely works on different scales, including Integrated Territorial Development projects. We talked with Marina about various topics: urban planning experience, female leadership style, and even the love of architects for yachting.
Andrey Chuikov: “Optimum balance is achieved through economics”
The Yekaterinburg-based architectural company CNTR is in its mature stage: crystallization of principles, systematization, and standardization helped it make a qualitative leap, enhance competencies, and secure large contracts without sacrificing the aesthetic component. The head of the company, Andrey Chuikov, told us about building a business model and the bonuses that additional education in financial management provides for an architect.
The Fulcrum
Ostozhenka Architects have designed two astonishing towers practically on the edge of a slope above the Oka River in Nizhny Novgorod. These towers stand on 10-meter-tall weathered steel “legs”, with each floor offering panoramic views of the river and the city; all public spaces, including corridors, receive plenty of natural light. Here, we see a multitude of solutions that are unconventional for the residential routine of our day and age. Meanwhile, although these towers hark back to the typological explorations of the seventies, they are completely reinvented in a contemporary key. We admire Veren Group as the client – this is exactly how a “unique product” should be made – and we tell you exactly how our towers are arranged.
Crystal is Watching You
Right now, Museum Night has kicked off at the Museum of Architecture, featuring a fresh new addition – the “Crystal of Perception”, an installation by Sergey Kuznetsov, Ivan Grekov, and the KROST company, set up in the courtyard. It shimmers with light, it sings, it reacts to the approach of people, and who knows what else it can do.
The Secret Briton
The house is called “Little France”. Its composition follows the classical St. Petersburg style, with a palace-like courtyard. The decor is on the brink of Egyptian lotuses, neo-Greek acroteria, and classic 1930s “gears”; the recessed piers are Gothic, while the silhouette of the central part of the house is British. It’s quite interesting to examine all these details, attempting to understand which architectural direction they belong to. At the same time, however, the house fits like a glove in the context of the 20th line of St. Petersburg’s Vasilievsky Island; its elongated wings hold up the façade quite well.
The Wrap-Up
The competition project proposed by Treivas for the first 2021 competition for the Russian pavilion at EXPO 2025 concludes our series of publications on pavilion projects that will not be implemented. This particular proposal stands out for its detailed explanations and the idea of ecological responsibility: both the facades and the exhibition inside were intended to utilize recycled materials.