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Oleg Manov: “There is no “happy medium” – you need to constantly either prove or create it”

Oleg Manov shares about how FURURA ARCHITECTS turned from a young architectural company to an established one: through being faithful to the idea of creating something new and unseen before, through architecture-related activities, through attention to drawings and models, and studying the relationship between new buildings and their surroundings.

25 May 2022
Interview
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Archi.ru
How did you become an architect?

Oleg Manov: 
I decided to become an architect still as a child because my father worked in “Project Institute #1”, and my mother in Lenproekt. We lived in a shared apartment on Moika, overlooking the Capella, and I went to a primary school on the Palace Embankment. When we sometimes went to the “sleeping belt” areas full of faceless multi-apartment buildings, I was very surprised and kept asking my mom how people could live there. I thought that it was a great social injustice that some people live in the city center, and some people have to huddle in small apartments, in which for some reason the ceilings were lowered.

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Oleg Manov
Copyright: © FUTURA-ARCHITECTS


Parallel to the regular school, I also graduated from the art school, and then I entered the architectural department of the Academy of Fine Arts. In the Academy, I wanted to design houses different from the rest, and different from what my parents were doing – I had a total feeling that they were running in circles. If we recall the 1980’s, we all wore the same clothes, read the same newspapers, and in the Academy I was also faced with “sameness”: many of the students took the line of the least resistance, borrowing the solutions used by their predecessors. We had a great stockpile of albums full of lookalike projects, dragging from year to year. My love for new things cost me my grades.

It was then that I realized that it wouldn’t be a walkover. When I worked for Evgeny Gerasimov, I was already often faced with a situation when our clients would say: “We will not do it because we never did it”, and the builders would say: “This is impossible”. Little has changed since then, and to me this is a constant challenge. I know that when people say “We don’t know how to do it because we never did it” we are on the right track because this is exactly what we are going to do right now.

An architectural installation for a checkpoint
Copyright: © FUTURA-ARCHITECTS


Could you please share more about working for Evgeny Gerasimov? 

I came to work for Evgeny Gerasimov almost immediately after I graduated from the Academy of Fine Arts, and I worked for him for almost nine years. I was choosing the company that I would work for based on their projects – back then, there were already websites where you could see what the company was doing. People kept telling me that working there would be hard, that I would have to work overtime, but this was what I was looking for because I wanted to grow professionally. As for high-profile projects, I took part in designing the hotel at the Ostrovsky Square, “Nevskaya Ratusha”, the “Venice” house, and the housing complex in the Kovensky Lane.

How did you come to the decision to create your own company?

My urge to make something that’s different from what was there before never left me, and ultimately led me to creating a company of my own. We started a firm with my partner Dmitry – he is responsible for the development, and I am responsible for the creative process, design, HR, and client relationship.

Today, we are purposefully trying to make projects that are different from everything that is already there. Young and ambitious clients are usually ready for this, and it’s much harder to convince well-established developer companies of such concepts, but we still offer them anyway – as a result, we did projects for such development giants as LSR, RBI, and UIT. Being different and being unique does not necessarily manifest itself in the building’s shape or its relationship with the context. It can be hidden in the materials, interior design, or other details.

The Novoselye community center
Copyright: © FUTURA-ARCHITECTS


What were the first projects done by FUTURA-ARCHITECTS?

Our first large-scale project was the “New Farm” museum center in the state-owned reserve-museum “Peterhof”. This project developed really fast: less than a year elapsed from the initial negotiations to the opening, and this considering the fact that it was a very diverse task: the program of the center was devised for children of different ages, and we had to design various facilities – from a movie hall to a laboratory.

The museum center “New Farm” in teh state reserve/museum Peterhof
Copyright: © FUTURA-ARCHITECTS


You found this client thanks to us publishing our own magazine [where all the pictures were hand-drawn – editor’s note.] Could you please share more about how architecture-related activities moved your career forward? 

The magazine, the exhibitions, manifestos, and arch meetings – all these are different ways to express ourselves, and, yes, find clients as well. I organized exhibitions as I still went to the Academy, trying to search for different ways of realizing my creative insights. I can still remember that once I completed a large order – I was then doing odd jobs piecing together architectural models – I went to travel through Europe and visited Paris, Berlin, Brussels, and Amsterdam. As a result of my trip, I made a photo exhibition; it was very interesting back then.

In FUTURA-ARCHITECTS, we also tried to find possible points of contact with the colleagues, clients, and everyone who cares for architecture. As an option, we settled for a magazine – we did three issues [you can see it here – editor’s note]. When we were preparing materials for it, we got acquainted with art experts who did the “New Farm”, and this is how we landed the commission. Later on we realized that publishing a full-fledged magazine is too much of a task for an architectural company, because you had to open a special division for it. Exhibiting at trade shows is less labor-consuming, you can do this parallel to your main work. Now we have made a decision that when we have an opportunity to fully engage our resources with projects, we do not get distracted with exhibitions. 

Did you develop your special love for architectural drawing in the Academy of Fine Arts? Is hand drawing always an indispensable part of your creative process? How is the creative process organized in your studio?

I do not think with my pencil, as I am sure many others do: even in our studio I often see this picture: a person goes away from their desk for a second, and their desk is absolutely covered in drawings. This is not how I do it. I first think up everything in my head, and then the drawing for me is just a tool, with which I check the proportions, or the object’s views from different sides. Sometimes you have an opportunity to make a model, sometimes you don’t; sometimes things happen so fast that you have to start from drawing your details in the AutoCADCivil, like it actually was with the house on Gastello Street.

The house on Gastello Street
Copyright: © FUTURA-ARCHITECTS


However, we normally do sketches, models, and BIM models – we test every project from all sides. We have quite a lot of material. At the end of 2019, we were approached by the Shchusev Museum – first they asked us to work for their auction, and then they took for their archives sketches of complete or in-construction projects – there were about 40 of them. One of our drawings has long since been exhibited in the Sergei Tchoban Museum of Architectural Drawing, of which I am very proud.

The “Weightlessness” drawing kept in the museum of architectural drawing in Berlin
Copyright: © FUTURA-ARCHITECTS


Since we do know how to make convincing visualizations, as well as have a desire to participate in trade shows and interact with our colleagues, I only do drawings for myself, in order to test this or that idea. When there is a similar situation when we have to come up with a quick proposal, a turn to these sketches, and the form turns into a real object. The brick housing complex “New Piter” was born exactly this way – only not from a sketch but from an installation that we did for the exhibition of the Union of Creative Studios in “Golitsyn Loft” with Ilia Yusupov.

The installation for the OAM exhibition in Golitsyn Loft.
Copyright: © FUTURA-ARCHITECTS


The New Piter housing complex
Copyright: © FUTURA-ARCHITECTS


Your company is already ten years old – what are your main achievements? How did the company develop? 

We kept a team of 15 people for about five years. Today, our team is also relatively small – from 20 to 25 people, but this allows us to do from 2 to 4 projects simultaneously, which is important. Given the reality of today, you cannot afford to do just one project because it can stop at any moment, but having more than 5 projects going at the same time will compromise quality.

After the “New Farm”, we did interior design projects, landscape design, and the development concept for the Flandria Plaza business center. Our housing block proposal came second at the First Young Architectural Biennale in Kazan. This gave us an opportunity to secure yet another contract, the one for the Salavat Kupere housing complex, which we did together with the two other winners – Citizenstudio and KPLN. This is meant to be a social housing project, and the developer wanted us to add some extra value to it. The large-scale project “Uralvagonzavod” got agreed by three chief architects: Oleg Rybin, Yuri Mityurev, and Vladimir Grigoryev. Everything was ready for the expertise but the project was eventually frozen. The same thing happened to the competition project for the village of Yukka, where we developed the residential housing, administrative buildings, a shopping mall, and a few privately owned houses. One of the first projects that we did for LSR was the residential building on Gastello Street that was not implemented solely because of the fact that the site was bought out by another developer.

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    The proposal of a housing complex for the first Young Architecture Biennale in Kazan
    Copyright: © FUTURA-ARCHITECTS
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    The proposal of a housing complex for the first Young Architecture Biennale in Kazan
    Copyright: © FUTURA-ARCHITECTS
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    “Salavat Kupere” housing complex
    Copyright: © FUTURA-ARCHITECTS
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    “Salavat Kupere” housing complex
    Copyright: © FUTURA-ARCHITECTS
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    “Salavat Kupere” housing complex
    Copyright: © FUTURA-ARCHITECTS
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    “Uralvagonzavod” R&D center
    Copyright: © FUTURA-ARCHITECTS
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    The project of renovating the village of Yukka
    Copyright: © FUTURA-ARCHITECTS


In the final stage are now the businesses center and the fitness center in Novoselye, a sports center in Ozerki, and this summer the “New Piter” complex will be put into operation. The housing complex on the Oktyabrskaya Embankment has received the Architectural and Town Planning approval, and has passed the expertise; another project that we also did for LSR on the Moskovsky Avenue is also in expertise.

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    A fitness an sports center in Novoselye
    Copyright: © FUTURA-ARCHITECTS
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    The sports center on the Vyborg Highway
    Copyright: © FUTURA-ARCHITECTS
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    The housing complex on the Oktyabrskaya Embankment
    Copyright: © FUTURA-ARCHITECTS
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    The house on Egorova Street
    Copyright: © FUTURA-ARCHITECTS


About 50% is complete of the “White Nights” pedestrian boulevard that runs through New Piter. We did about five landscaping projects for RBI. We also continued cooperation with the Peterhof Museum / Reserve – we came up with a quest intended to lure the visitors into the remote corners of the park, as well as an installation, in which you can make exhibitions in front of the palace.

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    The “White Nights” boulevard in the New Peter housing complex
    Copyright: © FUTURA-ARCHITECTS
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    The “White Nights” boulevard in the New Peter housing complex
    Copyright: © FUTURA-ARCHITECTS
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    The “Peterhof of the Future” installation series
    Copyright: © FUTURA-ARCHITECTS
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    The “Peterhof of the Future” installation series
    Copyright: © FUTURA-ARCHITECTS
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    The “Peterhof of the Future” installation series
    Copyright: © FUTURA-ARCHITECTS


Currently, we are cutting down the number of our branches, trying to focus more on general design, because our resources and brand awareness have grown. Sometimes, however, if a super-unusual proposal comes in, we agree to do interiors or landscaping.

At which point in time did FUTURA-ARCHITECTS stop being a “young company”?

After you’ve been working for ten years, you definitely cannot call your company “young”. However, the clients keep it simple and divide all the architects into two categories: the young ones who are good at making 3D renders, and the experienced ones who can do projects as general designers. There is no “happy medium” in this division – you need to either constantly prove or create it. Companies that are full of ideas, can be general designers, and are young at the same time, are few and far between.

Since 2016, you have been a member of the Board of the St. Petersburg Union of Architects, since 2021 – in the Association of Architectural Firms (OAM) – what are the benefits?

We have long since wanted this, and we were happy to be invited. OAM is a club for legal entities, not private persons. Right now there are 16 of them, and the membership gives us an opportunity to discuss professional topics and broadcast our opinions on the outside. These meetings can give impetus to transformations, for example, in legislative norms – we can collectively make a proposal to the Committee for City Planning and Architecture  or the Committee on State Control, Use and Protection of Historical and Cultural Landmarks.

In what direction will FUTURA-ARCHITECTS develop? 

We are most of all interested in doing two things. One: the questions of interrelationship between a new building and its context. Virtually any shape of the building you can conceive of has been posted online, you cannot dream up much in that respect – but the options for its interrelation with the surrounding context are endless. To give but one example: we are currently working on the headquarters of a large company, which will be located in a courtyard – it must look presentable, yet almost visible from any of the nearby streets. Two: how a person interacts with a building at the level of detail and material. Both of these moments can be felt only by being in a specific place – by seeing the building with your own eyes, approaching it from different sides, and peeking inside.

25 May 2022

Headlines now
The Mirror of Your Soul
We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.
Part of the Ideal
In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.
The Fortress by the River
ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.
In the Rhombus Grid
Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.
​Generational Connection
Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.
Three Dimensions of the City
We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived
New “Flight”
Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.
The Yauza Towers
In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.
Architecture and Leisure Park
For the suburban hotel complex, which envisages various formats of leisure, the architectural company T+T Architects proposed several types of accommodation, ranging from the classic “standard” in a common building to a “cave in the hill” and a “house in a tree”. An additional challenge consisted in integrating a few classic-style residences already existing on this territory into the “architectural forest park”.
The U-House
The Jois complex combines height with terraces, bringing the most expensive apartments from penthouses down to the bottom floors. The powerful iconic image of the U-shaped building is the result of the creative search for a new standard of living in high-rise buildings by the architects of “Genpro”.
Black and White
In this article, we specifically discuss the interiors of the ATOM Pavilion at VDNKh. Interior design is a crucial component of the overall concept in this case, and precision and meticulous execution were highly important for the architects. Julia Tryaskina, head of UNK interiors, shares some of the developments.
The “Snake” Mountain
The competition project for the seaside resort complex “Serpentine” combines several typologies: apartments of different classes, villas, and hotel rooms. For each of these typologies, the KPLN architects employ one of the images that are drawn from the natural environment – a serpentine road, a mountain stream, and rolling waves.
Opal from Anna Mons’ Ring
The project of a small business center located near Tupolev Plaza and Radio Street proclaims the necessity of modern architecture in a specific area of Moscow commonly known as “Nemetskaya Sloboda” or “German settlement”. It substantiates its thesis with the thoroughness of details, a multitude of proposed and rejected form variants, and even a detailed description of the surrounding area. The project is interesting indeed, and it is even more interesting to see what will come of it.
Feed ’Em All
A “House of Russian Cuisine” was designed and built by KROST Group at VDNKh for the “Rossiya” exhibition in record-breaking time. The pavilion is masterfully constructed in terms of the standards of modern public catering industry multiplied by the bustling cultural program of the exhibition, and it interprets the stylistically diverse character of VDNKh just as successfully. At the same time, much of its interior design can be traced back to the prototypes of the 1960s – so much so that even scenes from iconic Soviet movies of those years persistently come to mind.
The Ensemble at the Mosque
OSA prepared a master plan for a district in the southern part of Derbent. The main task of the master plan is to initiate the formation of a modern comfortable environment in this city. The organization of residential areas is subordinated to the city’s spiritual center: depending on the location relative to the cathedral mosque, the houses are distinguished by façade and plastique solutions. The program also includes a “hospitality center”, administrative buildings, an educational cluster, and even an air bridge.
Pargolovo Protestantism
A Protestant church is being built in St. Petersburg by the project of SLOI architects. One of the main features of the building is a wooden roof with 25-meter spans, which, among other things, forms the interior of the prayer hall. Also, there are other interesting details – we are telling you more about them.
The Shape of the Inconceivable
The ATOM Pavilion at VDNKh brings to mind a famous maxim of all architects and critics: “You’ve come up with it? Now build it!” You rarely see such a selfless immersion in implementation of the project, and the formidable structural and engineering tasks set by UNK architects to themselves are presented here as an integral and important part of the architectural idea. The challenge matches the obliging status of the place – after all, it is an “exhibition of achievements”, and the pavilion is dedicated to the nuclear energy industry. Let’s take a closer look: from the outside, from the inside, and from the underside too.
​Rays of the Desert
A school for 1750 students is going to be built in Dubai, designed by IND Architects. The architects took into account the local specifics, and proposed a radial layout and spaces, in which the children will be comfortable throughout the day.
The Dairy Theme
The concept of an office of a cheese-making company, designed for the enclosed area of a dairy factory, at least partially refers to industrial architecture. Perhaps that is why this concept is very simple, which seems the appropriate thing to do here. The building is enlivened by literally a couple of “master strokes”: the turning of the corner accentuates the entrance, and the shade of glass responds to the theme of “milk rivers” from Russian fairy tales.
The Road to the Temple
Under a grant from the Small Towns Competition, the main street and temple area of the village of Nikolo-Berezovka near Neftekamsk has been improved. A consortium of APRELarchitects and Novaya Zemlya is turning the village into an open-air museum and integrating ruined buildings into public life.
​Towers Leaning Towards the Sun
The three towers of the residential complex “Novodanilovskaya 8” are new and the tallest neighbors of the Danilovsky Manufactory, “Fort”, and “Plaza”, complementing a whole cluster of modern buildings designed by renowned masters. At the same time, the towers are unique for this setting – they are residential, they are the tallest ones here, and they are located on a challenging site. In this article, we explore how architects Andrey Romanov and Ekaterina Kuznetsova tackled this far-from-trivial task.
In the spirit of ROSTA posters
The new Rostselmash tractor factory, conceptualized by ASADOV Architects, is currently being completed in Rostov-on-Don. References to the Soviet architecture of the 1920’s and 1960’s resonate with the mission and strategic importance of the enterprise, and are also in line with the client’s wish: to pay homage to Rostov’s constructivism.
The Northern Thebaid
The central part of Ferapontovo village, adjacent to the famous monastery with frescoes by Dionisy, has been improved according to the project by APRELarchitects. Now the place offers basic services for tourists, as well as a place for the villagers’ leisure.
Brilliant Production
The architects from London-based MOST Architecture have designed the space for the high-tech production of Charge Cars, a high-performance production facility for high-speed electric cars that are assembled in the shell of legendary Ford Mustangs. The founders of both the company and the car assembly startup are Russians who were educated in their home country.
Three-Part Task: St. Petersburg’s Mytny Dvor
The so-called “Mytny Dvor” area lying just behind Moscow Railway Station – the market rows with a complex history – will be transformed into a premium residential complex by Studio 44. The project consists of three parts: the restoration of historical buildings, the reconstruction of the lost part of the historical contour, and new houses. All of them are harmonized with each other and with the city; axes and “beams of light” were found, cozy corners and scenic viewpoints were carefully thought out. We had a chat with the authors of the historical buildings’ restoration project, and we are telling you about all the different tasks that have been solved here.
The Color of the City, or Reflections on the Slope of an Urban Settlement
In 2022, Ostozhenka Architects won a competition, and in 2023, they developed and received all the necessary approvals for a master plan for the development of Chernigovskaya Street for the developer GloraX. The project takes into account a 10-year history of previous developments; it was done in collaboration with architects from Nizhny Novgorod, and it continues to evolve now. We carefully examined it, talked to everyone, and learned a lot of interesting things.
A Single-Industry Town
Kola MMC and Nornickel are building a residential neighborhood in Monchegorsk for their future employees. It is based on a project by an international team that won the 2021 competition. The project offers a number of solutions meant to combat the main “demons” of any northern city: wind, grayness and boredom.
A New Age Portico
At the beginning of the year, Novosibirsk Tolmachevo Airport opened Terminal C. The large-scale and transparent entrance hall with luminous columns inside successfully combines laconism with a bright and photogenic WOW-effect. The terminal is both the new façade of the whole complex and the starting point of the planned reconstruction, upon completion of which Tolmachevo will become the largest regional airport in Russia. In this article, we are examining the building in the context of modernist prototypes of both Novosibirsk and Leningrad: like puzzle pieces, they come together to form their individual history, not devoid of curious nuances and details.
A New Starting Point
We’ve been wanting to examine the RuArts Foundation space, designed by ATRIUM for quite a long time, and we finally got round to it. This building looks appropriate and impressive; it amazingly combines tradition – represented in our case by galleries – and innovation. In this article, we delve into details and study the building’s historical background as well.
Molding Perspectives
Stepan Liphart introduces “schematic Art Deco” on the outskirts of Kazan – his houses are executed in green color, with a glassy “iced” finish on the facades. The main merits of the project lie in his meticulous arrangement of viewing angles – the architect is striving to create in a challenging environment the embryo of a city not only in terms of pedestrian accessibility but also in a sculptural sense. He works with silhouettes, proposing intriguing triangular terraces. The entire project is structured like a crystal, following two grids, orthogonal and diagonal. In this article, we are examining what worked, and what eventually didn’t.