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Sunshine, Air, and Water

The construction of the “Solnechny” (“Sunny”) summer camp, designed by ARENA project institute, has been completed, the largest summer camp within the legendary Artek seaside resort for children. It was conceived still in Soviet time, but it was not implemented. The modern version surprises you with sophisticated engineering solutions that are combined with a clear-cut structure: together, they generate Asher-esque spaces.

18 January 2023
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The perfect world, so young and fair,
The perfect world without a care,
We’ll miss you so when you’re not there…
The “Artek” song

Artek began in 1925 as a small tent camp for children, and in 2016 it welcomed the 1.5Mth guest. After 2014, the camp was “reset”: its entire program changed, and now Artek is developed as a year-round “innovative venue for general and supplementary education, combined with fitness and recreation”; in accordance with the program, they also began renovating the buildings.

Over the years of its existence, Artek has grown to the size of five camps: Pribrezhny (“Seaside”), consisting of “Forest”, “Field”, “River”, and “Lake” divisions, Gorny (“Mountain”), consisting of “Diamond”, “Crystal”, “Amber”, “Sea”, “Cypress”, and “Azure” divisions. Quite soon, the new and the largest camp will appear, capable of housing up to a 1000 children per shift – “Solnechny”. It will become the first camp since 1995 to be built from scratch.

The international children′s center Artek. The Solnechny (Sunny) camp


The author of the master plan of the entire Artek and most of its buildings was the Soviet architect Anatoly Polyansky. The construction of this “pioneer camp”, cascading down to the sea in terraces, was something that he conceived still in the 1960’s in the southern part of the Artek grounds. However, they were unable to implement the master plan in its entirety back then. In the post-Soviet time, the Artek territory shrank in its southern part, giving way to private construction, a park, and a beach. As for the seaside fragment between “Cypress” and “Azure”, right across from the Adalar rocks, it lay undeveloped for half a century because of complex terrain, risk of landslides, and the absence of access roads.

In the 2000s, developing the program for developing Artek for the next decades, the leadership of the camp turned to the idea of developing the vacant land site lying between “Cypress” and “Azure”, which, among other things, would make it possible to make the territory more coherent from the Ayu-Dag of mountain in the north to the settlement of Gurzuf in the south. To achieve these tasks, they invited the project institute ARENA, which already took a significant part in the development of the camp: the architects worked on reconstructing and designing new buildings for the “Seaside” camp, designed “Artek Arena” on the site of the former Bonfire Square, as well as the educational center for the future “Sunny”.

The configuration of “Sunny”, and the principles of volumetric organization, recreate Polyansky’s ideas in the new location.

In order to neutralize the impact of soils, a cascade of retaining walls made of drilled piles was installed before construction.

The international children′s center Artek. The Solnechny (Sunny) camp


They definitely had a task of inscribing the building in the terrain, at the same time making it proportional to the surroundings and providing for the movement (sometimes Brownian) of pedestrian streams. One of the things that came in particularly handy for the institute was probably its experience in designing stadiums – no matter how you look at it, one thousand kids in one place is quite a figure.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


The City of the Sun

The more you examine the building, the more you think of utopian towns: possibly, it is the name of “Sunny” that brings such associations, or maybe the idea of a camp regimen, or in the architectural solutions that ultimately create a contained space. As we all know, “summer is a small life”, which is just enough to house a small utopia.

“Sunny” consists of four separately standing units built in accordance with the same principle: three levels two floors in each are arranged in a terraced fashion in such a way that the roof of the lower tiers is the terrace of the upper ones. The result is 12 blocks, which corresponds to 12 companies; this same figure lent itself for using the names of months for identifying and designing each of the blocks – they differ in colors and facade design. The top tier of the side buildings is almost half the width of the central ones, and thanks to this the terrace-like character is seen when you view the complex from the sea.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


Each room is a cell, a “little brick” in the overall volume of the building, which relates it to the specimens of Soviet architecture, and first of all to Yalta’s Druzhba resort. You can see here the same recognizable “scallops” of the rooms, which, on the other hand, are more of a plastique technique than a functional necessity: since the building is linear, and stands almost on the shoreline, the sea is already perfectly visible from each of its windows.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


Still, the architects try to make as much sea as possible: the south wall of each room is 100% glass, and has an exit to a small balcony, protected from the sunlight by an awning of colored polycarbonate. You can also shut yourself off from noisy neighbors on the balcony with a thick curtain. The “prongs” alternate with “Finnish” little balconies – a technique that makes it possible to diversify the buildings even more. The fragile crystalline volumes of stained glass are augmented by natural stone that allows the building to naturally fit in with the rocky slope.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


Asher-esque Landscaping

The four buildings are interconnected by “membranes” – a sophisticated system of staircases and overpasses that serves as both vertical and horizontal communication core, as well as a place for events and recreation. This solution turns the building into an “island of diverging paths”: you can get from any point to any other by numerous paths, and the intertwined staircases and overpasses look like a labyrinth.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


In each of the “membranes”, the staircase takes you from the topmost tier to the seaside boulevard and the beach. At the level of the entrance groups, the staircases grow to the size of amphitheaters that are protected from the sunlight by “sails” resembling hovering birds. This way, each of the buildings gets its own venue for joint lineups, while the function of small yards is performed by green terraces.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


The upper level of the roof offers rather large venues for mass events, and it also has an educational function: the technical blocks are covered by bright-colored cylinders with lamellas, through which the kids can take a sneak peek at the engineering communications. The cylinders on the roof are probably also a reference to the “Friendship” restaurant.

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    The international children′s center Artek. The Solnechny (Sunny) camp
    Copyright: © ARENA Project Institute
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    The international children′s center Artek. The Solnechny (Sunny) camp
    Copyright: © ARENA Project Institute
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    The international children′s center Artek. The Solnechny (Sunny) camp
    Copyright: © ARENA Project Institute
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    The international children′s center Artek. The Solnechny (Sunny) camp
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    The international children′s center Artek. The Solnechny (Sunny) camp
    Copyright: © ARENA Project Institute


Thus, “Sunny” as a whole, as well as each of its blocks, turn out to be self-sufficient. The territory of this “little city” provides enough space for everything: bedrooms, indoor and outdoor event venues, quiet corners for individual work and practice, as well as the sea splashing literally outside your door. The building itself becomes the object of research and cognition: ascending and descending the staircases every day, and going out to the balconies and terraces, one cannot but delve into its sophisticated architectural and engineering organization.

The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


The self-contained character of the building, however, does not limit the kids in getting diverse impressions because they have the whole enormous territory of Artek at their disposal. “Sunny” itself for example, will have a landmark of its own: the remains of the Christian basilica church of the VI century that were discovered and then buried again still in Soviet time. At the new stage of construction, these remains were cleared and conserved; they are planned to be integrated in the complex later on. The basilica will adorn the territory of the educational center that will complement “Sunny” and will be situated a little bit higher up the mountain. It will also include a cafeteria – once it is complete, the camp will be able to welcome new guests.
The international children′s center Artek. The Solnechny (Sunny) camp
Copyright: © ARENA Project Institute


18 January 2023

Headlines now
A Unique Representative
The recently concluded year 2024 can be considered the year of completion for the “Garden Quarters” residential complex in Moscow’s Khamovniki. This project is well-known and, in many ways, iconic. Rarely does one manage to preserve such a number of original ideas, achieving in the end a kind of urban planning Gesamtkunstwerk. Here is a subjective view from an architecture journalist, with an interview with Sergey Skuratov soon to follow.
Field of Life
The new project by the architectural company PNKB (an acronym for “Design, Research, and Advisory Bureau”), led by Sergey Gnedovsky and Anton Lyubimkin, for the Kulikovo Field Museum is dedicated to the field as a concept in its own right. The field has long been a focus of the museum’s thorough and successful research. Accordingly, the exterior of the new museum building is gentler than that of its predecessor, which was also designed by PNKB and dedicated specifically to the historic battle. Inside, however, the building confidently guides the visitor from a luminous atrium along a spiral path to the field – interpreted here as a field of life.
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.