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In memory of Jean-Louis Cohen

Marina Khrustaleva – about Jean-Louis Cohen (20.07.1949-7.08.2023), French architect and architectural historian that specialized in modern architecture and city planning.

20 August 2023
in memoriam
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Two weeks ago, we lost Jean-Louis Cohen. Architect, historian of twentieth-century architecture, writer, curator, he was one of the most active and productive people I have ever known. Professor at a dozen universities, chairman of every possible committee, recipient of the most prestigious awards, he was unimaginably hardworking and industrious. Every year he published a major book and opened major exhibitions in the world’s leading museums that became cultural milestones. This year alone it was an exhibition on the Brazilian modernist Paolo Mendes da Rocha in Portugal and “Paris Moderne 1914-1945: Architecture, Design, Film, Fashion” in Shanghai.

Jean-Louis was the creator of one of the largest architectural museums in Europe, the Center of Architecture and Heritage in Paris, located in the Palais de Chaillot, which includes a collection of architectural fragments and casts by Viollet-le-Duc. Having started work in 1998 and brought the museum almost to its opening, in 2003 he left the project due to disagreements with the Ministry of Culture - his delicacy in personal communication was juxtaposed with the firmness of principle in professional matters. He was respected by his colleagues and adored by students all over the world, he helped everyone, cared for everyone, connected people, wrote letters of support – and worked endlessly.

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    Jean-Louis Cohen in his house in Ardèche.
    Copyright: Photograph © Vladimir Paperny
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    Jean-Louis Cohen (20.07.1949-7.08.2023)


What was Jean-Louis to Russia? A passionate researcher, interpreter, connoisseur and ambassador. His grandfather, the famous linguist Marcel Cohen, and his father, a correspondent for the newspaper Humanite in Moscow, were sincere communists; the Russian language had been in his family since his childhood. At the age of 15, Jean-Louis spent a happy month in the pioneer camp “Orlyonok” and significantly enriched his vocabulary – he was able to express himself in Russian strongly and accurately. In the 1970s, he often came to Moscow, getting to know Konstantin Melnikov in the last year of his life, and a splendid galaxy of the first, now deceased, researchers of Russian avant-garde architecture – Selim Khan-Magomedov, Anatoly Strigalyov and Vigdaria Khazanova.

In 1978, Jean-Louis, together with Alexei Gutnov, was the curator of the exhibition “Urban Space in the USSR” at the Pompidou Center – and 40 years later he gave a lecture “The Architecture of Optimism” on the so-called “New Element of Settlement” developed in Moscow. In 1979, he became one of the co-authors of the pivotal exhibition “Moscow-Paris” at the Pompidou center, which came over to the Pushkin Museum two years later. For the first time around, Russian and French art of the early twentieth century was exhibited in parallel, demonstrating close ties. Since then, in the lion’s share of his projects, he again and again placed Soviet culture in the international context.

Hardly any Russian researcher has managed to do even nearly as much as Jean-Louis Cohen has done for us: “Le Corbusier and the Mystique of the USSR: Theories and Projects for Moscow, 1928-1936” (1987), “Scenes of the World to Come: European Architecture and the American Challenge, 1893-1960” (1995), “Lost Vanguard: Soviet Modernist Architecture, 1922–32, Photographs by Richard Pare” (2007), “Architecture in Uniform: Designing and Building for the Second World War” (2011), “Future Architecture Since 1889: A Worldwide History” (2012), “Le Corbusier: An Atlas of Modern Landscapes” (2013), and “Building a new New World: Amerikanizm in Russian Architecture” (2019). The last exhibition was supposed to come to Moscow, to the Shchusev Museum of Architecture, but Covid happened, and then the events that everybody knows about. What remains is only a recording of his lecture on this subject at the Garage Museum of Contemporary Art.

At the exhibition “Le Corbusier. Secrets of Creativity. Between Painting and Architecture” (2012) at the Pushkin Museum, there was literally nowhere to fall – from exhibits and visitors. The Tsvetaev enfilade never looked so modern. Jean-Louis was a key figure in the years-long process of including Le Corbusier’s buildings in the UNESCO World Heritage List. The nomination was finally approved in 2016, but Le Corbusier’s largest building in Europe, the House of the Tsentrsoyuz in Moscow, about which Jean-Louis wrote so much, was not included in the final list due to distortions of the author’s design and subsequent unsuccessful restoration.

Jean-Louis was Chairman of the International Supervisory Board for the preservation of the Melnikov House. With his characteristic sobriety, he was able to put aside personal and political differences and focus on the interests of the cause. He was pleased that the house had been professionally surveyed by the engineering company ARUP and was cautiously optimistic that the scientific restoration would begin. He was a figure who could legitimize any gathering. He was a knight and he was a king.

Jean-Louis died at the family home in Ardèche, in the picturesque mountainous midlands of France. The stone peasant house at the top of the mountain was bought with the money his mother received as compensation for Holocaust victims. For years, they restored it with his father. After a busy school year, endless intercontinental flights, speeches, and discoveries, he came here every summer – to rest and write. Hundreds of rare Russian-language books were hidden in his dusky library in the rural French countryside. Here he thought, wrote and talked about Russia.

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    Jean-Louis Cohen′s house in Ardèche.
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    Jean-Louis Cohen′s house in Ardèche.
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    Jean-Louis Cohen′s house in Ardèche.
    Copyright: Photograph © Marina Khrustaleva
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    Jean-Louis Cohen′s house in Ardèche.
    Copyright: Photograph © Marina Khrustaleva
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    Jean-Louis Cohen′s house in Ardèche.
    Copyright: Photograph © Marina Khrustaleva
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    Jean-Louis Cohen′s house in Ardèche.
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    Jean-Louis Cohen′s house in Ardèche.
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    Jean-Louis Cohen′s house in Ardèche.
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    Jean-Louis Cohen′s house in Ardèche.
    Copyright: Photograph © Marina Khrustaleva


Here in Ardèche, Jean-Louis taught me one of my biggest lessons. “How do you cut cheese?” – he exclaimed when he saw me cutting the rind off the edge – “Round cheese should only be cut through the center, in segments! One must respect the shape of the object, it must remain what it is no matter what!” Here Jean-Louis was making for us his apricot jam in an antique copper basin on a cast iron stove.

One of the projects he was going to work on this summer was an encyclopedic volume on nineteenth- and twentieth-century Russian architecture. Recent events had put his scheduled travels on hold. He was the first to tell me with bitter certainty a few days before February 24 that things were about to begin. He was monstrously worried about <events> and was trying to keep in touch with friends in Russia and Ukraine. In his last letter, a month ago, in response to a birthday greeting, he wrote: “I continue to dream in this hellish world...” He died instantly from a wasp sting. I don’t know if he made jam that day. I want to believe he was happy there.

20 August 2023

Headlines now
Wave and Vertical
The premium residential complex designed by GAFA for a site in the Khoroshevsky District responds to multiple constraints – the arc of a planned roadway, the water protection zone of the Khodynka River, and insolation requirements – through inventive massing. The composition is built on the interplay of two spatial layers: an elongated perimeter block and three towers concealed behind it generate the silhouette and key viewpoints, while also adding semantic depth reinforced by the façade solutions. Another defining feature is a large private courtyard, complemented by a citywide linear park.
Office on Trubnaya
We continue publishing projects by Valery Kanyashin. A building once described, a quarter century ago, as an example of “quiet modernism” has remained just that in some people’s memory. According to Anatoly Belov, its main quality is its unobtrusiveness. The architects from Ostozhenka say the leading role here is played by context and landscape – the change in elevation. Yet is it really so inconspicuous?
The First International
With this publication, we begin a series of texts dedicated to works by the late Valery Kanyashin, one of the founders of Ostozhenka Architects. As it happens, the projects he was involved in largely illustrate our understanding of the firm and its history. The first project in this series is the International Moscow Bank on Prechistenskaya Embankment.
In Memory of Valery Kanyashin
On Friday, February 27, architect Valery Kanyashin passed away – co-founder of Ostozhenka Architects and the author of many significant buildings in Moscow. We publish a text by Anatoly Belov in memory of Valery Kanyashin.
Hypertext in Space
As part of the exhibition “What We Have We (Do Not) Keep”, Sergey Tchoban, the Museum of Architecture, and the CHART studio experiment with an eco-conscious approach to exhibition design, with thematic cross-references and even with publicistic reflections on the necessity of preserving modernism, the roots of contemporary architecture, and the birth of ideas. All of this makes the exhibition, with its light and transparent design, look quite innovative. The elements – both “material” and conceptual – are familiar, yet their combination is far from conventional.
The Outline of “Foundation”
In their competition proposal for the Fili transport hub, the consortium led by Alexey Ilyin proposed an “inhabited arch” – a form that is simple yet complex. The architects emphasize that even at the competition stage, the project’s feasibility was fully calculated, taking into account the minimal nighttime closures of Bagration Avenue. How was this achieved? With what functions? Let us take a closer look. In our view, the building would have suited the heroes of Isaac Asimov’s Foundation novels perfectly.
The Flying Horizontal
“A house in the spirit of Wright”, as architect Roman Leonidov describes it, pointing to his source of inspiration, was built on a challenging wedge-shaped site. To achieve a sense of intimacy and secure good views from the windows, the entire volume had to be shifted toward the far boundary, turning the house “back” to the neighboring mansions. The main façade demonstrates time-tested techniques often employed by the company: articulated horizontals, a weightless roofline, and a triad of materials – light plaster, dark slate, and warm wood.
Needles of Horizon Contemplation
The “House of Horizons”, designed by Kleinewelt Architekten in Krylatskoye, is carefully thought out at the stereometric level – from the logic of how the volumes interlock (and, conversely, how gaps are articulated between them) to the triangular balconies that give the building its striking, slightly bristling silhouette.
The Red Thread
A linear park project prepared by Alexey Ilyin studio for the improvement of a riverbank in one of the residential districts seeks to reconnect people with nature. Two levels of the embankment invite visitors to contemplate the landscape while at the same time protecting the riverbank from excessive human impact. The “aerial street” links functional zones and the opposite banks, creating new points of attraction along the way: balconies, bridges, and even a “grotto”.
Spindle and Thread
The concept of the Waver residential complex in Yekaterinburg draws inspiration from the past of the Parkovy district. In order to preserve the memory of the late-19th-century flax spinning mill once located here, the architectural company KPLN turns to the theme of textiles and weaving. The project’s main expressive device is a system of ribbons made of perforated weathering steel – a material that, in such volumes, has arguably not yet been used in Russian residential projects.
Woven Into Sokolniki
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Stepan Liphart and Yuri Gerth: “Our Program Is Aesthetic”
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The Copper Mirror
The varied-toned sheen of “unsealed” copper, painterly streaks and fingerprints, exposed concrete, and the unusual proportions – when you study the ZILART Museum building by Sergei Tchoban and SPEECH architects, there is plenty to talk about. However, it seems to us that the most interesting thing is how the museum’s composition responds to the realities of the district itself. The residential district has been realized as an open-air exhibition of façade statements by contemporary architects – but without public access to the inner courtyards of the blocks. This building – that is, the museum – is exactly the opposite: on the outside, it is deliberately restrained, while inside it shines spectacularly, creating its own sunbeams in any weather.
“Strangers” in the City
We asked Alexander Skokan for a comment on the results of 2025 – and he sent us a whole article, moreover one devoted to the discussion we recently began on the “appropriateness of high-rises” – or, more broadly speaking, “contrasting insertions into the urban fabric”. The result is a text that is essentially a question: why here? Why like this?
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What we ended up having was an extremely unusual conversation with Dmitry Ostroumov. Why? At the very least, because he is not just an architect specializing in the construction of Orthodox churches. And not just – which is an extreme rarity – a proponent of developing contemporary stylistics within this still highly conservative field. Dmitry Ostroumov is a Master of Theology. So in addition to the history and specifics of the company, we speak about the very concept of the temple, about canon and tradition, about the living and the eternal, and even about the Russian Logos.
A Glazed Figurine
In searching for an image for a residential building near the Novodevichy Convent, GAFA architects turned to their own perception of the place: it evoked associations with antiquity, plein-air painting, and vintage artifacts. The two towers will be entirely clad in volumetric glazed ceramic – at present, there are no other buildings like this in Russia. The complex will also stand out thanks to its metabolic bay-window cells, streamlined surfaces, a ceremonial “hotel-style” driveway, and a lobby overlooking a lush garden.
A Knight’s Move via the Cour d’Honneur
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A Small Country
Mezonproekt is developing a long-term master plan for the MEPhI campus in Obninsk. Over the next ten years, an enclave territory of about 100 hectares, located in a forest on the northern edge of the city, is set to transform into a modern center for the development of the nuclear energy sector. The plan envisions attracting international students and specialists, as well as comprehensive territorial development: both through the contemporary realization of “frozen” plans from the 1980s and through the introduction of new trends – public spaces, an aquapark, a food court, a school, and even a nuclear medicine center. Public and sports facilities are intended to be accessible to city residents as well, and the campus is to be physically and functionally connected to Obninsk.
Pearl Divers
GAFA has designed an apartment complex for Derbent intended to switch people from a work mode to a resort mindset – and to give the surrounding area a much-needed jolt. The building offers two distinct faces: restrained and laconic on the city side, and a lushly ornate façade facing the sea. At the heart of the complex, a hidden pearl lies – an open-air pool with an arch, offering views of a starry sky, and providing direct access to the beach.
A Satellite Island
The Genplan Institute of Moscow has prepared a master plan for the development of the Sarpinsky and Golodny island system, located within the administrative boundaries of Volgograd and considered among the largest river islands in Russia. By 2045, the plan envisions the implementation of 15 large-scale investment projects, including sports and educational clusters, a congress center with a “Volgonarium”, a film production cluster, and twenty-one theme parks. We explain which engineering, environmental, and transportation challenges must be addressed to turn this vision into reality. The master plan solutions have already been approved and incorporated into the city’s general development plan.
The Amber Gate
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A Theater Triangle
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​A Golden Sunbeam
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Architecton Awards
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Garden of Knowledge
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The Silver Skates
The STONE Kaluzhskaya office quarter is accompanied by two residential towers, making the complex – for it is indeed a single ensemble – well balanced in functional terms. The architects at Kleinewelt gave the residential buildings a silvery finish to match the office blocks. How they are similar, how they differ, and what “Silver Skates” has to do with it – we explore in this article.
On the Dynastic Trail
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