Molding Perspectives

In virtually all of our cities, especially the major ones, there are places on the outskirts where industrial zones, highway interchanges, large shopping centers, a couple of relatively new residential towers, and private residences peacefully coexist with each other, seemingly by accident. Typically, these areas are designated for fairly dense development. I think many practicing architects have encountered similar challenges – in fact, this is quite often a very complex puzzle to solve.

zooming — Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects

The project that Stepan Liphart is currently working on is a quintessential example of such a task: a multi-story, up to 25 floors and 75 meters high, residential complex situated on two adjacent land sites not far away from the Sredny Kaban lake, next to two main highways leading towards the airport: Orenburgsky Trakt and Universiade Avenue. It is also situated right next to the interchange where both roads meet. The interchange is called Tank Ring, as the intersection here is designed as a large, 100-meter-diameter ring. The eastern site faces the interchange. The other, the western site, is turned at a 90-degree angle to the first one and is partially connected to it at an angle, partly side by side. It is oriented along the meridian, and its northern end faces the rear facade of the shopping center – not the most aesthetically appealing thing in the city. In other words, the territory intended for the residential complex is sandwiched between at least two technical neighbors, not very pleasant to look at.

On the left is the Bakhetle Shopping Center; on the right is one of the towers of the “Clear Sky” residential complex.

Additionally, in the gap between the two territories, an above-ground parking lot is located along with three towers of the “Clear Sky” residential complex, which visually resemble the 1990s “mushroom” type, termed like this by Daria Paramonova, although these were built in the 2010s. Initially, it was planned for the residential complex to occupy both of the sites mentioned here. In 2012, a couple of simple sectional houses of a microdistrict type, almost uniform in height, 13 and 15 floors high, were placed here.

Stepan Liphart approached the complex task in a completely different way – with a measure of a modern urbanist on one hand, and an architect passionate about Art Deco on the other. He proposed a solution with varying heights and silhouettes, internal axes, a through passage, terraces, galleries, and even an artificial river.

He also introduced an architecture that he himself characterizes as “schematized Art Deco”, in several shades of green, a color that is beloved and almost signature in Kazan. However, it simultaneously evokes the Art Deco style of the Eastern Columbia Lofts in Los Angeles. He selected aluminum with a glossy coating for the facades, resembling glass with radial “flute” cracks.

For me, this work was an attempt to instill, or at least begin to instill in this complex site the traits of a real city – to humanize the environment as much as possible within the existing conditions and constraints. We wanted to design a pedestrian boulevard open to the city, leading diagonally from the shopping center to the southeast and public first floors with retail; at first, we proposed another pedestrian gallery open to citizens and an artificial river in place of the existing creek.

We worked a long time with the silhouette, and we designed quite a lot of terraces – somewhere they helped us to step back from the boulevard, somewhere to extend its framework so that it would not be too crowded. We would pick a color, several shades of green and a light cream. We found aluminum composite, which seemed to us an interesting solution: the facades should be covered with a shiny “crust”, similar to glass or ice.

Our work was carried out under professional consultations of the chief architect of the city – Ilsiyar Tukhvatullina. Without them, it would hardly have been possible to achieve a certain quality in terms of compliance with the context and relevance of our solutions.

So! The complex, as was already said, is located on two sites: the western one, with the shopping center at the northern border (the first phase), and the eastern one, with the interchange at the eastern end (the second phase).

The initial parameters of the sites are orthogonal: north-south and west-east. However, Stepan Liphart introduces a public “boulevard” street diagonally, running from the Tank School in the northwest to the private residences in the southeast, bypassing the shopping center. This street is intended to open up to the city, with shops on the ground floors. At the same time, Stepan Liphart places a second, diagonal, grid on top of the orthogonal one, creating many new perspectives and shaping the contours of the buildings based on these two grids.

In addition to the western city street, there is also an eastern one inside the complex – its zigzag is defined by the combination of the two grids. It’s not exactly a street but rather a courtyard. In the east, it is semi-enclosed by the curve of a multifunctional complex, separating the courtyard from the interchange. The multifunctional complex is small, quite concise, and bright. Commercial spaces are integrated at the bottom, and sports facilities are situated at the top. The main task of the volume is to serve as a noise screen in front of the highway, and the concave contours of the facades are determined by the proximity of the roundabout. The additional complexity and nuanced plasticity arise from the fact that a large amount of space was not required for the multifunctional complex, so it was reduced, resulting in elegant curves and sharp angles.

The eastern courtyard is private, intended solely for the residents. Initially, Stepan Liphart proposed to create an artificial reservoir in it, replacing the existing stream, and to make the gallery on the ground floor of the northern sectional house accessible to the city, creating a passageway. This would have resulted in two urban axes. Unfortunately, both ideas remained on paper, and the courtyard is strictly residents-only, with no artificial reservoir.

Let’s return to the residential buildings, however. In my opinion, one of the main features of this project can be defined as a “multi-silhouette” quality. The buildings seem to sometimes mold, sometimes grow, sometimes fold, and sometimes “flow” with terraces forming trails. Recesses, cascades, plates, sharp projections, and trapezoidal angles – there are many perspectives, and the architect noticeably strives to increase the number of slender, thin, vertical or upward-thinning elements. Everything clearly serves two purposes: to “package” the necessary volume as lean as possible and to reveal as much light, air, and perspectives as possible, making the passage inside and around the complex interesting and changeable.

It’s interesting that the intersection of the two grids, orthogonal and diagonal, mentioned earlier, receives volumetric treatment as well. This is particularly noticeable in the lower terraces filling the corners of the towers: they seem to align with the diagonal planes existing in space simultaneously with the diagonal lines on the plans.

According to Stepan Liphart, the lower terraces are intended to enhance the “urban” component of the space between the towers. People will walk below, and some of them will sit above – with such an “inhabited” podium, the towers become less of a “thing in itself”.

Cross section. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
Basic cross-section view. Section along the line of east-west. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects

All of this results in a complex stereometry of volumes reminiscent of parts of a puzzle from the 1980s, the kind that took quite some time to figure out. In Moscow nowadays, towers are often designed as nearly square or rectangular, and in the neighboring residential complex, we see the previous trend of rounded towers. Responding to both chronological and local contexts, Stepan Liphart’s towers stand out as unique. They are different, and they are proud of it, adding diversity to the city skyline.

The plans, thanks to the combination of grids, resemble a stylized bouquet or perhaps a profile with a nose facing east. Their merit lies in cutting out a large angle in the southeast part of the hypothetical rectangle, which makes the building look almost like an open book turned toward the sun, helping to illuminate most of the terraces and achieve a sufficiently large surface of well-lit facades.

Building 2.1. Plan of the second and typical (6-13th) floors. Basic apartment layout. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
Building 2.1. Plan of typical (14-19th) floor. plan of 20-22nd floor. Basic apartment layout. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects

The western facades are not only made more sophisticated by the terraces but also by a zigzag pattern of triangular bays at the top. Starting with projections at the bottom, these bays create a “folded” appearance, capturing a bit more light and adding complexity to the wall.

At the same time, it’s easy to notice that the three towers – the ones arranged diagonally in a row – are identical, differing only in color, which, amidst the complex design, contributes to a rhythmic unity.

In the mid-rise sectional buildings in the eastern part, things are a bit more intricate. Their contours are also drawn based on two grids, and they feature numerous terraces and balconies, including corner stepped ones, which are one of the main highlights of the project.

Here, Stepan Liphart, in collaboration with his colleague Ekaterina Zotova, introduces plans with “waists”, narrowing sections that allow for a more rational and compact organization of layouts for corner apartments with two facades – this design avoids unnecessary thickness in the building’s structure. In the areas of stair-and-elevator lobbies and one-sided apartments, the structure is thicker, while in places with two-sided apartments, it is thinner.

1 / 5

Building 2.2. Plan of the 7th floor. Principle cutting of apartments. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
2 / 5

Building 2.3. Plan of the 7th floor. Basic apartment layout. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
3 / 5

Building 2.2. Plan of typical (3rd) floor. Basic apartment layout. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
4 / 5

Building 2.3 and 2.4. Plan of typical (2-4th) floor. Basic apartment layout. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
5 / 5

Schematic diagram of the 1st floor of the eastern site development. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects

This approach not only addresses structural concerns but also accomplishes another goal – it visually separates the elongated volume, accentuates its diversity without resorting to overly colorful elements. Moreover, thanks to the terraces and open balconies, the facades acquire deep shadowing, creating an impression as if they are “eaten away” by the openings.

The green color of the facades might surprise you at first, as we are accustomed to associating Art Deco with a light beige shade of plaster or ceramics. However, it fits into the context of buildings with metallic facades, such as the Columbia building mentioned by Stepan Liphart, and it doesn’t contradict the comparison with green glazed tiles and majolica. So, while the solution might have been surprising at first, one eventually gets used to this green color, especially since it is planned to be more olive and multitone, and in combination with ivory white (one of the towers is indeed white_.

This “immersion in green”, which can sometimes feel too sharp for the city of Kazan, seems rather refreshing in this case. In any event, the design cannot be labeled as conventional.

When it comes to details, despite the mention of “schematic” Art Deco in this case, there are quite a few intricate elements. Rustication, recessed blades, relief strips in the inter-floor panels, thin bars between paired and built openings, and the gradual increase in openings upwards, along with sharpened pylons at the very top. Notably, the faceted line of the podium’s parapets follows the same diagonal-orthogonal scheme as the plan. There are also two-faced projections. It’s safe to say that the sum of Art Deco decorations here is very recognizable – placed, however, in a context not typically associated with this style, which adds to its uniqueness.

We are accustomed to associating Art Deco primarily with designs popular in high-end residential developments in city’s historic centers or at least prestigious neighborhoods. Here, however, is a distant location with not the most premium surroundings. While there are marketing advantages – 500 meters to the lake, a kilometer to two parks, and a shopping center nearby – they do not negate the contrasting characteristics of the nearby environment. Consequently, the project aims to “pull” the surroundings through itself, giving them new qualities both in terms of urban and sculptural aspects. Many speak about this nowadays, but here it is particularly noticeable how a rich and meaningful environment is formed through perspectives, acute angles, triangular clusters of terraces, and turns – not just in terms of landscaping, as is often the case but as a whole, encompassing volumes, proportions, and prospective structures.

I would like to specifically stress that currently, there are many non-standardized, non-typical, but noticeably templated solutions for residential complexes. They often involve repeatable techniques, which, while often of good quality, become quite repetitive. In this context, this specific solution is 100% non-template. Besides introducing a passion for Art Deco into a not entirely characteristic typology for it, this solution doesn’t resemble the generally accepted variations of this style today. Perhaps, due to the author’s deep immersion in the context of the Art Deco movement, what emerges is something different from what we are accustomed to calling Art Deco, at least in the real estate sphere. It’s a bold decision by many standards.

***
As is often the case, bold decisions and complex tasks face a challenging fate, and changes in the process of implementation, often towards simplification, haunt such projects. Here, the idea of an artificial reservoir and a passable gallery along the eastern courtyard had to be abandoned. In addition, general negative trends in the market forced the client to review the previously issued brief at the final stage, increasing the target area by 25% (!). The project had to be changed within a month (as it happens), so a radical redesign was impossible. Although the main decisions remained the same, the authors had to go the familiar route: seven-story buildings grew to eight, floors, including the first ones, reduced in height, and volumes – something architects particularly dislike – increased in width. Consequently, some perspectives became somewhat less elegant than planned.

Adjusted version. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects
Adjusted version. Residential Complex on Orenburgsky Tract, Kazan. Architectural concept

Copyright: © Liphart Architects

Therefore, we are discussing the initial concept to assess the intention and plan to observe the progress of the implementation.

29 November 2023

Written by:
Julia Tarabarina
Translated by:
Anton Mizonov

Headlines now

Inverted Fortress

This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.

The Paradox of the Temporary

The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.

The Forum of Time

The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.

Mirrors Everywhere

The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.

Report

The Steppe Is Full of Beauty and Freedom

The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.

The Snowstorm Fish

The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.

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.

Object

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.

Object

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.

Object

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.

Object

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

Object

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.

Object

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.

Object

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”.

Overview

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”.

Object

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.

send.project

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.

send.project

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.

Object

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.

Object

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.

send.project

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.

Object

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.

send.project

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.

Object

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.

send.project

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.

Object

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.

Object

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.

send.project

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.

send.project

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.