По-русски

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.

05 December 2023
Object
mainImg
Tolmachevo Airport’s new terminal opened in February 2023 to become, without exaggeration, one of the most important architectural events of the year. Currently, it is collecting industry awards – for example, it was honored by the Golden Capitel – as well as numerous posts in social networks. I have not seen a person who, after flying here and entering the terminal, would not stop to take a photo. The terminal both produces a wow-effect and looks quite original in the context of modern trends.

Interestingly, both for the head of the architects’ team, Chief Architect of Moscow Sergey Kuznetsov, and for the authors of the architectural solution – Sergey Tchoban and Igor Chlenov – Tolmachevo is the first implemented airport project, although air terminals have appeared in SPEECH’s portfolio before, which makes the result all the more exciting. First things first, however.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


The current terminal should become the beginning of the reconstruction of the international airport in Novosibirsk, it is a kind of “first portent”. It is planned to rebuild all the existing buildings in the future. Until the reconstruction is completed, the new Terminal C will work for domestic airlines, while the neighboring Terminal B to the east will continue to function as an international terminal.

Terminal C is located on a new site; it “stepped forward” on the square in front of the existing airport complex, taking on the role of the front facade of Tolmachevo.

  • zooming
    The master plan. The volumes of the new Terminal C are marked in orange. Tolmachevo Airport, Terminal C
    Copyright: © SPEECH
  • zooming
    Plan of the new structures. Tolmachevo Airport, Terminal C
    Copyright: © SPEECH


There are such projects that are usually represented by numbers; they are usually very noticeable, with a prefix of “mega-“, and Tolmachevo Airport is definitely one of them. The height of the columns is about 30 meters, the diameter of their trunk is 5 m; the diameter of the glass domes is 32 m. The height of the ceiling truss is 1.5 meters. The canopy overhang is 11 meters.

  • zooming
    The canopy, section view. Tolmachevo Airport, Terminal C
    Copyright: © SPEECH
  • zooming
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


The specifics of the architectural solution, as we know, are affected by scale and size, but not always directly. In this case, the luminous umbrella columns as tall as a nine-story building certainly make an impression.

The columns make an impression when they glow from within through a stained glass window – a giant display case deliberately devoid of additional illumination – like some kind of energy rods.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


And they make an impression when the backlighting is off and the columns “bathe” in daylight, abundantly let in by the glass walls on three sides and the domes above.

The columns are amazing: their sheer scale, their “striped” structure, and their position in the space – they seem to occupy the whole of it, but they do not clutter it at all. They are both a part of the building and at the same time an exhibit – a glass cover with an openwork, deliberately thin cable-stayed structure was built for them – in order to show them, which seems quite justified.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


Another issue related to the first one has to do with the proportions of the glass “casing”. The length of the glass case is 300 m, width 60 m with the canopy and about 40 m without it. That is, the proportions of the plan inside are practically 1 x 7.5, the front volume being very long.

As for airport terminal buildings in general, they can be almost square or, on the contrary, elongated. The latter is explained by the fact that a long building allows more airplanes to be docked to it. If we look at the plan of St. Petersburg’s Pulkovo, we can see that Grimshaw’s terminal is square, while Alexander Zhuk’s Pulkovo-1 terminal, on the other hand, is long, with not just four but five domes. This is important in this context, because Sergey Tchoban calls Pulkovo-1 the prototype of the Tolmachevo terminal and speaks of intentional parallels with the architecture of “classical” modernism.

Sergey Tchoban

It is now common to design airports with fluid, non-linear forms – it is one of the most expensive, but at the same time quite simple and sure-fire ways to achieve a WOW-effect. However, Novosibirsk is a modernist city, largely developed after the Second World War. We remembered Akademgorodok; and also the very first terminal of the 1960s, designed and built in Tolmachevo by Anatoly Volovik. And we decided to follow the path of restrained architecture, regular and rational, appealing to modernist examples, even though this did not exclude a spectacular gesture, which, in my opinion, were our columns.
 
For me personally, the key prototype was St. Petersburg’s Pulkovo-1 terminal with its skylights. There, the columns support the roofs at the zeniths of the skylights, and then the roof is suspended from them.
 
In our case, the design is somewhat different: the columns take on part of the weight of the ceiling trusses, and they share the load with the supports on the outer contour. At the same time, they have a constructive meaning and participate in the distribution of bearing forces inside the building. This was important to us.


  • zooming
    Pulkovo-1 airport, interior, 1978.
    Pulkovo-1 airport, interior, 1978. Copyright: Zodchestvo (Soviet Architecture). Collection of the Union of Architects of the USSR. vol. 2 (21). 1978 /
  • zooming
    Pulkovo-1 Airport, plans and section views
    Copyright: E.B. Novikova "Interior of Public Buildings (Artistic Problems)". M. Stroyizdat, 1984 /


The explanation given here immediately makes the exploration of the prototypes of the airport a fascinating thing to do.

Let’s start with the history of Tolmachevo. The first airport was designed by Novosibgrazhdanproekt back in 1963 as an elongated “beam” building with a square entrance volume of the departure lounge, a stained glass window, and a canopy frame. Here you can see both the project and old photos, and here is the most informative view from above. By 2015, the building was replaced by a new domestic terminal, then it was connected to the glass prisms of the neighboring international terminal, built to the east of it in 1997. The result is a very long and slightly “wiggling” facade, designed in a generalized style, somewhat pretentious and not matching the quality of materials.

In addition to Pulkovo, SPEECH architects cite the example of the House of Scientists in Akademgorodok (1966). However, the format of the new terminal’s glazing can also be compared to another building by Anatoly Volovik in Novosibirsk – the Scientific and Technical Library of the Russian Academy of Sciences (thanks to Marina Ignatushko for the tip).

In Tolmachevo, of course, the glazing is of higher quality: structural, Jumbo, 6 x 3 meters, and with thin vertical slats. However, the image of vertical frames with diagonal alternation and at the same time with slopes, are very much resonant with one another. Quote recognized.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


Project of the passenger hall of Pulkovo-Leningrad airport. Interior. Perspective. Variant. Architects Verbitsky J.N., Zhuk A.V., Vlanin G.M. 1967. USSR. Leningrad. GMI SPb
Copyright: Photographed at the exhibition Architekton 2023


The connection to the main prototype – Pulkovo-1 – is even more intriguing. The Leningrad terminal of 1973 is essentially a long parallelepiped with light skylights supported by columns.

And so, at the recent “Arkhitekton” in St. Petersburg, at an exhibition devoted to Leningrad modernism, an unrealized version of the project caught my eye, where the columns of Pulkovo-1, now rather soaring up into the sky in a somewhat orphaned manner, were drawn mushroom-shaped.

Pulkovo-1 Airport. View on the roof during construction
Copyright: citywalls.ru / загружено ИБН


What is more interesting, however, is that when I asked Sergey Tchoban whether this variant was the inspiration for Tolmachevo, he told me that he did not know about it, and that the first time he ever saw this picture was in the exhibition reports. So the synergy between the project and its prototype, at some immanent level, is even stronger, perhaps, than the author himself could have possibly known? We began to check the projects for similarities, and even little-known variants somehow “fell in line”.

But then again, if you look at the succession of skylights of Pulkovo-1 and at the Tolmachevo hall space as a whole, with your eyes half-closed, they do begin to look similar. The skylights seem to have been brought to some orthogonal projection and merged into one parallelepiped, but the meaning remains: transparent walls, light, supports, umbrellas.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


It’s not about repetition or quoting, of course, but about being deliberately in line with a certain context.

Mushroom columns are popular in 20th century architecture, and, interestingly, they were used even before modernism: the form dates back to the Neo-Gothic craze that gave the world the fan vault, where the supports merge seamlessly with the ceiling – and at the same time, its development is based on experiments with reinforced concrete technology that only became available a hundred or more years ago. Since then, mushroom-shaped columns, which allow you to free up space and give the ceiling a spectacular plasticity, would be seen here and there. Not to go too far, we can remember yet another project by Sergey Tchoban – the EDGE office building in Berlin, where different-sized wooden “mushrooms”, also plate-like, support the staircases in the atrium space. In that building, by the way, both the shape and the abundance of daylight play a big role, just like they do in Tolmachevo. Airports with similar ideas are also known – for example, in the 2nd terminal of Chhatrapati airport in Mumbai, built according to the SOM project in 2014, mushroom-shaped columns are used, yet of the flexible, mesh-like type. There is no point in talking about borrowings here – rather, we are dealing with a set of ways of organizing large space, common and still perfected in the XX-XXI centuries. In Tolmachevo, the SPEECH architects proposed a version of their own.

Meanwhile, the allusions are not the main thing – they simply add flavor by binding the building with strings of local and other meanings.

And the main thing here, besides brevity, is the abundance of light.

The artificial light of the columns in space is rather akin to some phenomenon of atomic physics, whose dynamics is connected not with the movement accessible to the eye, but with the internal tension of the fields –Akademgorodok, which is located nearby, definitely made its presence known, however indirectly.



And there is plenty of natural light too. A large stained glass window in a modern terminal building is rather a norm, but here we can see it not on just one, but on three sides, and the columns visually “open up” the ceiling, pushing its opaque surface open, revealing the sky in domes. The umbrellas can be compared to the fingers of a hand – only there are a lot of them and they are thin and symmetrical.

  • zooming
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


In addition, it is important that the building is technologically advanced. The surfaces of the domes, made up of triangles of different formats, and the thin cables of the main stained-glass walls were developed by the company Nesushchie Sistemy (“Bearing Systems”), founded in Novosibirsk and known for having built the first building with non-linear glass facades in the Russian Federation already in 2011, and also for having built the “glass tree bark” of the hall in Zaryadye.

Other technically advanced solutions include the canopy with a large overhang, the ceiling truss, the load distribution between the main “tree” columns and the additional supports that were needed along the glass facades. But there are not many of them, they are tall and thin and not very visible.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


Meanwhile, there are no “Guinness Book records” here – it’s more about the fact that everything is done at a good level of modern construction: the stretches are thin, the seams of the metal cladding of the portals and the canopy are also thin, they don’t catch the eye, and the steel cassettes themselves are covered with matting varnish so that they shine not too much, but moderately. A certain gentleman’s set of quality, maybe a gloss, not supernatural, but, let’s say, “Metropolitan”. I cannot resist the temptation to say: the way it is supposed to be in the capital of Siberia. After all, after the reconstruction is completed, Tolmachevo will indeed become the largest regional airport.

  • zooming
    1 / 6
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Mikhail Abramychev / provided by the press service of Moskomarhitektura
  • zooming
    2 / 6
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    3 / 6
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    4 / 6
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    5 / 6
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH
  • zooming
    6 / 6
    Tolmachevo Airport, Terminal C
    Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


If the entrance hall is dominated by white color and light – there is an inversion inside. The screening and baggage claim space, as usual, is somewhat simpler and black is either more abundant in it, or it divides the powers with white roughly in half.

Visual “bridges” with the main hall are also provided: round thin fusts of columns remind of supports on the contour, and “daisies” of the lamps embedded in the ceiling unambiguously look like “younger brothers” of the mushroom- shaped columns.

Tolmachevo Airport, Terminal C
Copyright: Photograph © Dmitry Chebanenko / provided by SPEECH


However, the most interesting and informative view is from the outside, i.e. from the square. It defines the building’s place in the complex.

It is from here that the whole driving idea can be best appreciated: the luminous “trees”, a kind of Telperions in a casing of transparent and metallic planes. Retrofuturism at its finest: full of meanings, but modern, and WOW-laconic.

It is, in fact, not at all an easy task to make a building both as simple as do-re-mi, and addictively exciting.



Now, wait a minute! Isn’t this a portico?

A giant glowing portico encased in a sheath! Or, perhaps, a stoa, a public gallery from Ancient Greece! It comes forward, forms a representative facade of the airport, declares its ambitions calmly and confidently, marks the entrance not without Hellenistic pathos, as if telling us: I am in charge here, I have been here, in a sense, always. Like the Library of Celsus – whether there is a library or not, the façade is beautiful.

How did it happen? Initially, we were after the simplicity of modernism, but we ended up with a key element of classical architecture?

Well, yes, but not quite. First of all, functionally, the airport entrance hall is a public space for those entering the airport, and it has long since become a place of representation, designed to welcome and impress anyone, to present the airport in all its glory. The portico has the same role, and the row of columns, into which the entrance space has been transformed here, declares this with great magnitude. We are definitely entering somewhere, ready to be transported from Point A to Point B, and the space unequivocally tells us so. Not everyone may understand this but it doesn’t matter; I don’t think everyone understood the meaning of the Library of Celsus either.

Secondly, already in the 1970s, modernism began to search for points of contact with cultural history in the broadest sense, and the main condition of the search was the non-obviousness of the probable quotation, its translation to the level of innuendo. In Tolmachevo, I think we are witnessing a quite successful attempt to return to the same search, as the technology makes its giant leaps.

Which makes the project a really good work with scale and meaning: because when we look closely we see and feel one thing, but when we go outside we see another. However, the most important statement – the almost perfect image of a large airport, the “portico-portal” – is read from afar. It is only then that one realizes that it is about a new beginning.

05 December 2023

Headlines now
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.
Urban Dunes
The XSA Ramps team designed and built a three-part sports hub for a park in Rostov-on-Don, welcoming people of all ages and fitness levels. The skate plaza, pump track, and playground are all meticulously crafted with details that attract a diverse range of visitors. The technical execution of the shapes and slopes transforms this space into a kind of sculptural composition.
Proportional Growth
The project for the fourth phase of the ÁLIA residential area has been announced. The buildings are situated on an elongated plot – almost a “ray” that shoots out from the center of the area towards the river. Their layout reflects both a response to Moscow’s architectural preferences over the past 15 years, shifting “from blocks to towers”, and an interpretation of the neighboring business park designed by SOM. Additionally, the best apartments here are not located at the very top but closer to the middle, forming a glowing “waistline”.
The “Staircase” Building
In designing the “Details” residential complex in New Moscow, Rais Baishev spiced up the now-popular Moscow theme of a “courtyard” building with an idea drawn from the surrealist drawings by Maurits Escher. He envisioned the stepped silhouettes and descending slopes as a metaphysical mega-staircase, creating a key void within the courtyard that gave the project an internal “spine”. This concept is felt both in the building’s silhouette and on its façades.
Projection of the Quarter
No one doubted that the building that Vladimir Plotkin designed as part of the “Garden Quarters” would be the most modernist of all. And it turned out just that way: while adhering to the common design code, the building successfully combines brick and white stone, rhythmically responding to the neighboring building designed by Ostozhenka, yet tactfully and persistently making a few statements of its own. This includes the projection of the ideal urban development composition “14–9–6”, which can be found right next door, mathematical calculations, including those for various types of terraces (and perhaps the only reminder of the Soviet past of the Kauchuk rubber factory!), and the white “cross-stitch” pattern of the façade grid.
Domus Aurea
In this issue, we examine the “Tessinsky-1” house, designed by Sergey Skuratov and completed in 2023. Located in the middle of the Serebryanicheskaya Embankment district, at the intersection of its main streets, this house assumes a sort of “nodal” role: it not only responds to everything around it and preserves many memories of the former EMA factory within itself, but it weaves all this into a newly directed pattern, reconciling bright “gold” and dark-colored brick, largely with the help of the new, modern-yet-archaic Columba brick, which, come to think about it, is the most precious element here.
The Chimney of Nikola-Lenivets
In this issue, we are examining the “Obelisk House” designed by KATARSIS and built for the Arkhstoyanie 2023 festival. However, it was only finished later on, and this is why we are examining it now. It seems to us that after the “Obelisk House” appeared in Nikola-Lenivets, a dialogue and a few inner connections appeared between the temporary structures built here. These houses no longer look like “accidental neighbors”, more of which below.
​Periscope by the Bay
The jury awarded the second place in the competition for a public and cultural center in Petropavlovsk-Kamchatsky to the companies GORA (“Mountain”) and M4. In the consortium’s proposal, the building resembles a sperm whale with a calf swimming next to it or a periscope, whose lenses capture the most spectacular views from the surrounding landscape.
From Arcs to Dolmens
While working on the competition project for Petropavlovsk-Kamchatsky, ASADOV Architects prioritized the value of the natural and urban environment, aiming to preserve the balance of the location while minimizing the resemblance of the volume that they designed to a “traditional building”. The task was challenging, and the architects created three versions, one of which having been developed after the competition, where their main proposal took third place. However, the point of interest here is not the competition result but the continuity of creative thinking.
Hide and Seek
The ID Moskovskiy house, designed by Stepan Liphart in St. Petersburg, in the courtyards near Moskovskiy Avenue beyond the Obvodny Canal and recently completed, is notable for several reasons. Firstly, it has been realized with considerable accuracy, which is particularly significant as this is the first building where the architect was responsible not only for the facades but also for the layouts, allowing for better integration between the two. On the other hand, this building is interesting as an example of the “germination” of new architecture in the city: it draws on the best examples from the neighborhood and becomes an improved and developed sum of ideas found by the architect in the surrounding context.
The Big Twelve
Yesterday, the winners of the Moscow Mayor’s Architecture Award were announced and honored. Let’s take a look at what was awarded and, in some cases, even critique this esteemed award. After all, there is always room for improvement, right?
Above the Golden Horn
The residential complex “Philosophy” designed by T+T architects in Vladivostok, is one of the new projects in the “Golubinaya Pad” area, changing its development philosophy (pun intended) from single houses to a comprehensive approach. The buildings are organized along public streets, varying in height and format, with one house even executed in gallery typology, featuring a cantilever leaning on an art object.
Nuanced Alternative
How can you rhyme a square and space? Easily! But to do so, you need to rhyme everything you can possibly think of: weave everything together, like in a tensegrity structure, and find your own optics too. The new exhibition at GES-2 does just that, offering its visitor a new perspective on the history of art spanning 150 years, infused with the hope for endless multiplicity of worlds and art histories. Read on to see how this is achieved and how the exhibition design by Evgeny Ace contributes to it.
Blinds for Ice
An ice arena has been constructed in Domodedovo based on a project by Yuri Vissarionov Architects. To prevent the long façade, a technical requirement for winter sports facilities, from appearing monotonous, the architects proposed the use of suspended structures with multidirectional slats. This design protects the ice from direct sunlight while giving the wall texture and detail.
Frozen Magma
A competition for the creation of a public and cultural center was held in Petropavlovsk-Kamchatsky. Three architectural companies made it to the final, and we consider it important to share about the work of each. Let’s start with the winner – the consortium led by Wowhaus.
Campus within a Day
In this article, we talk about what the participants of Genplan Institute of Moscow’s hackathon were doing at the MosComArchitecture booth at the “ArchMoscow” exhibition. We also discuss who won the prize and why, and what can be done with the territory of a small university on the outskirts of Moscow.