По-русски

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.

23 April 2024
mainImg



The Russian pavilion designed by Wowhaus was submitted for the second competition, whose brief assumed that the main theme of the pavilion would be Time. Some participants approached this theme with a reserve, while others made it the main subject of either the exposition or the architecture of the pavilion itself. Wowhaus, however, interpreted the “time” theme paradoxically, perhaps even ironically, naming their project “The Most Temporary Pavilion”. Not “Time” or “Timely”, but specifically “Temporary”. Short-term. Passing. Fleeting.

Hereby arises a paradox linked not so much to the interpretation of the competition brief but to the specifics of world expos in general. On one hand, a typical EXPO lasts for several months and is designed so that the majority, if not all, of its constructions will eventually be dismantled. The exhibition is grand but temporary by definition. On the other hand, in recent decades, there has been an increasing call to preserve and utilize EXPO buildings, combining an ecological narrative with a certain degree of pride: the decision to preserve one pavilion or another becomes a reward and recognition of its qualities, including architectural ones. For example, in Dubai, much has been preserved, and the central part of the 2020 exhibition has been turned into an office center with commercial (sic!) housing, which, however, led to the “developer” image of the entire central part of the 2020 exhibition.

Thus, according to the Wowhaus proposal, the project of the Russian pavilion raises the not-so-fashionable category of temporality “on a pedestal”. But then again, perhaps not so unfashionable – in modern life, reuse is highly valued.

The architects proposed to construct the pavilion from architectural fabric on a metal frame made of PVC membrane, ETFE film, and glass-reinforced plastic. All of these are modern materials, sturdy and lightweight, and they also allow – once again, with ease – the creation of flexible, curved, “inflated” forms, futuristic and atypical. Here, one recalls the previously mentioned Luxembourg Pavilion in Dubai 2020 designed by the Metaform– it too was made of architectural fabric with multiple floors inside. The Wowhaus pavilion follows the same trend – that is, it is simply temporary, but it’s hard to say why it’s “the most” temporary.

  • zooming
    “The Most Temporary Pavilion” at World Expo in Osaka
    Copyright: © WOWHAUS
  • zooming
    “The Most Temporary Pavilion” at World Expo in Osaka
    Copyright: © WOWHAUS


The pavilion’s shape is quite complex; it resembles an enlarged colony of some microfungi bred in an “aquarium” made of a metal frame that defines its contours a hundredfold. Some elements are larger, some smaller, some have blue “caps” made of, as stated in the project’s description, light-reflecting material. Looking at this weird conglomerate, you think that it could be anything: each volume could grow or lean in any direction, curl up or unfold its “collar” at the top.

Meanwhile, there is a certain logic in the arrangement of these volumes – the lower tier is solid, and in the upper tier, which actually dictates the grouping of volumes, halls of permanent and temporary exhibitions are divided into domes of various sizes.

The master plan. “The Most Temporary Pavilion” at World Expo in Osaka
Copyright: © WOWHAUS


“The Most Temporary Pavilion” at World Expo in Osaka. A section view
Copyright: © WOWHAUS


  • zooming
    Plan of the 2 floor. “The Most Temporary Pavilion” at World Expo in Osaka
    Copyright: © WOWHAUS
  • zooming
    Plan of the 1 floor. “The Most Temporary Pavilion” at World Expo in Osaka
    Copyright: © WOWHAUS


The route is laid out along a continuous line of one ramp: it spirals and unwinds, rising from one level to another.

The explosion diagram. “The Most Temporary Pavilion” at World Expo in Osaka
Copyright: © WOWHAUS


Upon entering, according to the description, the visitor enters a “hyper-transition point”. “Time transforms, stretches, and distorts, reflecting in the geometry of the external and internal space” the explanatory note says. And here we move from optional temporality to the realm of another narrative: the architects did not limit themselves to self-irony, and the form of the pavilion should be understood as an image of time – in a futuristic key, based on paradoxes, the visual representation of which we are accustomed to encountering in science fiction films.

What we are seeing here are a kind of bubbles of time, into which the visitors would be invited to enter through the “hyper-transition portal” and then wander through paradoxes, where – and here I am indulging into a fantasy, but the material is highly conducive to it – space could contract and expand, or droplets focusing from the domes, or other amazing properties of space would visualize paradoxes of time for the visitor.

The entrance area with a pool. “The Most Temporary Pavilion” at World Expo in Osaka
Copyright: © WOWHAUS


“All other places are very much not strange. There must be at least one very strange place” ©

The facades made of architectural membrane, according to the brief, were also planned to be of the “media” kind, but through projection mapping instead of LED backlighting. Two types of options are proposed: from paintings of the avant-garde period and from the ornaments of the Cathedral of the Intercession on the Moat, also known as Moscow’s St. Basil’s Cathedral.

  • zooming
    The main facade with mapping projections. “The Most Temporary Pavilion” at World Expo in Osaka
    Copyright: © WOWHAUS
  • zooming
    “The Most Temporary Pavilion” at World Expo in Osaka
    Copyright: © WOWHAUS


It never ceases to amaze me how different EXPO pavilions of various years echo each other: if we look at the main façade with ornamental mapping, then “The Most Temporary” (with adjustments for the bulging shapes and changing patterns, of course) may remind us of the Russian pavilion at the 2010 World Expo, designed by the TOTEMENT/PAPER architects. Remember the pavilion that boasted towers with ornaments? It is still there in Shanghai, and you can still see it.

But here in Japan, the volumes resemble porcelain cups; they are somehow noticeably Japanese despite the Russian ornaments. Because of the tilt in both directions, they seem to sway: either cups or heads of porcelain dolls, Chinese (well, Japanese, in this case) bobbleheads. In short, a certain Japanese note, which, I dare say, almost all of the contestants sought to bring into their projects of EXPO pavilions, is felt here too.

The architects unfold the ideas of “The Most Temporary” pavilion into three component parts: the futurism of the 1920s, Krutikov’s Flying City, Malevich’s Aerograd; time as a category not defined by anything in physics (and here we learn that the Big Bang occurred 13.7 billion years ago); dematerialization or “emersion” – we’ll have to take note of the concept – as one of the trends in modern architecture and construction. Curiously enough, it’s easy to notice that all three declared themes have nothing in common with either the competition brief or the sub-themes of EXPO 2025. This is neither good nor bad – everyone creates as they can and want, what matters is the result – it’s curious, actually, that the same inputs receive different interpretations from different teams.

In short, time can evolve in any way and lead to anything. And how one wants to puncture it in some “secret” spot and find oneself in a better future.

23 April 2024

Headlines now
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.
Vertical Civilization
Genpro considered the development of the vertical city concept and made it the theme of their pavilion at the “ArchMoscow” exhibition.