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Crystal is Watching You

Right now, Museum Night has kicked off at the Museum of Architecture, featuring a fresh new addition – the “Crystal of Perception”, an installation by Sergey Kuznetsov, Ivan Grekov, and the KROST company, set up in the courtyard. It shimmers with light, it sings, it reacts to the approach of people, and who knows what else it can do.

18 May 2024
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In the courtyard of the Museum of Architecture, a new installation has been unveiled. Its creators, Sergey Kuznetsov and Ivan Grekov – co-author with the chief architect of Moscow on the Lomonosov cluster building – realized this project with the help of the KROST company, which also built Kuznetsov’s “Russian Ideal House” in Nikola-Lenivets.

Here’s how the installation came to be. Sergey Kuznetsov visited the “Falconnier. Architecture of Light” exhibition and was inspired – he decided to create an art object from octagonal glass pieces salvaged by museum staff during the renovation of the State Archive building on Bolshaya Pirogovskaya Street. This event sparked the history of the exhibition, the catalog, and even the project to revive the technology of Falconnier glass bricks by the St. Petersburg company NWGlass.lab. The octagonal glass pieces, which were common in Russia, were partly preserved by the museum, while the rest were simply stored, with no clear plan for their use. A year ago, a small installation using these glass pieces was created at the exhibition, displayed on the vault on the second floor of the Ruin Wing.

Here’s the exhibition installation, and to the right, a frame from a video showing workers smashing the bricks with hammers:

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    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia Tarabarina / Archi.ru
  • zooming
    "Falconnier. Architecture of Light" exhibition. Museum of Architecture, the “Ruin” wing, 07.04.2023 – 20.08.2023
    Copyright: Photograph © Julia Tarabarina / Archi.ru


Now, Kuznetsov’s installation includes 348 glass bricks, according to the press release. They are set into a stainless steel grid patterned after the original octagons. The grid forms a simple parallelepiped, which by day looks like a stele with a dense, yet delicate pattern, hiding something mysteriously glowing inside. At night, it’s clear that the glass bricks form a proportionally enlarged octagon repeating their shape.

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    “Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
    Copyright: Photograph © Julia Tarabarina / Archi.ru
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    Night view. “Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
    Copyright: Photograph © Рustam Shagimordanov / provided by MosComArchitectura


The installation is highly media-oriented: the lights shift in various modes, music plays, and there’s even a camera installed, which is expected to respond to people approaching. In short, it’s packed with features – it just doesn’t tell time.



“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Рustam Shagimordanov / provided by MosComArchitectura


“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Рustam Shagimordanov / provided by MosComArchitectura


“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Рustam Shagimordanov / provided by MosComArchitectura


“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Рustam Shagimordanov / provided by MosComArchitectura


At the opening, Sergey Kuznetsov focused on the name of the installation, a quote from the cult Soviet film “Kin-dza-dza”. There’s a moment in the film where this “Crystal of Perception” is sought, which turns out to be a glass crystal that the Violinist accidentally put (well, stole actually) in his pocket.

Here is the moment from the movie:



According to the Chief architect of Moscow, the artifact is almost never shown in the film, but if director Danelia were alive, he might have envisioned it just like this.

  • zooming
    “Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
    Copyright: Photograph © Julia Tarabarina / Archi.ru
  • zooming
    “Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
    Copyright: Photograph © Julia Tarabarina / Archi.ru


This statement can be both agreed with and debated. On one hand, the rich technological content of the resulting object matches the plot, but on the other hand, the Crystal now standing in the museum courtyard would be quite difficult to put in your pocket.

So, we can’t say, as in the colorful movie excerpt, “Violinist, put the crystal back!” – the installation rightfully occupies the center of the space, and is highly visible and audible. If we compare it to the notorious Crystal of Perception, one might think that this object resembles a sort of “reactor”, designed – I won’t say “once again” – to reboot the museum, breathe new life into it... Well, let it be so!

Overall, there’s a sense that the Falconnier exhibition, along with the story of rescuing and reviving the glass bricks, has become a kind of keystone for the museum, much like the crystal – it’s constantly being revisited in thought.

“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Julia Tarabarina / Archi.ru


Additionally, at the opening of the installation, Sergey Kuznetsov mentioned that he had invited a small circle of his closest friends, and then jokingly remarked that those who didn’t come fell into another circle...

“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Julia Tarabarina / Archi.ru


In this light, the newly installed Crystal takes on a new perspective, appearing more like a large faceted eye. And who really knows what other technologies are embedded in it? It might just respond to the approach of a person, or maybe something else entirely?

“Crystal of Perception” art object in the yard of the Architecture Museum. Author: Sergey Kuznetsov, co-author: Ivan Grekov, KROST production, 2024
Copyright: Photograph © Julia Tarabarina / Archi.ru


18 May 2024

Headlines now
​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.
Marina Yegorova: “We think in terms of hectares, not square meters”
The career path of architect Marina Yegorova is quite impressive: MARHI, SPEECH, MosComArchitectura, the Genplan Institute of Moscow, and then her own architectural company. Its name Empate, which refers to the words “to draw” in Portuguese and “to empathize” in English, should not be misleading with its softness, as the firm freely works on different scales, including Integrated Territorial Development projects. We talked with Marina about various topics: urban planning experience, female leadership style, and even the love of architects for yachting.
Andrey Chuikov: “Optimum balance is achieved through economics”
The Yekaterinburg-based architectural company CNTR is in its mature stage: crystallization of principles, systematization, and standardization helped it make a qualitative leap, enhance competencies, and secure large contracts without sacrificing the aesthetic component. The head of the company, Andrey Chuikov, told us about building a business model and the bonuses that additional education in financial management provides for an architect.
The Fulcrum
Ostozhenka Architects have designed two astonishing towers practically on the edge of a slope above the Oka River in Nizhny Novgorod. These towers stand on 10-meter-tall weathered steel “legs”, with each floor offering panoramic views of the river and the city; all public spaces, including corridors, receive plenty of natural light. Here, we see a multitude of solutions that are unconventional for the residential routine of our day and age. Meanwhile, although these towers hark back to the typological explorations of the seventies, they are completely reinvented in a contemporary key. We admire Veren Group as the client – this is exactly how a “unique product” should be made – and we tell you exactly how our towers are arranged.
Crystal is Watching You
Right now, Museum Night has kicked off at the Museum of Architecture, featuring a fresh new addition – the “Crystal of Perception”, an installation by Sergey Kuznetsov, Ivan Grekov, and the KROST company, set up in the courtyard. It shimmers with light, it sings, it reacts to the approach of people, and who knows what else it can do.
The Secret Briton
The house is called “Little France”. Its composition follows the classical St. Petersburg style, with a palace-like courtyard. The decor is on the brink of Egyptian lotuses, neo-Greek acroteria, and classic 1930s “gears”; the recessed piers are Gothic, while the silhouette of the central part of the house is British. It’s quite interesting to examine all these details, attempting to understand which architectural direction they belong to. At the same time, however, the house fits like a glove in the context of the 20th line of St. Petersburg’s Vasilievsky Island; its elongated wings hold up the façade quite well.
The Wrap-Up
The competition project proposed by Treivas for the first 2021 competition for the Russian pavilion at EXPO 2025 concludes our series of publications on pavilion projects that will not be implemented. This particular proposal stands out for its detailed explanations and the idea of ecological responsibility: both the facades and the exhibition inside were intended to utilize recycled materials.
Birds and Streams
For the competition to design the Omsk airport, DNK ag formed a consortium, inviting VOX architects and Sila Sveta. Their project focuses on intersections, journeys, and flights – both of people and birds – as Omsk is known as a “transfer point” for bird migrations. The educational component is also carefully considered, and the building itself is filled with light, which seems to deconstruct the copper circle of the central entrance portal, spreading it into fantastic hyper-spatial “slices”.