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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.

24 June 2024
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The exhibition named “Square and Space: From Malevich to GES-2” which recently opened in the underground space of the “House of Culture” boasts a star-studded lineup. Francesco Bonami, a renowned contemporary art curator, publishes Flash Art magazine. In 2000, he curated the traveling contemporary art exhibition Manifesta in Ljubljana, and in 2003, he curated the 50th Venice Biennale of Contemporary Art, where the manifesto glorified “The Viewer’s Dictatorship”. In 2017, GES-2 published Francesco Bonami’s book “I Can Do That Too!” explaining “why contemporary art is still art”. As for Zelfira Tregulova, she was, until recently, the director of Moscow’s Tretyakov Gallery, into which she had brought a lot of contemporary art as well.

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    Zelfira Tregulova at the inauguration of the exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    Francesco Bonami at the inauguration of the exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


Now, Francesco Bonami and Zelfira Tregulova have come together to create an exhibition at GES-2, offering an intriguing angle on contemporary art and its history. As paradoxical as it may seem, contemporary art already has a significant history. It’s interesting to understand how much this history “weighs it down”, given that one of contemporary art’s key elements is novelty, a rejection of the old. How does one navigate this when your rejection of history has itself become a history over 110 years long? You need to respond to this contradiction in one way or another!

The curators respond brilliantly, in my opinion. They use excellent examples from a historical span ranging from the Peredvizhniki and Aivazovsky to an installation by Ilya and Emilia Kabakov, created specifically for the exhibition, to show that alternative histories of contemporary art – just like Max Fry’s alternative worlds – can be endless. By looking at the echoes of the “Black Square” from a slightly different angle, everything changes a bit; and there can be many such angles. The perspectives for creative reimagining of art history are fundamentally open.

This novelty lies specifically in the curators’ approach, and not in Francesco Bonami’s comparison of the “Black Square” to a QR code. This last innovation seems somewhat contrived to me.

The exhibition itself is excellent. The exhibits are of high quality, from good collections, and very diverse. There are even two codices, where the curators found “black squares done before Malevich” (sic!) as a lyrical digression: one from 1880 depicts a “battle of black men in a dark room”, and the other, an even earlier one, shows “darkness before the creation of the world”.

Creation of the world as a black rectangle. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
Copyright: Photograph © Julia Tarabarina, Archi.ru


According to the curators, the exhibition begins with the “Black Square” (not the original, but an authentic repetition by Malevich) and ends with a total installation by the Kabakovs. However, if we are to look from the chronological standpoint, the beginning of the exhibition is Aivazovsky’s “Black Sea” from 1881, which pairs Malevich at the entrance, along with several other 19th-century paintings. The ending is not another Kabakov installation but one by Vladimir Seleznyov, dated 2024.

Both the Kabakovs and Seleznyov are a highlight.

The Kabakovs’ installation named “Incident in the Museum, or Water Music” is a series of rooms from a “retrospective” of the entirely fictional artist Stepan Koshelev, a Cezannist/Social Realist, featuring milkmaids, dachas, skis, and a mock catalog signed by none other than Alpatov. The exhibition is convincingly executed, and the paintings are skillfully done “by all the canons of the genre.” However, the installation suggests that “something went wrong,” and on the opening day, the ceiling leaked, leaving the rooms filled with basins catching water from tubes installed under the ceiling, resembling sprinklers, but without nozzles. The main theme is thus the music created by the dripping water, though in reality, it is the embarrassment and awkwardness of the leak that take center stage. At this point, I couldn’t help but recall the opening of the Russian Pavilion at the 2008 Architecture Biennale. Even the walls in the first room are red, and the name Koshelev would ring a bell for anyone interested in contemporary architecture. There is one big “but”, though: the Kabakovs created this installation in 1992, long before any of these events were planned...

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    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


Vladimir Seleznyov’s installation is not as immersive as the Kabakovs’, but it can be equally interesting for those with an architectural mindset. It is titled “Metropolis. Traum(a)stadt”; the second word translates from German as “city of dreams” though for Russian and English speakers, it also resonates with the word “trauma”. This play on words is likely intentional, inviting contemplation on whether dreaming is inherently traumatic for the Russian psyche.

For all intents and purposes, this name was not chosen by accident – I could go on and on about whether it’s really traumatic for a Russian individual to dream, but I digress. The essence of the installation, placed in a dark room, is a city constructed from trash. When the lights come on, we see that it is unmistakably trash, but when the lights switch off according to a schedule, the objects marked with phosphorescent paint transform into a cityscape, resembling a somewhat zombified city with a greenish tint. The author’s view on the metropolis and its trashy allure is apparent (he doesn’t think much of a metropolis, to put it bluntly), yet the scene mesmerizes you precisely because this heap of trash strikingly resembles a real city.

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    Vladimir Semyonov. "Metropolis. Traum(a)stadt." Installation. 2024. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    Vladimir Semyonov. "Metropolis. Traum(a)stadt." Installation. 2024. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


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    Vladimir Semyonov. "Metropolis. Traum(a)stadt." Installation. 2024. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    Vladimir Semyonov. "Metropolis. Traum(a)stadt." Installation. 2024. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


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    Vladimir Semyonov. "Metropolis. Traum(a)stadt." Installation. 2024. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    Vladimir Semyonov. "Metropolis. Traum(a)stadt." Installation. 2024. Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


The exhibition develops chronologically from the old to the new, with well-known works and authors juxtaposed and even intermixed with those familiar solely to contemporary art specialists. Nonetheless, a determined visitor, who thoroughly explores the exhibition (going preferably a couple of times back and forth), will indeed feel acquainted with an alternative version of the last 150 years of contemporary art history, encompassing all of its key movements: realism, abstraction, optical art, tensegrity structures, photorealism, and total installations. It might even be possible to pass an exam on contemporary art after such a visit, despite the lack of obvious textbook examples –the “Black Square” being the only exception

So, the curators offer us a nuanced alternative history of contemporary art, based on “solid” items (not random by any means!) from good collections, including, of course, the V-A-C collection. They clearly suggest that this “revolution” has neither an end (since contemporary art continues developing) nor a beginning (since it is not so difficult to trace it back to 19th-century realist painting and old Latin codices – when they depict the world before the beginning of time or the battle of the negroes). We haven’t even mentioned the pre-classical alabasters yet... Nevertheless, one of the main emotions the exhibition evokes is this slightly new perspective, fundamentally open, indicating that there can be many angles, and the chronological “loose ends” aim at the absence of rigid boundaries.

All this was helped to be expressed by the architect Evgeny Ace with his exhibition design.

Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
Copyright: Photograph © Julia Tarabarina, Archi.ru


The fundamental openness of the curatorial statement in the space is visually represented by the plane of a stand visible through the glass separating the exhibition hall from the cloakroom, a kind of red (rather, terracotta!) wedge that suppresses (but not completely!) the otherwise white space of GES-2. This is supported by the fascias, most of which hang on the ends of the stands.

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    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


Inside, in the space of the hall, divided by the GES-2 supports into three naves, three other naves of a smaller size are inscribed, made of stands of several muted shades, connected at the top by flat strips – at an angle, like several linear hangings, with one “rope” intersecting above the other, looking very much like a housewife hangs laundry in the yard, although we now mostly see this mise-en-scène in movies.

The lines of the building’s metal supports, duplicated by drainage strips on the floor, run in one direction, while the lines of the stands are at an angle to them. The two structures intersect; two spatial grids overlap each other, as if visibly representing the idea of looking at contemporary art from a slightly different, though not perpendicular, angle.

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    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


But then again, the angle at which the lines of the stands are set is not arbitrary. The central promenade starts behind the Black Square, and the square is turned towards the entering person as the key exhibit. Thus, the axis of Malevich’s “Black Square” strings together 20th-century art.

The exhibition booths themselves are subjected to a certain modular width, standing with large gaps between them, so while the lines are marked, one can stroll along and across in various directions, providing a wide choice of sometimes unexpected perspectives. Thus, in the space of GES-2, “streets” and “squares” (sic!) are formed, which Francesco Bonami considers linguistically friendly to the “Black Square”. The layout turned out to be modernist, composed of individual plates, and not just modernist, but “late-modernist” from the 1980s, because the plates are not set at a daring 45° angle and not end-on to the red line, but rather hold their formation, albeit intermittently, like on Moscow’s Sergius Radonezh Street (formerly Tulinskaya until 1992).

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    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


The ends of the exhibition booths are not cut straight but slightly protrude, echoing the plaques of the fascias and the very first title “tail” of the exhibition, as if each stand is formed, like a sandwich, from two outer plates and a filler. A similar H-beam contour can be seen in the metal supports of GES-2, and they resonate with each other. I asked Evgeny Ace if this resemblance was intentional – no, he said, the stands have such a contour simply to lighten their construction. However, if it seems that way to the visitor, then so be it, reassured the author of the exhibition design. Well, I’ve got nothing against it either.

Nevertheless, the booths indeed look like overblown pillars, very akin to the original interior, as if a modified DNA had been grafted onto them, causing them to develop in a similar but slightly different way. A rather curious effect!

By the way, more about the city! Besides having a “city within a city” – that same “Metropolis” like a large model at an architectural exhibition, and a “show within a show” (the total installation by the Kabakovs), there is also a “little house inside GES-2” which seems to be becoming a tradition in this day and age.

Here, the little house is of approximately the same size: the exhibition includes an authorial repetition of the “Shed” designed by Meganon Architects. As the tour guide told us, in Nikola-Lenivets – where it was built in 2006 – this house was more of a lantern, while here it serves more to cast shadows in its interior, similar to the classic “shadow gaps”, so much loved by Renzo Piano.

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    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


I asked Evgeny Ace if he was the initiator of the authorial reproduction of the long-lost Shed – again, he said no. But it’s gratifying to see the object as an old acquaintance.

The free yet confidently directed construction of “streets” and “squares” in the exhibition is echoed by its internal orchestration. There are many narratives and even more shapes here, resonating with each other, creating dialogues, rhythmically paired, and sometimes even more complex. For example, at the beginning of the exhibition, we see several landscapes divided by the horizon into two halves, close to two strips of abstraction. One of them is Aivazovsky’s “Black Sea”, sky and water, a pair to the “Black Square” by name and minimal figuration, because the chaos of waves, so well captured by Aivazovsky, is minimally figurative. It should be noted that on the same exhibition booth “behind” Aivazovsky, there are two more landscapes divided similarly; the curators subtly play on the edge of abstraction and reality in 19th-century art, but what’s really interesting is that the same line (and this is visible from the entrance), further includes the work of Erik Bulatov, a lover of “Horizons” – the painting “Black Evening / White Snow” luxuriously interpreting both the perspective and the monochrome of the “Black Square” and the non-objective division into sky and earth. This is something that we can understand as “the separation of heaven from earth” or “darkness from light” as in the mentioned book of the Old Testament.

Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
Copyright: Photograph © Julia Tarabarina, Archi.ru


You enter, see this not-so-simple but obvious rhyme, and understand that there will be plenty of such things here. Just as the space is tied together by rows of showcases and lines of free passages, so do the exhibits resonate with each other, forming many threads, sometimes in subtle, and sometimes the most obvious way.

Take, for instance, the shadows from the kinetic objects of Kolaichuk and Francisco Infante on the floor next to the horizontal plane projection of the Qubbat as-Sakhrah shrine, which one cannot step on (marked by a pair of black strips). Nearby, there is another shrine, paper sacred vestments; and so on. Here, if you wander, look, and think, you can find a lot for yourself, much of it seemingly accidental, but not so accidental.

Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
Copyright: Photograph © Julia Tarabarina, Archi.ru


  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru
  • zooming
    Exhibition "Square and Space. From Malevich to GES-2". 20.06.2024 – 27.10.2024
    Copyright: Photograph © Julia Tarabarina, Archi.ru


Perhaps the high level of orchestration combined with a high level of freedom – both in space and selection – is what makes the exhibition truly magnificent; the selection of items is also important, but it is naturally expected from a good curator, while making them string together, making them “have a conversation” in space, sometimes even facing away from each other – that is something of great value.


24 June 2024

Headlines now
Daring Brilliance
In this article, we are exploring “New Vision”, the first school built in the past 25 years in Moscow’s Khamovniki. The building has three main features: it is designed in accordance with the universal principles of modern education, fostering learning through interaction and more; second, the façades combine structural molded glass and metallic glazed ceramics – expensive and technologically advanced materials. Third, this is the school of Garden Quarters, the latest addition to Moscow’s iconic Khamovniki district. Both a costly and, in its way, audacious acquisition, it carries a youthful boldness in its statement. Let’s explore how the school is designed and where the contrasts lie.
A Twist of the Core
A clever and concise sculptural solution – rotating each floor by N degrees – has created an ensemble of “dancing” towers: similar yet different, simple yet complex. The designers meticulously refined a single structural node and spent considerable effort on the column construction – after that, “everything else was easy”. The architects also rotated the core walls on each floor to maximize the efficiency of the office spaces.
The Sculpting of Spring Forest Matter
We’ve been observing this building for a couple of years now: seemingly simple, perhaps even unassuming, it fits in remarkably well with the micro-district context shaped by the Moscow MCD road junctions. This building sticks in the memory of everyone who drives along the highway, even occasionally. In our opinion, Sergey Nikeshkin, by blending popular architectural techniques and approaches of the 2010s, managed to turn a seemingly simple structure into a statement “on the theme of a house as such”. Let’s figure out how this happened.
Water and Wind Whet the Stone
The Arisha Terraces residential complex, designed by Asadov Architects, will be built in a district of Dubai dedicated to film and television production. To create shaded spaces and an intriguing silhouette, the architects opted for a funnel-shaped composition and nature-inspired forms of erosion and weathering. The roofs, podium, and underground spaces extend leisure opportunities within the boundaries of a man-made “oasis”.
Elevation 5642
The Genplan Institute of Moscow has developed a comprehensive development project for three ski resorts in the Caucasus, which have been designated as special economic zones of the tourism and recreation type. The first of these zones is Elbrus. The project includes the construction of new ski runs, cable cars, and hotels, as well as the modernization of stations and improvements to the Azau tourist meadow. To expand the audience and enhance year-round appeal, a network of eco-trails is also being developed. In this article, we provide a detailed breakdown of each stage.
The IT Town
Taking the example of the first completed phase of the “U” district, we examine how the new neighborhood in Innopolis will be organized. T+T Architects and HADAA formed a well-balanced and ingenious master plan with different types of housing, a green artery, a system of squares, and a park in the town’s central part.
The Heart Lies Within
The second-phase building of the Evgeny Primakov School already won multiple awards while still in the design stage. Now that it’s completed, some unfinished nuances remain – most notably, the exposed ceiling structures, which ideally should have been concealed. However, given the priority placed on the building’s volumetric composition, this does not seem critical. What matters more is the “Wow!” effect created by the space itself.
Magnetic Forces
“Krylatskaya 33” is the first large-scale residential complex to appear amidst the 1980s “micro-districts” that harmoniously coexist with the forests, the river, the slopes, and the sports infrastructure. Despite its imposing scale, the architects of Ostozhenka managed to turn the complex into something that can be best described as a “graceful dominant”. First, they designed the complex with consideration for the style and height of the surrounding micro-districts. Second, by introducing a pause in its tallest section, they created compositional tension – right along the urban planning axis of the area.
Orion’s Belt
The Stone Khodynka 2 office complex, designed by Kleinewelt Architekten for the company Stone, is built with an ergonomic layout following “healthy building” principles: natural light, ventilation, and all the necessary features for an efficient office environment. On the outside, it resembles – like many contemporary buildings – an iPhone: sleek, glowing, glass-and-metal, edges elegantly rounded. Yet, it responds sensitively to the Khodynka context, where the main theme is the contrast between vertical and horizontal lines. The key intrigue lies in the design of the “stylobate” as a suspended passage, leaving the space beneath it open for free pedestrian movement.
Grigory Revzin: “It Was a Bold Statement Made on the Sly. Something Won”
In this article, we discuss the debates surrounding the circus competition and the demolition of the CMEA building with the most renowned architectural critic of our time. A paradox emerges in the process: while nostalgia for the Brezhnev era seems to be in vogue in Russia, a landmark building – the “axis” of the Warsaw Pact – has been sentenced to demolition. Isn’t that strange? We also find out that wow-architecture has made a comeback as a post-COVID trend. However, to make a truly powerful statement, professionals still remain indispensable.
Exposed Concrete
One of the stages of improving a small square in the town of Lermontov was the construction of a skatepark. Entrusting this part of the project to the XSA team, the city gained a 250-meter trick track whose features resemble those of land art objects – unparalleled in Russia in both scale and design. Here’s a look at how the experimental snake run in the foothills of the Caucasus was built.
One Step Closer To the Dream
The challenges of getting all the mandatory approvals, an insufficient budget, and construction site difficulties did not prevent ASADOV Bureau from achieving its main goal in the realization of the school project in the town of Troitsk – taking another step away from outdated notions of educational spaces toward creating a fundamentally new academic environment.
Chalet on the Rock
An Accor hotel in Arkhyz, designed by A.Len, will be situated at the gateway to the resort’s main tourist hubs. The architects reinterpreted the widely popular chalet style while adding an unexpected twist – an unfinished structure preserved on the site. The design team transformed this remnant into an exciting space featuring an open-air pool and a restaurant with panoramic views of the region’s highest mountain ridges.
Sergey Skuratov: “By and large, the project has been realized in line with the original ideas”
In this issue, we talk to the chief architect of Garden Quarters, looking back at the history and key moments of a project that took 18 years to develop and has now finally been completed. What interests us most are the transformations that the project underwent during construction, and the way the “necessary void” of public space was formed, which turned this remarkable complex into a fragment of a whole new type of urban fabric – not just at the horizontal “street” level but in its vertical structure as well.
A Unique Representative
The recently concluded year 2024 can be considered the year of completion for the “Garden Quarters” residential complex in Moscow’s Khamovniki. This project is well-known and, in many ways, iconic. Rarely does one manage to preserve such a number of original ideas, achieving in the end a kind of urban planning Gesamtkunstwerk. Here is a subjective view from an architecture journalist, with an interview with Sergey Skuratov soon to follow.
Field of Life
The new project by the architectural company PNKB (an acronym for “Design, Research, and Advisory Bureau”), led by Sergey Gnedovsky and Anton Lyubimkin, for the Kulikovo Field Museum is dedicated to the field as a concept in its own right. The field has long been a focus of the museum’s thorough and successful research. Accordingly, the exterior of the new museum building is gentler than that of its predecessor, which was also designed by PNKB and dedicated specifically to the historic battle. Inside, however, the building confidently guides the visitor from a luminous atrium along a spiral path to the field – interpreted here as a field of life.
A Paper Clip above the River
In this article, we talk with Vitaly Lutz from the Genplan Institute of Moscow about the design and unique features of the pedestrian bridge that now links the two banks of the Yauza River in the new cluster of Bauman Moscow State Technical University (MSTU). The bridge’s form and functionality – particularly the inclusion of an amphitheater suspended over the river – were conceived during the planning phase of the territory’s development. Typically, this approach is not standard practice, but the architects advocate for it, referring to this intermediate project phase as the “pre-AGR” stage (AGR stands for Architectural and Urban Planning Approval). Such a practice, they argue, helps define key parameters of future projects and bridge the gap between urban planning and architectural design.
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
GloraX plans to develop a residential complex spanning 14 hectares along the Volga River in Nizhny Novgorod. The winning design in a closed-door competition, created by GORA Architects, features housing typologies ranging from townhouses to terraced high-rise slabs, a balance of functions, diverse ways of engaging with the water, and even a dedicated island (no less!) for the city residents.
Life Plans
The master plan for the residential district “Prityazheniye” (“Gravity”) in Naberezhnye Chelny was developed by the architectural company A.Len, taking into account the specific urban planning context and partially implemented solutions of the first phase. However, the master plan prioritized its own values: a green framework, a system of focal points, a hierarchy of spaces, and pedestrian priority. After this, the question of what residents will do in their neighborhood simply doesn’t arise.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
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.