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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.

05 August 2024
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The Tessinsky-1 house by Sergey Skuratov, whose project we covered in detail back in 2020 – let me remind you, it also reached the final at WAF in 2021 – was commissioned in 2023.

The house is ready, and it can be examined in the context of the city.

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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA


It cannot be said that the Serebryanicheskaya Embankment district has been fully formed so far – if only because the plot across from it, at the same intersection, is still vacant – but a certain “nodal accent” has definitely appeared in its mix. Or simply – a “node”.

This place can now host seminars on stylistic analysis and contextual thinking for architecture students – I won’t be surprised if someone is already doing this.

Meanwhile, we will try to observe and note some interesting features of the house.

Firstly, it responds to everything around it – taking and giving back. Here you begin to think that the name Tessinsky is not coincidentally phonetically similar to the word “tissue” – the house literally weaves and intertwines various themes into a sort of tissue here. In this, it is very different from the introverted Art House; and that one, too, is an example of reflections on the “spirit of the place”. How different houses can be! One is dark, brutal, concisely faceted, closed off, and contemplative. Proud, detached, silent, either a rock musician or an artist at an exhibition: he will only speak using words sparingly. The new house, if we continue the comparison, is more like the curator of the same imaginary exhibition: it seems to be “in charge of everything”, i.e. for the entire district as a whole. It raises its golden head, holding the intersection and the perspective of Serebryanichesky Lane.

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    “Tessinsky-1” house
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA


The reason for these features is clear: while Art House is immersed, so to speak, in reflections on old industrial architecture, Tessinsky-1 is directly immersed in brick industrial architecture, as it is built on the site of the former EMA electro-medical equipment factory. Tessinsky-1 incorporates the façades of two factory buildings from the 19th century, while a third Soviet-era building, reconstructed between 2008 and 2012, determined the parameters of the side of the house that faces Tessinsky Lane. The new house is all about the memories of the factory buildings.

“Tessinsky-1” house
Copyright: Photograph © Daniel Annenkov / provided by SSA


However, these are indeed memories: the façades of the 19th-century buildings, which did not have protected status, were initially planned to be preserved, but they could not withstand the loads and were eventually reproduced in red brick, treated with a sandblaster and tinted brown. This solution fall very much in line with Moscow’s established practice of reproducing fragments of historical buildings within new complexes – consider, for example, Hermitage Plaza or the business center on Strastnoy Boulevard. As with those examples, the façades were measured and reproduced closely to the original. Only a local preservation activists, and perhaps not every one, would notice the difference.

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    “Tessinsky-1” house
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    “Tessinsky-1” house
    Copyright: Photograph © Julia Tarabarina, Archi.ru


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    “Tessinsky-1” house
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Julia Tarabarina, Archi.ru


While examining the completed house, I managed to notice one detail: the asymmetrical rounding of one window slope in the new part echoes the “Romanesque” roundings in the windows from 1895 by architect Sergey Kalugin.

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    “Tessinsky-1” house
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Julia Tarabarina, Archi.ru


In other words, on his modern façade, Skuratov did not just invent a motif; he “borrowed” it from the historical part of the building. It’s interesting when you can notice such subtle nuances in a finished house.

So, when viewed from the city, Tessinsky-1, unlike Art House, is “woven” into the urban fabric; it seems to belong to it. This circumstance makes the house more complex: posing many questions, the house provides many answers. It climbs up the slope, forming the beginning of Nikolovorobinsky Lane along with the NV/9 house designed by Irina Rimashevskaya. The house captures urban axes, balances verticals and horizontals, and even constructs itself from the vertical “head” at the intersection (by the way, have you noticed that Skuratov’s houses very often have “heads”?) to the “tail” of the cantilever on the eastern end. The house plays with two levels of height: historical and modern. It directs the environment around it, maintaining control but also allowing for picturesque liberties, balancing the asymmetry of its parts. In sum, it’s a complex composition, but the complexity does not catch the eye, which means it has been successfully balanced.

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    “Tessinsky-1” house
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA


Another feature echoes modern trends. Over the past decade, gold-toned metal has become popular in Moscow. It’s used pretty much everywhere: in sports facilities, residential buildings, and more. Gold has almost become the norm; just look at the neighboring Titul residential complex designed by Vadim Grekov.

For Sergey Skuratov, Tessinsky-1 is his first experience working with a golden tone. Now, looking at the house, the architect says that the tone is too bright, too shiny, and the window frames have turned out to be very golden. He even concludes, “I won’t use it again!” but adds that the shine should fade a bit over the years. After all, it’s not a composite but architectural bronze, an alloy of copper and zinc.

“Tessinsky-1” house
Copyright: Photograph © Daniel Annenkov / provided by SSA


Nevertheless, the interplay of brick and gold has turned out to be interesting in its nonlinearity.

The volumetric grid of the tower’s slopes is the main “picture” the house presents to the city; it is what makes it recognizable. However, there are additional nuances as well. In the “fold of the curtain” above the main lobby from the Tessinsky Lane side, the golden window slopes increase, emphasizing the curve – this part of the house can even be seen from the Garden Ring.

“Tessinsky-1” house
Copyright: Photograph © Daniel Annenkov / provided by SSA


“Tessinsky-1” house
Copyright: Photograph © Daniel Annenkov / provided by SSA


The brick façade of the smaller building is topped with a golden “cap” of the cornice, connected to the volume and the roof, crowned with a pair of vent pipes. There is quite a bit of charm in this golden “sculpting” over the dark façade. The city seems to become “golden” right before our eyes, which can be not only a metaphor but also a literal truth, reflected in the new favorite techniques of Moscow architects.

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    “Tessinsky-1” house
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    “Tessinsky-1” house
    Copyright: Photograph © Julia Tarabarina, Archi.ru


At the same time, the golden slopes of the high building’s “head” direct light almost all day long, like a bronze mirror, into the perspective of Nikolovorobinsky Lane: from this side, the upper part, especially on a sunny day, wonderfully glows yellow.

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    “Tessinsky-1” residential complex, view from Nikolovorobinsky Lane
    Copyright: Photograph © Julia Tarabarina, Archi.ru
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    “Tessinsky-1” residential complex, view from Nikolovorobinsky Lane
    Copyright: Photograph © Julia Tarabarina, Archi.ru


More on Golden Surfaces! In recent years, golden surfaces in Moscow’s practice have been flat, curved, ornate, or framed – there are many variations. Meanwhile, Skuratov selects material and form combinations that have not yet been used in Moscow: a grid of pointed metal ribs on the “head” and a calmer and more regular, yet still textured, grid on the smaller building. In both cases, the gold is subordinated to the relief, making its perception livelier. On the inner façade of the “urban villa”, the grid is simply necessary: thanks to it, the gold recedes, and the volume acquires the desirable degree of complexity.

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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA


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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA


The courtyard, where the fountain basin reminds us of one of Moscow’s vanished “small rivers”, is intended only for the residents of the house. If the façade of the building, from the side of Nikolovorobinsky Lane, “climbs upwards”, maintaining fidelity to historical and geographical truth, inside it is leveled to the pavement’s measure: the lobby floor and the courtyard floor are one single surface, paved identically. In the northern part, the NV/9 house towers; on this side, there is a retaining wall, which opens with an arch only for the fountain’s water. Above, there is a balcony that allows you to view the courtyard from the upper level and a staircase descending from the upper entrance of Nikolovorobinsky Lane.

“Tessinsky-1” residential complex
Copyright: Photograph © Daniel Annenkov / provided by SSA


The structure of this courtyard somewhat resembles an Italian patio: levels, stairs, regularity, and seclusion. It is worth noting that on the roof of the elongated building, patios, and open-top terraces designed for the upper apartments, are also arranged.

The reconstruction project in the Bolshoy Nikolovorobinsky Alley. The building is converted into a housing complex.
Copyright: © Sergey Skuratov ARCHITECTS


The courtyard continues the themes started on the façades. The triangular ribs of the “head” towers on the façades face the sunset, while here the “body” of the villa, also latticed and golden, faces east. There, golden inserts in the curve of the recess; here, golden protrusions of the balconies – you can imagine that someone pressed slightly from the outside for them to appear inside. But the best time in this courtyard is, of course, on a sunny day – then the windows of the NV/9 house cast reflections on the dark brick wall, bringing it to life. And the golden wall of the villa – how can we not think of Domus Aurea? – also distributes sunlight reflections, but only in the morning.



The olden window frames – let’s agree with the architect – really add a certain contrast and “poster-like” quality to the design. However, I wouldn’t say that this kind of “poster-like” quality is bad in itself. One can see a “highlight” in it: a statement on the themes of modern Moscow and at the same time, the colorful specificity historically inherent in Moscow architecture. This very circumstance helps the building engage in a dialogue with all levels of context, both historical and geographical: let’s not forget that it is surrounded by the golden domes of churches from different eras, even the yellow Empire-style façades at the Yauza Gate, and the bold orange Silver City Business Center are part of the same mise-en-scène.



Moreover, Skuratov is an “artistic” architect. To the combination of two basic and simple materials—brick and gold—he adds a complex one: Petersen Columba brick from the Danish factory of Christian Petersen. Ten types and shades of brick were used in the masonry; several sizes were made specifically for this house to order. Essentially, the façade turned out to be handmade; one can just sit there and admire it for an extended period of time. Terracotta in various shades alternates, following the laws of impressionist painting, with sunny mustard-yellow, and most importantly, with ultramarine blue, which allows the overall tone to remain dark without being black.

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    “Tessinsky-1” house
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” house
    Copyright: Photograph © Julia Tarabarina, Archi.ru


By the way, despite all the diversity of the last decade’s bright variety in the development of Moscow architecture, this type of it has not been seen anywhere before: the bricks are bright but not flashy, multicolored but maintaining one tone; their picturesque restraint is reminiscent of Karelian granite stones, which also seem to be of one tone, but with very bright inclusions. Certainly, there is no other surface like this in Moscow, and it is unknown when another might appear.

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    “Tessinsky-1” house
    Copyright: Photograph © Daniel Annenkov / provided by SSA
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    “Tessinsky-1” residential complex
    Copyright: Photograph © Daniel Annenkov / provided by SSA


It is this brick, and not the gold at all, that is the most precious element of the façade solutions here. Thin, multicolored with noticeable yellowish inclusions, striped brick serves as a background, absorbing contrasting color properties and “reconciling” them within itself.

On the other hand, the surface is picturesque, and the masonry structure with deep alternations is graphic, and its hatching controls the perception of the new part. At the top, it continues the verticals of the pilasters of Sergei Kalugin’s building, and further east, its outline, in both cases smoothly dissolving the contours into the plane of the new façade like a shadow. Remarkably, the stripes dissolve into the wall so finely.

“Tessinsky-1” house
Copyright: Photograph © Julia Tarabarina, Archi.ru


The striped masonry is also successfully reflected in the glass of the lobby, creating a perspective; thus, the exterior and interior are connected twice: first, because the walls and floor of the lobby actually continue the façades and pavement (and the glass is transparent), and second, through the “imposed” reflection on the glass.

Any changes in the striped masonry are easily felt and allow the new surface to be built not with large articulated décor, as in historical façades, but with subtle hints that can be easily overlooked or, on the contrary, closely examined for a long time.



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*
Tessinsky Lane is named after a 19th-century homeowner, Tessin. The surname derives from the Swiss river Tessin, which gave its name to one of the cantons, and the river’s name translates as “a river flowing many times” – it seems that this translation already holds something for Tessinsky Lane. It is also attributed to the Old French word “tessé”, meaning a plot of land overgrown with grass. However, all these word plays with the specifics of the site intersect only indirectly and accidentally.


05 August 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”.