Sergei Tchoban
Sergei Tchoban
information:
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country
Russia
Sergei Tchoban (born 9 October 1962) is a Russian and German architect working in various cities in Europe and the Russian Federation. He is a member of the Association of German Architects (BDA), the Union of Architects of Russia and the Union of Artists of Russia, academician of the Moscow branch of the International Academy of Architecture and honorary academician of the Russian Academy of Arts, the recipient of architectural awards and a participant in various architectural exhibitions.
In 1974-1980 Sergei Tchoban studied at the Leningrad Secondary Art School, in 1980-1986 he studied at the architectural department of the Imperial Academy of Arts, formerly known as the “Ilya Repin Institute of the Russian Academy of Arts" (in the studio of S. Speransky and V. Volonsevich). In 1986 he started working at the V. B. Fabritskiy architectural studio, and from 1989 he worked in Leningrad as an independent architect. In 1991, he moved to Germany, where he worked from 1992 at the architectural firm Nietz, Prasch, Sigl in Hamburg. In 1995 he became managing partner of the bureau, called nps tchoban voss, and headed the Berlin office. Sergei Tchoban’s designs were implemented in Berlin in such buildings as the Cubix cinema complex , the AquaDom, the Jewish Cultural Center and Synagogue Chabad Lubavitch on Munsterstrasse, NHow hotel, Mall of Berlin complex, and the building of the Museum of Architectural Drawing (with Sergey Kuznetsov).
In 2003, he opened the architectural bureau Tchoban and Partners in Moscow, in 2006 through the merger with the bureau S. P. Project together with Sergey Kuznetsov and Pavel Shaburov they co-founded the SPEECH architectural office and Tchoban became its managing partner. In 2008, together with Sergey Kuznetsov he established the architectural magazine speech :. In 2009 he founded the Tchoban Foundation - Museum for Architectural Drawing.
Tchoban was the curator of the Russian pavilion at the Venice Biennale of Architecture two times: in 2010 he curated the project “Russia Factory” (together with Sergey Kuznetsov, Pavel Khoroshilov, Grigory Revzin), in 2012 – the project “i-city/i-land” (together with the commissary of the pavilion Grigory Revzin, co-curator Sergey Kuznetsov and Valery Kashirina), which was awarded with a Special Mention – the first time that Russia won an award at the Architectural Biennale. In 2013-2014, he headed a graduate studio at the Moscow School of Architecture.
In 2009-2011 he was a member and chairman of the City Planning Council in Linz (Austria). Since 2011 he has been a member of the City Planning Council of the Skolkovo Foundation [2]. Since 2013 he has been a member of the Architectural Council of the Committee for Architecture and Urban Planning of the City of Moscow.
Buildings and Projects:
Refurbishment of Luzhniki Stadium
Russia, Moscow
Wine House housing complex
Russia, Moscow
Administrative, public and business complex “Nevskaya ratusha”
Russia, St. Petersburg
Living complex Atlantic Apartments
Russia, Moscow
Museum for Architectural Drawing
Germany, Berlin
Buildings and Projects Shown: 10
Rank all Buildings and Projects / Sergei Tchoban (27):
Archi.ru Texts:
12.09.2025
Julia Tarabarina. St. Petersburg vs Rome
The center of St. Petersburg is, as we know, sacred – but few people can say with certainty where this “sacred place” actually begins and ends. It’s not about the formal boundaries, “from the Obvodny Canal to the Bolshaya Nevka”, but about the vibe that feels true to the city center. With the Nevskaya Ratusha complex – built to a design that won an international competition – Evgeny Gerasimov and Sergei Tchoban created an “image of the center” within its territory. And not so much the image of St. Petersburg itself, as that of a global metropolis. This is something new, something that hasn’t appeared in the city for a long time. In this article, we study the atmosphere, recall precedents, and even reflect on who and when first called St. Petersburg the “new Rome”. Clearly, the idea is alive for a reason.
17.04.2024
Julia Tarabarina. The Steppe Is Full of Beauty and Freedom
The goal of the exhibition “Dikoe Pole” (“Wild Field”) at the State Historical Museum was to move away from the archaeological listing of valuable items and to create an image of the steppe and nomads that was multidirectional and emotional – in other words, artistic. To achieve this goal, it was important to include works of contemporary art. One such work is the scenography of the exhibition space developed by CHART studio.
05.12.2023
Julia Tarabarina. A New Age Portico
At the beginning of the year, Novosibirsk Tolmachevo Airport opened Terminal C. The large-scale and transparent entrance hall with luminous columns inside successfully combines laconism with a bright and photogenic WOW-effect. The terminal is both the new façade of the whole complex and the starting point of the planned reconstruction, upon completion of which Tolmachevo will become the largest regional airport in Russia. In this article, we are examining the building in the context of modernist prototypes of both Novosibirsk and Leningrad: like puzzle pieces, they come together to form their individual history, not devoid of curious nuances and details.
30.10.2023
Julia Tarabarina. Our Everything
Who is Alexey Shchusev? In the last couple of weeks, since the architect’s 150th birthday, different individuals have answered this question differently. The most detailed, illustrated, and elegantly presented response is an exhibition held in two buildings of the Museum of Architecture on Vozdvizhenka. Four curators, a year and a half of work performed by the entire museum, and exhibition design by Sergey Tchoban and Alexandra Sheiner – in this article, we take you on a tour of the exhibition and show what’s what in it.
02.12.2022
Julia Tarabarina. A Factory’s Path
Last week, the new center for constructivist studies “Zotov” hosted its first exhibition named “1922. Constructivism. The Inception”. The idea of creating this center belongs to Sergey Tchoban, while the project of the nearest houses and adjusting the building of the bread factory for the new museum function was done by the architect in collaboration with his colleagues from SPEECH. We decided that such a complex project should be examined in its entirety – and this is how we came up with this long-read about constructivism on Presnya, conservation, innovation, multilayered approach, and hope.see All Archi.ru Texts / Sergei Tchoban