A Roman Rome

zooming — UP-quarter "Rimsky". Project © Mikhail Filippov Architects

See also an interview with
Mikhail Filippov from August 29, 2017

In terms of its scale, “Rimsky” is not even a quarter or a block but rather a traditional European town consisting of several blocks. The plan of the town looks like the L letter. One of its parts – the one that is currently under construction – includes a 17-section building with a semicircular yard, across a football field from which there is a school that forms a triangle with propylaea. The first stage will be put into operation in the IV quarter of 2018, the entire project due to be completed in 2023. “Rimsky” will in fact be an ensemble of five squares strung on one axis and connected by city streets. The round central square will include cafes and shops, and on New Year’s Eve it will host the Christmas tree; the Harmony Square will host the sports infrastructure; the Beauty Square will host beauty salons and spas; the Fine Arts Square – places for creative activities of adults and children; the Fair Square – a farmers market, so fashionable these days. The sections will be from three to twelve stories high. It is planned that the complex will have several kindergartens; also, the residents will be able to enjoy a developed infrastructure of the surrounding area. The bottom floors are public ones. As for the apartments, they will be of many different types: from studios to a penthouse with a terrace, two-level, loft-type, ones with a bathroom window, and so on. This architecture is the classic “Filippov” signature type.

Context 1: mass construction. Beginning of the age of beauty

Before we start sharing about Mikhail Filippov’s numerous inventions, it is worth mentioning just how amazed we are to live in an epoch when mass housing can look like this. I really think that sociologists and urbanists should invest a fair amount of their time into studying this phenomenon. The fact that the concrete panel buildings are on the way out is a sure sign of the end of the industrial epoch that they manifested – the new creative economies of today are much better suited with versatile and humane architecture that is all about the city with a capital “C”. Just a while ago it seemed that there were no serious alternatives to prefabricated panel construction but over the last seven years some architects and enlightened developers have been able to come up with a concept of housing that, on the one hand, is affordable enough, and, on the other hand, is not devoid of the humane imagery of the traditional architecture – in Russia this happened for the first time since the memorial decree on architectural excesses issued by Nikita Khrushchev back in 1955. This context definitely includes the Maxim Atayants cities built around Moscow, as well as the city of Val-de-Marne near Paris designed by Pier Carlo Bontempi (though of a smaller scale). In the same way were designed the traditional New Urbanist cities, such as Poundbury in Great Britain or Celebration in Florida, USA – but these are smaller in height and closer to a village in their typology.

Context 2: other residential areas and cities designed by Mikhail Filippov

“Rimsky” is yet another classic Filippov town. Starting with his manifesto of 1984, when Filippov presented a series of watercolor paintings in which a panel residential area was gradually giving way to traditional architecture (still later on, these paintings brought Filippov a victory in the Japanese contest “Style 2001”) the architect has consistently developed and implemented this idea. The 2000’s saw the “Roman House” in Moscow’s Kazachy Alley, the “Italian Quarter” on Moscow’s Dolgorukovskaya Street, the housing complex “Marshal” on Moscow’s Oktyabrskoe Pole, and the Gorky Gorod in Sochi built specially for the 2014 Olympics. Now yet another Roman town will soon appear right next to Moscow.

Filippov has always thought about his architecture as the heir of the neoclassicism of the Silver Age, bypassing the Soviet Stalin-era classicism that he considers a compromise. The typology of many of his works can be traced down to a “quarter-house” of the Silver Age like the Benoit House on Saint Petersburg’s Kamennoostrovsky Avenue. Neoclassical architects of the Silver Age considered the street-side façade to be the main or “grand” one, while the practice of adorning the building’s yard side with a colonnade was rather an exception than a rule, most of the yards performing purely utilitarian functions. As for Filippov, however, all of his yards are in fact of the “grand” kind, with elaborated façades and a system of colonnades and arcades. This is the way it is done in “Italian Quarter” and in “Marshal”. The same principle is to be seen in “Rimsky” housing complex, the only difference being that the “quarter-house” grew up to the size of a town. However, the most important thing about “Rimsky” is not its typology.

Context 3: a historical city

The phenomenon of a historical city that, judging by the tourist flows, most people seem to like, is rather difficult to describe and still more difficult to structurally comprehend and reproduce without copying. Filippov, however, has been doing this his whole life – studying the city through drawing watercolor paintings. The method that he used, among other projects, in Gorky Gorod, and now in “Rimsky”, consists in the following. The beauty of historical cities – Paris, for example – can be explained, according to Filippov, by the superimposition of two different coordinate systems: the “starburst” radial layout and the Hippodamus planning pattern. This superimposition gives birth to picturesque crossroads with interesting viewing points that fill one’s walk around the city with an abundance of visual pleasure. Filippov reproduced this superimposition in Sochi’s Gorky Gorod which resulted in a multitude of amazing views opening up to its visitors. The same principle is applied in “Rimsky”. The streets that run in a starburst fashion from the main city square cross with a rectangular coordinate system, these streets crossing with yet another grid, and so on.

It is not enough, however, just to put together a picturesque plan – you also need façades that must be rather articulate and interesting to look at, and in “Rimsky” the houses are dissected into sections with façades 20-30 meters long (just like they should be in a historical city), Filippov’s façade design always being no less than perfect; you also need streets that are not too broad and buildings that are not too high – and in “Rimsky” the houses of different height create a picturesque view of pitched roofs; you need city architectural views that open up in the alleys that puncture the façade line – and “Rimsky” has plenty of those, asking to be made a watercolor painting of. As Filippov himself put it, “the form of the symphony has yet to be filled with melodic content”. Taking this analogy still further, we can safely say that he’s got plenty of “melodic talent”. In Gorky Gorod, for example, the pattern of façades is particularly good, down to the last window sash, and there are rather exquisite colors of stucco, stone and brick (here we are, of course, referring to the buildings that luckily remained unspoiled by the construction companies). In “Rimsky” (specifically, in the buildings of the first construction), the basic principle is slightly different: it is not the classic massive wall with windows of right Alberti architecture proportions but large modern glass windows, in fact, glass screens with orderly decoration that was first in the Silver Age, for example, in the trading house on the Nevsky Prospect. A combination of glass and architectural order is a very promising path for taking the classics to a whole new level.

If the aesthetic arguments do not seem to convince you, there are economic ones as well. The eye-walking level, as urbanists explained to us (see the interview with Aleksey Novikov) is extremely important. Because, if on the eye-walking level a person sees beautiful façades of exquisite materials, inviting doors and see-through windows that display life going on behind them, that person will want to walk there, the businesses will flourish, and the people will get diverse necessary functions within a walking distance.

Context 4: Rome

As for Rome, Mikhail Filippov has a soft spot for it. In his works he constantly holds a dialogue with the great architecture of the Eternal City. The colonnade of the Saint Peter’s Cathedral got reflected in the wings that embrace the round yard of the house in the Kazachy, and the Theatre of Marcellus, built up in the ensuing centuries – in the form of “Italian Quarter” on the Dolgorukovskaya. Roman motifs are also to be found in “Marshal” (the slanted ruined wall) and in Gorky Gorod. In “Rimsky”, however, this is more than just individual buildings. I will try to explain the difference.

Here is the thing – Rome is something like “avant-garde before avant-garde”. It has a very avant-garde form of city planning: this city stands on hills, these forms creating vertical “modes” of architecture. Lifting your gaze, you see that above the building that you’re looking at there is yet another building, and then still another one, towering up into the sky. And then in your mind’s eye you start hopping up these tiers. I even think that Filippov’s signature “stairway to heaven” technique can be traced back to that. At the same time, this is by no means a Mediterranean terraced “seaside town on the slope” because the upward movement is so unpredictable here. Add to this the already-mentioned superimposition of the starburst and Hippodamus patterns. It does not stop Rome (or any other historical city, for that matter) from having a clear-cut structure of streets and squares. But the most interesting thing is that when the line of Roman façades gets punctured, the opening shows not a yard of a regular shape (as one would expect) but a house standing at an angle or some other sort of angular composition. This “wedge” is to be seen rather often here. It adds so much to the dynamics of the project that the avant-garde “red wedge” seems minor in comparison to that. In “Rimsky”, Filippov literally reproduces this technique, just as the usual-for-Rome inclusions of antique arches or walls carved into walls but 200 years old.

The nineteenth century covers up the second one sticking from underneath it. An irregularly shaped piece of ancient wall or arch stands out from the regular classical façade, and this technique is something that Filippov actively uses as well. In a word, Rome is an architectural shape of an incredible power. Plus – the richness of the classical harmony, strength and beauty, power and complexity. Against this background, modernist architecture starts looking pale and weak, and, because of that, it looks so out of place in Rome. It is strange that none of the architects has ever noticed this avant-garde quality that’s inherent to the classic Rome. And Filippov not only did but made it his life’s work. The superimposition of logics and epochs plus beauty is something that a city of today should be about, and this is what Filippov’s architecture is about.

Stairway to Heaven

Stairway to Heaven is Filippov’s signature technique that travels from project to project. In “Rimsky”, it is embodied in two forms: it is either a stairway of arcades (porticos) on the façade or a terraced composition of several houses. The metaphysical meaning of this is anyone’s guess: from the Led Zeppelin song to a Ziggurat. The “stepping” arrangement of arcades is also to be seen in the historical Rome. It looks approximately like this: next to the main building, there is a later-on addition, and its arcade is situated a little bit lower than the one on the main building – but these two are proportionately connected. Filippov is the perfect master of this technique, and it is to be seen in all of his projects. In “Rimsky”, the façades of Section 5, for example, are decorated with such step-like arcades. What it ends up looking is that on the one side the building has a clear-cut lower tier of arcades – and, generally speaking, the house has a bottom, a middle tier, and a decorated top, which is really important for human perception: one’s eye gets tired of monotonous façades. On the other side, these façades alternate in their height and produce an interesting “moving” effect. If the architect makes a stairway of porticos, he by no means violates their proportions. Developing the classical canon, he leaves the essential things intact, and this is what makes him different from postmodernists.

“Rimsky” presents yet another variation of the stairway – the Leonardo da Vinci double spiral staircase of Chambor castle (see interview with Mikhail Filippov). These staircases are to be found in several houses in the towers that connect the residential sections. Ascending one spiral, you can get to the right-hand section, ascending the other – to the left. The staircase towers with their huge windows are pierced through by the sun rays from top to bottom. On top of them, there will be sightseeing platforms. The project also provided for the Chambor staircases connecting the round squares of the upper and lower towns (the first and the second part of “Rimsky”, yet unbuilt) but it’s still unclear if these plans will come to pass.

Antique theater

Filippov has many times said that he was fascinated by the grandiose ruin – an antique amphitheater, built up in the ensuing century very much like the Theatre of Marcellus. In this theme, the architect saw modern dynamics combined with life-affirming meaning, and he tested it in “Italian Quarter” in other places. In “Rimsky”, this is more than an amphitheater – it is a full-circle theater situated in the right-hand two-level part of the complex near the five squares ensemble. An antique theater very much like a coliseum surrounds the central square. The number of floors in the houses decreases as they near the square. This is like a play of giant substructures of the Roman Coliseum, and at the same time it is a dynamic modern shape that unites many different buildings with different façades.

Materials

For “Rimsky”, Filippov came up with a few know-how’s in terms of construction materials (see the interview). The problem of high-quality craft work is really acute for the classical architecture. The craft industry was destroyed in 1955, there are no educational institutions that provide training for craft workers but this does not mean that they are nonexistent or that they will not learn their trade again if one just gets down to it. For example, Berlin’s Schlüter Palace was restored with a superb quality of craft work. Currently, the situation in the field of classic decor is improving.

Underground Town and Heavenly City

The idea of two-level space, just as the idea of Chambor staircase, was inspired by the works of Leonardo da Vinci. “Rimsky” has become one of Russia’s first mini-cities in which the architect was able to realize a two-level concept that consists in complete separation of the upper pedestrian and residential zone from the lower zone that includes infrastructure projects, cafes and restaurants, where vehicle traffic is allowed and where there is a parking garage underneath. In this project, the lower level is a full-fledged city with active public life and even a system of squares of its own. As for the upper level subjugated to the current principle of “vehicle-free city”, it is safe and quiet, full of parks and recreation; it becomes an Arcadia of sorts, a Heavenly City. If everything is built to plan, this UP-quarter stands every chance of becoming a high-profile landmark not only in terms of neoclassicism imagery but in terms of modern urban planning as well.

30 August 2017

Written by:
Lara Kopylova
Translated by:
Anton Mizonov

Headlines now

The Mirror of Your Soul

We continue to publish projects from the competition for the design of the Russian Pavilion at EXPO in Osaka 2025. We are reminding you that the results of the competition have not been announced, and hardly will ever be. The pavilion designed by ASADOV Architects combines a forest log cabin, the image of a hyper transition, and sculptures made of glowing threads – it focuses primarily on the scenography of the exhibition, which the pavilion builds sequentially like a string of impressions, dedicating it to the paradoxes of the Russian soul.

Part of the Ideal

In 2025, another World Expo will take place in Osaka, Japan, in which Russia will not participate. However, a competition for the Russian pavilion was indeed held, with six projects participating. The results were never announced as Russia’s participation was canceled; the competition has no winners. Nevertheless, Expo pavilion projects are typically designed for a bold and interesting architectural statement, so we’ve gathered all the six projects and will be publishing articles about them in random order. The first one is the project by Vladimir Plotkin and Reserve Union, which is distinguished by the clarity of its stereometric shape, the boldness of its structure, and the multiplicity of possible interpretations.

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The Fortress by the River

ASADOV Architects have developed a concept for a new residential district in the center of Kemerovo. To combat the harsh climate and monotonous everyday life, the architects proposed a block type of development with dominant towers, good insolation, facades detailed at eye level, and event programming.

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In the Rhombus Grid

Construction has begun on the building of the OMK (United Metallurgical Company) Corporate University in Nizhny Novgorod’s town of Vyksa, designed by Ostozhenka Architects. The most interesting aspect of the project is how the architects immersed it in the context: “extracting” a diagonal motif from the planning grid of Vyksa, they aligned the building, the square, and the park to match it. A truly masterful work with urban planning context on several different levels of perception has long since become the signature technique of Ostozhenka.

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Generational Connection

Another modern estate, designed by Roman Leonidov, is located in the Moscow region and brings together three generations of one family under one roof. To fit on a narrow plot without depriving anyone of personal space, the architects opted for a zigzag plan. The main volume in the house structure is accentuated by mezzanines with a reverse-sloped roof and ceilings featuring exposed beams.

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Three Dimensions of the City

We began to delve into the project by Sergey Skuratov, the residential complex “Depo” in Minsk, located at Victory Square, and it fascinated us completely. The project has at least several dimensions to it: historical – at some point, the developer decided to discontinue further collaboration with Sergey Skuratov Architects, but the concept was approved, and its implementation continues, mostly in accordance with the proposed ideas. The spatial and urban planning dimension – the architects both argue with the city and play along with it, deciphering nuances, and finding axes. And, finally, the tactile dimension – the constructed buildings also have their own intriguing features. Thus, this article also has two parts: it dwells on what has been built and what was conceived

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New “Flight”

Architects from “Mezonproject” have developed a project for the reconstruction of the regional youth center “Polyot”(“Flight”) in the city of Oryol. The summer youth center, built back in the late 1970s, will now become year-round and acquire many additional functions.

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The Yauza Towers

In Moscow, there aren’t that many buildings or projects designed by Nikita Yavein and Studio 44. In this article, we present to you the concept of a large multifunctional complex on the Yauza River, located between two parks, featuring a promenade, a crossroads of two pedestrian streets, a highly developed public space, and an original architectural solution. This solution combines a sophisticated, asymmetric façade grid, reminiscent of a game of fifteen puzzle, and bold protrusions of the upper parts of the buildings, completely masking the technical floors and sculpting the complex’s silhouette.

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Architecture and Leisure Park

For the suburban hotel complex, which envisages various formats of leisure, the architectural company T+T Architects proposed several types of accommodation, ranging from the classic “standard” in a common building to a “cave in the hill” and a “house in a tree”. An additional challenge consisted in integrating a few classic-style residences already existing on this territory into the “architectural forest park”.

Overview

The U-House

The Jois complex combines height with terraces, bringing the most expensive apartments from penthouses down to the bottom floors. The powerful iconic image of the U-shaped building is the result of the creative search for a new standard of living in high-rise buildings by the architects of “Genpro”.

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Black and White

In this article, we specifically discuss the interiors of the ATOM Pavilion at VDNKh. Interior design is a crucial component of the overall concept in this case, and precision and meticulous execution were highly important for the architects. Julia Tryaskina, head of UNK interiors, shares some of the developments.

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The “Snake” Mountain

The competition project for the seaside resort complex “Serpentine” combines several typologies: apartments of different classes, villas, and hotel rooms. For each of these typologies, the KPLN architects employ one of the images that are drawn from the natural environment – a serpentine road, a mountain stream, and rolling waves.

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Opal from Anna Mons’ Ring

The project of a small business center located near Tupolev Plaza and Radio Street proclaims the necessity of modern architecture in a specific area of Moscow commonly known as “Nemetskaya Sloboda” or “German settlement”. It substantiates its thesis with the thoroughness of details, a multitude of proposed and rejected form variants, and even a detailed description of the surrounding area. The project is interesting indeed, and it is even more interesting to see what will come of it.

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Feed ’Em All

A “House of Russian Cuisine” was designed and built by KROST Group at VDNKh for the “Rossiya” exhibition in record-breaking time. The pavilion is masterfully constructed in terms of the standards of modern public catering industry multiplied by the bustling cultural program of the exhibition, and it interprets the stylistically diverse character of VDNKh just as successfully. At the same time, much of its interior design can be traced back to the prototypes of the 1960s – so much so that even scenes from iconic Soviet movies of those years persistently come to mind.

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The Ensemble at the Mosque

OSA prepared a master plan for a district in the southern part of Derbent. The main task of the master plan is to initiate the formation of a modern comfortable environment in this city. The organization of residential areas is subordinated to the city’s spiritual center: depending on the location relative to the cathedral mosque, the houses are distinguished by façade and plastique solutions. The program also includes a “hospitality center”, administrative buildings, an educational cluster, and even an air bridge.

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Pargolovo Protestantism

A Protestant church is being built in St. Petersburg by the project of SLOI architects. One of the main features of the building is a wooden roof with 25-meter spans, which, among other things, forms the interior of the prayer hall. Also, there are other interesting details – we are telling you more about them.

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The Shape of the Inconceivable

The ATOM Pavilion at VDNKh brings to mind a famous maxim of all architects and critics: “You’ve come up with it? Now build it!” You rarely see such a selfless immersion in implementation of the project, and the formidable structural and engineering tasks set by UNK architects to themselves are presented here as an integral and important part of the architectural idea. The challenge matches the obliging status of the place – after all, it is an “exhibition of achievements”, and the pavilion is dedicated to the nuclear energy industry. Let’s take a closer look: from the outside, from the inside, and from the underside too.

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Rays of the Desert

A school for 1750 students is going to be built in Dubai, designed by IND Architects. The architects took into account the local specifics, and proposed a radial layout and spaces, in which the children will be comfortable throughout the day.

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The Dairy Theme

The concept of an office of a cheese-making company, designed for the enclosed area of a dairy factory, at least partially refers to industrial architecture. Perhaps that is why this concept is very simple, which seems the appropriate thing to do here. The building is enlivened by literally a couple of “master strokes”: the turning of the corner accentuates the entrance, and the shade of glass responds to the theme of “milk rivers” from Russian fairy tales.

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The Road to the Temple

Under a grant from the Small Towns Competition, the main street and temple area of the village of Nikolo-Berezovka near Neftekamsk has been improved. A consortium of APRELarchitects and Novaya Zemlya is turning the village into an open-air museum and integrating ruined buildings into public life.

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Towers Leaning Towards the Sun

The three towers of the residential complex “Novodanilovskaya 8” are new and the tallest neighbors of the Danilovsky Manufactory, “Fort”, and “Plaza”, complementing a whole cluster of modern buildings designed by renowned masters. At the same time, the towers are unique for this setting – they are residential, they are the tallest ones here, and they are located on a challenging site. In this article, we explore how architects Andrey Romanov and Ekaterina Kuznetsova tackled this far-from-trivial task.

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In the spirit of ROSTA posters

The new Rostselmash tractor factory, conceptualized by ASADOV Architects, is currently being completed in Rostov-on-Don. References to the Soviet architecture of the 1920’s and 1960’s resonate with the mission and strategic importance of the enterprise, and are also in line with the client’s wish: to pay homage to Rostov’s constructivism.

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The Northern Thebaid

The central part of Ferapontovo village, adjacent to the famous monastery with frescoes by Dionisy, has been improved according to the project by APRELarchitects. Now the place offers basic services for tourists, as well as a place for the villagers’ leisure.

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Brilliant Production

The architects from London-based MOST Architecture have designed the space for the high-tech production of Charge Cars, a high-performance production facility for high-speed electric cars that are assembled in the shell of legendary Ford Mustangs. The founders of both the company and the car assembly startup are Russians who were educated in their home country.

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Three-Part Task: St. Petersburg’s Mytny Dvor

The so-called “Mytny Dvor” area lying just behind Moscow Railway Station – the market rows with a complex history – will be transformed into a premium residential complex by Studio 44. The project consists of three parts: the restoration of historical buildings, the reconstruction of the lost part of the historical contour, and new houses. All of them are harmonized with each other and with the city; axes and “beams of light” were found, cozy corners and scenic viewpoints were carefully thought out. We had a chat with the authors of the historical buildings’ restoration project, and we are telling you about all the different tasks that have been solved here.

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The Color of the City, or Reflections on the Slope of an Urban Settlement

In 2022, Ostozhenka Architects won a competition, and in 2023, they developed and received all the necessary approvals for a master plan for the development of Chernigovskaya Street for the developer GloraX. The project takes into account a 10-year history of previous developments; it was done in collaboration with architects from Nizhny Novgorod, and it continues to evolve now. We carefully examined it, talked to everyone, and learned a lot of interesting things.

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A Single-Industry Town

Kola MMC and Nornickel are building a residential neighborhood in Monchegorsk for their future employees. It is based on a project by an international team that won the 2021 competition. The project offers a number of solutions meant to combat the main “demons” of any northern city: wind, grayness and boredom.

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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.

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A New Starting Point

We’ve been wanting to examine the RuArts Foundation space, designed by ATRIUM for quite a long time, and we finally got round to it. This building looks appropriate and impressive; it amazingly combines tradition – represented in our case by galleries – and innovation. In this article, we delve into details and study the building’s historical background as well.

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Molding Perspectives

Stepan Liphart introduces “schematic Art Deco” on the outskirts of Kazan – his houses are executed in green color, with a glassy “iced” finish on the facades. The main merits of the project lie in his meticulous arrangement of viewing angles – the architect is striving to create in a challenging environment the embryo of a city not only in terms of pedestrian accessibility but also in a sculptural sense. He works with silhouettes, proposing intriguing triangular terraces. The entire project is structured like a crystal, following two grids, orthogonal and diagonal. In this article, we are examining what worked, and what eventually didn’t.

A Roman Rome

Designed by Mikhail Filippov, the UP-quarter “Rimsky” is being built by FSK Lider at the crossing of the Kashirskoe Highway and the Moscow Ring Road. This place never was either expensive or respectable but the introduction of this unique author-architecture project can make a difference.