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​Evgeny Gerasimov: “Neoclassical architecture is like an aptitude test”

Evgeny Gerasimov meditates on the importance of the classical school, attention to detail, building materials, as well as speaks about budget planning, and about the marks that you cannot overstep if you are designing a neoclassical building.

23 March 2020
Interview
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Archi.ru:
Classical is a very broad notion indeed: there are several kinds of Renaissance architecture, Palladian style, classicism, Art Deco, Stalin architecture, postmodernism, and there are also our contemporaries who work in various versions of classical style. What does neoclassical architecture mean to you? What is your definition?

Evgeny Gerasimov:
Classical is basically the Ancient Greece and the Ancient Rome. Anything that is based on the architecture of orders to this or that extent can be considered as neoclassical architecture. Then there is also what we know as historicism – a broader notion that includes neoclassical architecture, the a-la Russ style, and the Antonio Rinaldi experiments with Chinese architecture. Neoclassical architecture is part of modern culture, there is a demand for it, and this is why we are discussing it right now. The traditional architecture is alive – the reports of its death are greatly exaggerated.

How compatible do you think are modern architecture techniques and seriously interpreted classical elements?

The relatively free variations of the elements of neoclassical architecture must be based on a sense of proportion and harmony; it is important not to overstep a certain mark. A lot of people do not even have a clue that the facades of the building on the Ostrovsky Square are ventilated, and the building itself is constructed of monolith reinforced concrete, with an underground parking garage and modern engineering solutions. Nevertheless, this building is neoclassical; one does not exclude the other.

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    Office building at the Ostrovsky Square, 2008
    Copyright: Evgeniy Gerasimov and Partners © photograph by Oleg Manov
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    Office building at the Ostrovsky Square, 2008
    Copyright: Evgeniy Gerasimov and Partners © photograph by Oleg Manov
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    Office building on the Ostrovsky Square, 2008
    Copyright: Evgeniy Gerasimov and Partners © photograph by Oleg Manov
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    Office building at the Ostrovsky Square, 2008
    Copyright: © Evgeniy Gerasimov and Partners
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    Office building at the Ostrovsky Square, 2008
    Copyright: © Evgeniy Gerasimov and Partners
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    Office building at the Ostrovsky Square, 2008
    Copyright: Evgeniy Gerasimov and Partners © photograph by Yuri Slavtsov
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    Office building on the Ostrovsky Square, 2008
    Copyright: Evgeniy Gerasimov and Partners © photograph by Oleg Manov


In what cases do you turn to neoclassical architecture? 

For us, this is just one of our branches – neither a priority nor a secondary one. We are well aware that there is a demand for it; in some certain places, the clients want to order specifically neoclassical things, and this coincides with our aspirations – we are interested in experimenting in this direction. This branch is just as good as any other. In the city center, of course, such projects appear more frequently. 

It is common knowledge that classical architecture is essentially a certain language that is capable of communicating rather complex and interesting messages. Could you please give examples of such messages in any of your projects – when you communicated a certain message with the language of classical architecture? 

To me, this statement sounds highly controversial. I am against “literature” in architecture – these are two different kinds of art. Architecture, after all, is a visual art; it is not text. All these discussions about “what did the architect want to say?” are evil. When you look at Rossi’s creations, nobody knows what he wanted to say. You see him route the Galernaya Street between the Senate and Synod buildings, and he does this with a stunning coup de maitre, through an arch. And, as for the Bolshaya Morskaya, he also brings it to the Palace Square with an arch. This is the ultimate architectural mastery; you really don’t have to look for some “hidden meaning” because it’s just not there. Architecture is all about organizing space, and he organized it with consummate skill. It has more craftwork than lyricisms about it.

When you do neoclassical architecture, it is crucially important to master the craftwork, the basics of the profession. You cannot overstep some certain borders set by the school. For example, when I see on the outer corner of the building rusticated stucco on the one side and polished granite on the other, that literally drives me nuts. This is carelessness, misunderstanding of form, and lack of knowledge of the very basics of the profession.

That is to say – if you want to build a good classic, it is enough to know everything about the antique architecture? 

No, not like that! You can be a great connoisseur but a musical critic is one thing, and a composer is another. Knowledge is a necessary, yet insufficient, condition for creating a decent project that you will not be ashamed to show to people. You also need to have skills, experience, and mastery, even if I sound overdramatic.

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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Aleksey Naroditskiy
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Aleksey Naroditskiy
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Molodkovets
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    “Venice” housing complex, 2013
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov


Is building a neoclassical project always expensive?

Any building will be very expensive if you make everything from marble and gold. However, it can also be quite inexpensive, and there are lots of examples out there to prove that. In Rome, for example, everything is made of stone, and in Saint Petersburg, because money was always scarce, most of the classical buildings are actually stucco. However, at the same time, they never lost the culture of working with form – quite the opposite, it was honed because of the lack of resources.

Kvarnegi, for example, designed a few quite modest buildings. The Catherine Institute or the Mariinsky Hospital have long flat facades, yet at the same time these buildings sport a beautiful main portico that actually consumed a lion’s share of the budget. This is just like a broach, which, if selected with good taste, can lighten up a modest dress. The effect does not necessarily equal money.

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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph : Andrey Belimov-Gushchin © Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    “Verona” housing complex, 2018
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners


Yes, but still, neoclassical architecture belongs in the high-end segment, doesn’t it?

Yes, it is, even though this could have been otherwise. The neoclassical architecture of the late 1950’s was done in rather simple forms. Let’s remember two houses designed by Sergey Speransky on the Moskovskaya Square, the ones that flank the Leninsky Avenue – they are very simple, decorated with tiles, with little accents. But they look beautiful even today! Why cannot mass housing look like that? A whole city block of such houses with an appropriate number of floors and appropriate proportions, somewhere on the Pulkovskoe Avenue – how cool would that be?

Adjusting neoclassical architecture to a 25-story-high housing complex is in fact quite possible. The architects of the Stalin epoch tackled that task with ease. The Soviet architects of the 1930’s-1950’s – the whole Zholtovsky galaxy — had such a great pre-revolution school, and were so professional that when in 1932 the communist government said “we are building this and this”, they were fully prepared for that. They did not have a shadow of a doubt what to do, and how. They achieved the ultimate mastery of taking the neoclassical architecture to any scale: stadiums, water dams, the VDNKh exhibition complex. Their sturdy background allowed them to easily respond to the social commission.

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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners © Photograph by Yuri Slavtsov
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    "Pobedy, 5" housing project, 2014
    Copyright: © Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners
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    "Pobedy, 5" housing project, 2014
    Copyright: Evgeniy Gerasimov and Partners


Meaning, it’s not the budget that matters, but the architect’s mastery and quality of execution?

Neoclassical architecture does not like things that are incomplete or left to chance. Other kinds of architecture sometimes do allow of such things – take Frank Gehry as an example. If we are to look carefully at the Guggenheim Museum in Bilbao, we will see that the facade subsystems are misaligned, the construction quality is appalling, and the guiding rails stick out from underneath the tiles – they miscalculated it. In that project, however, it is quite acceptable, and is perceived as homage to deconstructivism. Neoclassical architecture allows of no such things, it just cannot be incomplete.

Another important point is that the client may not be aware of the costs of the project, but the architect has to be. You must be able to match your ideas with your capabilities, in order to make sure very early on that you don’t mess it up and don’t draw something that just cannot be built with the budget that you have. Cut your coating according to your cloth. And this is also part of your professionalism. Just like in any other business: a chef must know what ingredients in what price bracket he must purchase so as to meet the customer’s expectations. Otherwise, it’s going to look very funny, like a person walking around with a Ferragamo briefcase, but barefoot. Hence the banisters made from angle bars, or the building gets damp and starts falling apart after the first winter.

Neoclassical architecture is like an aptitude test. It’s a challenge that few can cope with. It’s one thing making renders on your computer – it’s quite easy, the possibilities of the modern 3D design software are virtually endless. However, the proof of pudding is in the eating, as the founders of Marxism-Leninism taught us.

Probably because of that neoclassical architecture is not mainstream. Mainstream, on the other hand, is either hyper-modernism or jokes in the spirit of MVRDV.

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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov & partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov & partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Copyright: Photograph © Ilia Priporov / Evgeniy Gerasimov and Partners
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    Art View House on the Moika Waterfront
    Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov & partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Copyright: Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov and Partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov & partners
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    High-end residential complex Art View House on the Moika Embankment, 102, 2019
    Photograph © Andrey Belimov-Gushchin / Evgeniy Gerasimov & partners


Does it make sense to speak about evolution of this style in your company’s projects? Getting more sophisticated, perhaps?

In terms of pure drawing, probably no! Compared to the centuries of neoclassical architecture, twenty five years are but a fleeting moment. Rather, we have been evolving in terms of technology, which never stops developing. Executing such sophisticated components of the building as on Moika 102 was unthinkable a few years ago. This expands the architect’s capabilities; you can include into your projects more elements that are made at a factory, and not by the stucco artist. Seriously, this is very cool that a perfect Ionic column cap can be easily made with a machine, and then just mounted on the construction site, like in an erector set.

So it means that “neoclassical is in the details”?

Yes, pretty much so. An architect’s task is not fulfilled if you don’t feel like coming up close and touching the building. And I don’t feel like coming up close if I can see what it is all about from a hundred meters away: I get the idea, thank you, that’s enough. And sometimes you do feel like coming up close and checking out just how exactly it was done. All David Chipperfield buildings are like that. They are seemingly simple – but you at once get a lot of questions: how did the cast the concrete, how one matches the other, how was the window fitted into the concrete cast, how was the molding made? Amazing! Adam Caruso and Peter St John are also great masters of detail. Their bank in Bremen, Germany, is absolutely superb.

Details are particularly important where they can be closely examined – that is, on the bottom floors. You can simplify as you go higher, but you also have to do that smart. If we are to examine the sculptures of the Admiralty from a close range, it may seem that they all have dropsy. However, my architectural experience tells me that the author new how they would be perceived from a distance, in the air perspective. A person must want to come closer to the building and touch it. And we are trying to achieve such tactile attractiveness in each of our projects. So that are building would be interesting to look at from two, twenty, and two hundred meters away.

23 March 2020

Headlines now
The Paradox of the Temporary
The concept of the Russian pavilion for EXPO 2025 in Osaka, proposed by the Wowhaus architects, is the last of the six projects we gathered from the 2022 competition. It is again worth noting that the results of this competition were not finalized due to the cancellation of Russia’s participation in World Expo 2025. It should be mentioned that Wowhaus created three versions for this competition, but only one is being presented, and it can’t be said that this version is thoroughly developed – rather, it is done in the spirit of a “student assignment”. Nevertheless, the project is interesting in its paradoxical nature: the architects emphasized the temporary character of the pavilion, and in its bubble-like forms sought to reflect the paradoxes of space and time.
The Forum of Time
The competition project for the Russian Pavilion at EXPO 2025 in Osaka designed by Aleksey Orlov and Arena Project Institute consists of cones and conical funnels connected into a non-trivial composition, where one can feel the hand of architects who have worked extensively with stadiums and other sports facilities. It’s very interesting to delve into its logic, structurally built on the theme of clocks, hourglasses and even sundials. Additionally, the architects have turned the exhibition pavilion into a series of interconnected amphitheaters, which is also highly relevant for world exhibitions. We are reminding you that the competition results were never announced.
Mirrors Everywhere
The project by Sergey Nebotov, Anastasia Gritskova, and the architectural company “Novoe” was created for the Russian pavilion at EXPO 2025, but within the framework of another competition, which, as we learned, took place even earlier, in 2021. At that time, the competition theme was “digital twins”, and there was minimal time for work, so the project, according to the architect himself, was more of a “student assignment”. Nevertheless, this project is interesting for its plan bordering on similarity with Baroque projects and the emblem of the exhibition, as well as its diverse and comprehensive reflectiveness.
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.
The Snowstorm Fish
The next project from the unfinished competition for the Russian Pavilion at EXPO 2025, which will be held in Osaka, Japan, is by Dashi Namdakov and Parsec Architects. The pavilion describes itself as an “architectural/sculptural” one, with its shape clearly reminiscent of abstract sculpture of the 1970s. It complements its program with a meditative hall named “Mendeleev’s Dreams”, and offers its visitors to slide from its roof at the end of the tour.
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.
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.
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.
​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.
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
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.
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.
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”.
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”.
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.
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.
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.
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.
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.
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.
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.
​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.
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.
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.
​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.
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.
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.
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.
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.