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​In Search of Visual Clarity

In this article, we are reviewing a discussion devoted to the question of designing city space elements, which is quite complicated for the Russian expanses of land. The discussion was organized by the Genplan Institute of Moscow at the ArchMoscow convention in Gostiny Dvor.

13 October 2020
Overview
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At the ArchMoscow convention in Gostiny Dvor, Genplan Institute of Moscow presented two interconnected narratives of a global nature. The main task of the exhibition booth, as we already shared, was to demonstrate “that renovation of the city is not just an independent phenomenon, but a natural continuation of the idea of industrial housing construction”. 

The booth of Genplan Institute of Moscow at ArchMoscow 2020
Copyright: Photograph: Archi.ru


The topic of renovation is broad, not to say immense. Currently, it is actively developing in Moscow; in addition, the last couple of years have witnessed an active discussion on the prospects that renovation has on a national scale – so, chances are, we are in for renovation of all (or almost all) of our cities. 

This is why the other discussion, initiated by Genplan of Moscow, called “Design code of town planning projects: order vs visual noise”, one way or another can be considered to be a continuation and development of the renovation theme stated earlier. All the more so because the moderator of the discussion, Vitaly Lutz, the head of the Agency for Perspective Projects of Genplan Institute of Moscow, started the discourse by stating the framework of the topic as being maximally broad, referring to the urban space in its entirety: “...the projects of planning the territory for renovation purposes now contain such a notion as town code. The subject penetrates deeper, and we see just how relevant it is.”

Convenient Regulations 

The story of Artem Nikitin from the company Novaya Zemlya developed the idea: the message became a call for a “strategic approach in the field of regulation and identification of the characteristic features of the architectural appearance of our cities.” Part of the strategy that Novaya Zemlya is proposing became the convenience of perception of these regulations by everyone who must implement them and make them become a reality.

Artem Nikitin

The leading architect of the branch of digital solutions in urban planning, Novaya Zemlya. 



Artem Nikitin demonstrated developments for the Moscow region, Irkutsk, and Derbent. The purpose of these regulations is not just imposing certain restrictions but also proposing a convenient interface for complying with them. Today, recommendations on urban planning oftentimes look like a monster-sized bureaucratic document that is hard to read – Artem Nikitin emphasizes – Novaya Zemlya turns them into a user-friendly web application with up-to-date usability. 

Regulating the city environment. An example of user interface
Copyright: © Novaya Zemplya / presentation


Both the application and the spreadsheet demonstrated by Artem Nikitin include all the available components of the urban environment: streetlights, outdoor furniture, information structures, and so on. The target audience of Novaya Zemlya can be conditionally divided into three categories: first of all, these are the municipal officials, then city environment designers, and, finally, the residents themselves. The latter is particularly important for Derbent as a city where low-rise construction prevails: a resident or a store owner will easily find all the guidelines and the restrictions prescribed by the new design code, and send their design project for the approval by the authorities directly from the application.

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    Town planning regulations: the design code
    Copyright: © Novaya Zemplya / presentation
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    Town planning regulations: the design code
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code. The catalogue of outdoor furniture.
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code. The catalogue of road design
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code. New interface for the residents
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code. Derbent, the current state
    Copyright: © Novaya Zemlya / presentation
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    Town planning regulations: the design code. Derbent, a project of improving the street in accordance with the design code
    Copyright: © Novaya Zemlya / presentation


So far, the proposed systems are still in a beta mode – even though in Derbent the designers are already implementing and using one of the interfaces that were showcased at the convention – by and large, the proposal makes perfect sense: the more understandable the rules, the easier they are to obey.

***

Freedom and Meanings

Elena Chuguevskaya

General Director of Giprogor Institute



In contrast to the story of Artem Nikitin, who, as we saw above, presented programs for small cities such as Derbent or Khotkovo, Elena Chuguevskaya, director of the institute, which celebrated its 90th anniversary last year, immediately spoke about large cities and raised the issue of diversity and the degree of flexibility of solutions that should be described by the regulations. “In our institute, we have a big discussion – what is our attitude towards pre-existing buildings? Do we issue strictly protective regulations or do we leave some room for “metabolic” changes in the environment? How do we set the delta of variability when planning hard constraints? Because it’s not always enough to just pick an element from the catalogue – simply because you cannot “securely enter everything into some sort of catalogue”.

At the same time, the director of Giprogor noted: “our masters in the thirties, forties, and fifties, when they were preparing the master plans, would graphically draw the downtown part at least. Which means that the city was originally created as a space. We need to bring that back”.

Thus, Elena Cuguevskaya called for a balance between freedom and restrictions, insisting at the same time on the necessity to think whole parts of the city as integrated architectural projects, going from the general to the particular, without dwelling on the sets of admissible elements, which in themselves do not provide the integrity of the solution. In conclusion, the director of Giprogor emphasized the importance of preserving the meanings and images, which “any city consists of”, and which can be represented by some historical details or some town planning specifics.

Looking to achieve the desired degree of flexibility, Giprogor divided construction into four morph-types: 1) zone of redevelopment; 2) zone of stabilization (historical construction); 3) zone of development (new construction);4) zone of conservation. As a practical case, they named the system of public spaces in Sevastopol, developed by the institute.

***

Devil in the details 

Erken Kagarov

Art director of Art. Lebedev Design Studio



The presentation by Erken Kagarov was directly devoted to city environment elements, i.e. something that is usually associated with its design code: benches, trash cans, streetlights, and billboards – their design and compatibility, as well as examples of improving the appearance of city signs, which was done by Art. Lebedev Studio in collaboration with Moskomarkhitektura. It is popularly known that MKA has long been struggling for visual purity and uniformity, specifically when it comes to billboards, and Erken Kagarov gave a few examples of solving such tasks in the “before and after” format.

Before and after. Tverskaya Street. The design code. Yet-unused possibilities. Fonts regulated by height
Copyright: © Art. Lebedev Studio / fragment of the presentation


Just as meaningful was the part of the presentation, in which Erken Kagarov criticized the existing practices of advertisement placement – specifically, on the facades of museum buildings – as well as the shapes of outdoor trash cans and benches, oftentimes totally mismatched because they are done by different agencies. “Everything that the housing and public utilities service lays their hands on and up painted green” – Erken Kagarov said, emphasizing that some neutral color, such as gray or black, would look far more appropriate because it suits any season and does not immediately catch the eye.

Erken Kagarov proposed a few more useful ideas of public small architectural forms. Specifically, according to him, narrow lamp posts with a textured surface are vandal-proof because drawing on a textured surface is inconvenient, and, besides, magic markers are usually black, and you cannot see black on black, can you?

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    Before and after. Tverskaya Street. The design code. Yet-unused possibilities. Fonts regulated by height
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. Fonts, regulated by height and color
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. Posting the advertising: wrong and right
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. Constructions for outdoor flowerbeds: unsuccessful and successful
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. A green trash can dissonating with the scenery
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. A gray trash can going well with the scenery
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. An example of fences: garish green and neutral gray
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. Comparing the lamp posts from the standpoint of vandal-proof properties.
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. Commutators used as information booths
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. Odds and ends of the city environment
    Copyright: © Art. Lebedev Studio
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    Design code. Yet-unused possibilities. harmonized objects of the city environment
    Copyright: © Art. Lebedev Studio


Possibly, creating some specially designated department, for example, the department of Urban Environment, which would handle such issues, could be a solution to some of the problems- recapitulated Vitaly Lutz on Erken Kagarov’s presentation.

***

Moscow: the design code for individual territories 

Sergey Glubokin

Deputy Chief of the Office of the Architectural Council of the Committee for Architecture and Urban Planning Moscow

Sergey Glubokin mentioned the design codes of the European cities, specifically London, where, in addition to small architectural forms, signs, and billboards, a whole number of other aspects is regulated, down to the buildings’ outward appearance. Expressing some doubt as to whether something like this could be possible in Moscow, which is chiefly odds and ends, Glubokin, however, gave the example of ZILART as a case of integrated reconstruction with a single design code, which, as is known, was developed by Yuri Grigoryan. In ZILART, it is not just the signs that are subject to regulation, but also the facade materials, the percentage of glazing, and the landscape design, which, nonetheless, does not limit the architects’ creative freedom.

Sergey Glubokin also mentioned the design code of the city outpatient clinics, recently developed by MKA: “even if a company cannot design a top-notch project, within such a code it cannot fall below a certain bar”. Another example is the design code of the Alabushevo industrial park in Zelenograd, developed by ATRIUM in collaboration with Moskomarkhitektura.

*** 

Design for a highway

Vitaly Lutz

Head of the Agency for Perspective Projects of Genplan Institute of Moscow



As for his own presentation “Design code for transport infrastructure”, Vitaly Lutz dedicated it to the roads of the nation’s capital, and specifically to the new highway “Southeast Expressway” 15 km long, which is now being built in Moscow. As a successful case, Lutz named Saint Petersburg’s West High-Speed Diameter, and named two most important goals in designing such highways: humanization of the “brutal” technological construction and creating a recognizable image.

Design code for the transport infrastructure projects.
Copyright: © Genplan Institute of Moscow / fragment of the presentation


Vitaly Lutz proposed a set of elements, from which the graphic design of a highway could be constructed: bridge pylons, lampposts, side walls of road junctions, vaults, and noise screens. Then Vitaly presented projects of designing the expressway. The first one was created in collaboration with the bureau of Timur Bashkaev, and is essentially a longitudinal wave.

Project of the Southeast Expressway. Design code for the transport infrastructure projects.
Copyright: © Genplan Institute of Moscow / fragment of the presentation


In this project, the space beneath the road junction becomes public, with cafes and Ping-Pong tables. There are also a minimalist and “natural” version, and quite unexpected one – with ornaments: all three were made in collaboration with the architectural company “Progress” headed by Peter Anurin.

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    Design code for the transport infrastructure projects. Modern and historical examples of the transport infrastructure with the design code
    Copyright: © Genplan Institute of Moscow / fragment of the presentation
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    Design code for the transport infrastructure projects
    Copyright: © Genplan Institute of Moscow / fragment of the presentation
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    Design code for the transport infrastructure projects. Project of the Southeast Expressway
    Copyright: © Genplan Institute of Moscow in collaboration with ABTB
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    Design code for the transport infrastructure projects. Project of the Southeast Expressway
    Copyright: © Genplan Institute of Moscow in collaboration with ABTB
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    Design code for the transport infrastructure projects. Project of the Southeast Expressway
    Copyright: © Genplan Institute of Moscow in collaboration with Progress
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    Design code for the transport infrastructure projects. Project of the Southeast Expressway
    Copyright: © Genplan Institute of Moscow in collaboration with Progress
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    Design code for the transport infrastructure projects. Project of the Southeast Expressway
    Copyright: © Genplan Institute of Moscow in collaboration with Progress


Thus is quite a new approach to designing flyover bridges and the spaces underneath them – true, the latter are already used today, but mostly for car washes and parking municipal vehicles. It would be good to include these spaces into active city life; in fact, just as renovating industrial parks, developing the spaces underneath raised highways would enrich the city fabric with new fragments, finding the resources inside, and not outside the city. 

***

The fence in a small city

Nikita Asadov 

An architect, the partner of ASADOV architects



Nikita Asadov came up with an ingenious presentation entitled “Design code and things to wear with it”, likening architecture to clothes and design to dress code. He shared about his experiences of working in small cities and spoke about the sore Russian issue of fences and plastic windows, which, regretfully, tend to replace valuable historical woodwork in privately owned buildings.

How do we go about implementing new ideas? Nikita Asadov believes that the best way to do it is by showing examples of “what is good and what is bad” – the slides that the company prepared for the town of Zaraisk. For example, a picket fence or a wooden gate in the spirit of the old city is good; a corrugated fence is bad.

In the “Dry Cleaning” section, Nikita Asadov presented regulations for facade elements developed for the city of Sevastopol: canopies and window blocks, appropriate in this or that place. All you need to do is enter a specific building into the regulations software, and it will display the possible options. If, however, we are talking about new construction, setting the algorithm is even simpler – here Nikita Asadov showed a project that ASADOV Architects proposed for a pilot renovation project.

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    Design code and things to wear with it. Guidelines for Zaraisk
    Copyright: © ASADOV Architects
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    Design code and things to wear with it. Guidelines for Zaraisk
    Copyright: © ASADOV Architects
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    Design code and things to wear with it. Taganrog, the current state
    Copyright: © ASADOV Architects
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    Design code and things to wear with it. Taganrog, a fragment of city environment
    Copyright: © ASADOV Architects
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    Design code and things to wear with it. Sewvastopol. Regulations on canopies, awnings, and window blocks
    Copyright: © ASADOV Architects
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    Design code and things to wear with it. The algorithm for new construction
    Copyright: © ASADOV Architects


During the final discussion, Artem Nikitin once again emphasized the importance of a visual understandable explanation over a set of documents 500 pages long. Erken Kagarov reminded that Art. Lebedev Studio also contributed to developing the design code for Zaraisk – and it was there that the authors deemed it possible to support the idea of a wooden picket fence in a modern city. At the same time, in the European cities – Erken Kagarov emphasized – different design codes are developed for different areas of the city, based upon the specifics of the area: “this is normal; this is what makes a city diverse and interesting”.

***

Summing up the discussion, one can say that a design code is an elastic term: one of its poles is standardization and regulation of the most basic elements of the city space, from flowerbeds to benches and trash cans; the other is full-fledged architectural proposals and concepts that consider part of the city fabric as an integral work of art. In both cases, it is all about bringing chaos to order, but while the former proposes “school” rules and cares about the easiness of their implementation and obedience, the latter considers the city from the point of view of an architect that creates a new city.

How strongly are these two approaches at odds with each other, if at all? Possibly, the answer lies in recognizing the value of diversity. The urban planners of our time, in addition to asserting the necessity of regulations, still value identity and diversity of possible options, and even speak about the necessity of defining a “delta” for freedom of self-expression. Only such freedom, let’s face it, can ensure the diversity that has been so much spoken about. Because excessive regulation is at best fraught with monotony.

Hence, it logically follows that the main virtue of the modern author of the town planning code is not to cross the line, leaving space for self-expression, particularly in small towns. Convincing and explaining, not ordering, and if we are to introduce rules, then so that their observance is convenient. And – which is just as important – inviting artists, architects, and designers. In this sense, it is essential that the discussion featured not just sets of rules and regulations but also architectural projects of various scales, including those that were developed in collaboration with urbanists, yet demonstrating individual search for the unique form.


13 October 2020

Headlines now
Inverted Fortress
This year, there has been no shortage of intriguing architectural ideas around the Omsk airport. The project developed by the architectural company KPLN appeals to Omsk’s history as a wooden fortress that it was back in the day, but transforms the concept of a fortress beyond recognition: it “shaves off” the conical ends of “wooden logs”, then enlarges them, and then flips them over. The result is a hypostyle – a forest of conical columns on point supports, with skylights on top.
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.