On a complex shape plot should be placed a residential complex. Facade decoration should be budget-friendly, but at the same time, the house should look interesting (not the same as rich). Light stucco with contrasting black window frames was chosen as the main material. The simplicity of the facade without details and seams creates a single monolithic image due to the complex shape of the roof and rectangular sections rotated relative to each other.

The volume of varying heights, following the outlines of the site boundary, resembles an iceberg in shape due to the sloping roofs and narrow "fjords" between the sections, the ends of which are finished with polished stainless steel. Hidden in the roof are exits and terraces for the upper apartments.

The project was made within the “Moscow standards” requirements.

Status - Concept
Year - 2023
Location - Kemerovo
Area - 32 100 sq m

Gagarin Park of Space Conquerors

The design site with an area of 22.5 hectares is located in the Engels District of the Saratov Region and is the second stage of construction of the Gagarin Park of Space Conquerors. The park is based on dividing the territory into thematic lands, each of which is dedicated to either past achievements or future achievements of Russia in space. One of the main design tasks was to reflect the legend of each theme land of the park in the architecture and landscaping, to make each land recognizable and unique, but at the same time to create design elements that unite all parts of the park into a single whole. The layout of the territory is based on the scenario of visitor movement.

The main entrance to the park is a portal with a diameter of 10 meters, leading to the "parallel reality" of the theme park. The teleportation effect is enhanced by a screen showing the galaxy. On the way to the main pavilion, visitors pass between the service facilities of the entrance group, cafes and souvenir shops. Each land offers rides and entertainment related to space or certain literary works: "Captains of the Future", "Alice's Adventures", "The Mystery of the Third Planet", etc.

The Vostok-1 pavilion reflects its main theme in its facade solutions - Gagarin's flight on the ship of the same name. The walls are finished with metal panels, shiny columns, smooth rounded shapes of openings, furniture, rooms and equipment convey the atmosphere of the time of Yuri Gagarin's flight, and the monochrome range of interiors in combination with glossy surfaces and soft linear lighting conveys the feeling of being on a spaceship.

In front of the pavilion, there is a central square leading to the other themed lands through special portals made in a single design: curved tunnels with metal trim, differing from each other in the color of the backlight and infographics on the inner surfaces

Idea and functional concept authors - Red Square

Status - Concept
Year - 2024
Location - Saratov oblast
Area - 22 500 sq m

The project is designed in collaboration with Project-2018

Status - Under construction
Year - 2024
Location - Moscow
Area - 162 713 sq m

Two perpendicularly positioned towers with arched tops form a dynamic composition with a silhouette unique to Moscow, visible even from the farthest vantage points.

The semicircular vaults crowning the buildings continue the rhythm of the side façades. The arches are not only decorative but also functional: they conceal technical equipment and elevator shafts.

The towers are designed with contrasting colors and materials. The façade of the lower tower is clad in terracotta ceramic louvers. The taller tower, which serves as the dominant element of the complex, features long sides framed with intricately shaped louvers made of light gray metal. The end façade is finished with slender vertical louvers placed closely together, creating the effect of a seamless surface.

In collaboration with Project-2018

Status: Construction Documentation
Year: 2024
Location: Moscow, 1st Grayvoronovskiy proezd, 2
Area: 75 200 sq m
Client: 3S Group

The Fili Transport Hub project has been shortlisted for the competition.

Developed by a large, tight-knit team of architects, engineers, designers, and urbanists, the project embodies the image of a “window house.” The composition consists of two high-rise towers connected by cantilevered levels. As you move along Bagration Avenue, a framing effect reveals a panoramic view of the Moscow City skyscrapers — an iconic and expressive silhouette of the city.

At the base of the complex lies a column-free space housing the transport hub. It brings together a metro station, the MCD line, a bus terminal, and pedestrian crossings over the railway tracks and the avenue. This is more than just an infrastructure node — it's a true urban public space.

The main hall volume is a modern interpretation of early 20th-century railway stations. This large-span structure not only serves a utilitarian purpose but also impresses with its architectural scale. Inside, there is an exhibition with model airplanes (a nod to the aviation plant that once occupied the site), cafés, and areas for rest. On the upper levels, sports and entertainment facilities offer panoramic views of the city and Moscow City.

The towers accommodate a variety of uses — from business to public functions — carefully selected based on an analysis of the surrounding urban context and neighborhood needs. Polished aluminum is the primary material, used on façades, platform roofs, and interior finishes. It visually and stylistically unifies the entire complex. The design code is reflected in every detail: the distinctive window shape of the tower is echoed in floor plans, paving patterns, lighting fixtures, and hardware.

The building features a unique, high-tech structural system developed by the project’s structural engineers. First, the two towers are erected. Then, the connecting levels are lifted by cranes to a height of 250 meters — all while traffic on the avenue and MCD line continues uninterrupted. The main hall is assembled on the ground as a spatial truss and carefully shifted into place from both sides using temporary supports.

On the rooftop, landing pads are provided for air taxis and drones. In the future, the journey from the airport to Moscow City will take just a few minutes.

In collaboration with Bureau-V, GRADTRANSPROEKT, PROJECT2018, and HIGHLIGHT Architecture.

Status - Concept
Year - 2024
Location - Moscow
Area - 8 ha
Client - JSC "New Concession Company"

A simple modern brick facade echoes the reconstructed historical building of the Krasnaya Roza Factory. The building is connected to the existing medical center by an elegant glass passage.

In collaboration with Project-2018

Status: Concept
Year: 2016
Location: Moscow, Timura Frunze street
Area: 15 000 sq m
Client: Medical Center

A self-initiated study by the studio - a reflection on how this iconic Soviet building could look today. The concept proposes restoring the cinema's role as the country's central film venue and a home for film festivals: a large screen extends from the interior hall onto the façade facing Pushkinskaya Square. The proposal also envisions the reconstruction of the balustrade and descents to Pushkinskaya Square, refreshing the perception of the ensemble as a whole. The façades are clad in metal panels with a pronounced reflective effect: the building literally dissolves into the surrounding historic architecture, shifting with the city, light, and time of day.

When I was a child, my mother taught me never to look at the Sun. But when I was six, I did it anyway...

A quote from Darren Aronofsky’s film Pi

At first glance, it may seem trite to quote The Four Books of Architecture—the canonical work of the great Andrea Palladio, which shaped the course of world architecture for nearly five centuries. Trite, perhaps, and outdated. Yet it is difficult to argue with his assertion that “the most beautiful and most perfect forms, from which all others derive their proportions, are the circle and the square.”

His famous Villa Rotonda in Vicenza, much like another iconic Renaissance building—the villa of Andrea Mantegna in Mantua—is, in essence, a meditation on the quadrature of the circle. This ancient geometric problem asks one to construct a square equal in area to a given circle using only a compass and a straightedge. For centuries, the finest minds wrestled with this puzzle, all in vain. Finally, in 1882, the German mathematician Ferdinand von Lindemann (perhaps an ancestor of Till, who knows?) proved that the problem is impossible to solve, owing to the transcendental nature of the number π (pi).

At this point, it is important to acknowledge the mystical and philosophical dimension of this geometric paradox, particularly in light of the symbolic meaning traditionally attributed to the two figures. In Christianity—and not only there—the circle is associated with truth, perfection, eternity, the celestial realm, the Kingdom of Heaven; the square, by contrast, symbolizes order, wholeness, materiality, and the earthly world. Consequently, the union of the circle and the square, or the transformation of one into the other, signifies the connection between heaven and earth and refers to a fundamental religious doctrine according to which “the invisible heavenly world and the visible earthly world are united in God as their common creator.”

One might therefore suggest that the ambition to solve the quadrature of the circle carried within it something almost blasphemous—a challenge to the divine itself. All the better, then, that it turned out to be a dead end for the human intellect.

As a result, the quadrature of the circle became a metaphor for the futile search for truth, for attempts to attain perfection in an imperfect world, to transcend the limits of sensory experience. The number π acquired a dubious reputation as a key to the mysteries of the universe and is now perceived almost as an alchemical symbol.

It is no coincidence that π—the sixteenth letter of the ancient Greek alphabet—gave its name to Darren Aronofsky’s cult film about Max Cohen, a paranoid schizophrenic and brilliant mathematician who seeks a universal pattern in stock market fluctuations. He discovers a mysterious 216-digit number and, in the process, descends into madness. He becomes convinced that the sequence generated by his computer contains the true name of God. His salvation from insanity comes in the form of a drill driven into his own temple.

Throughout the film, the protagonist repeatedly utters the phrase that serves as the epigraph to this manifesto. As one might guess, “looking at the Sun” is a metaphor for the pursuit of truth—which is also God. Cohen believes he has finally seen it and is punished for his audacity by being deprived of his sight, that is to say, of his reason.

Truth—like perfection, because it is perfect—is unknowable and unattainable. It is like the blinding surface of the Sun, ablaze with fire; like distant galaxies that captivate us with their almost mathematical beauty.

Yet nothing prevents us from imagining it.

Like Palladio, we consider the circle to be the most beautiful and perfect form. That is why we chose to represent the ideal as a mirrored sphere. It is enclosed beneath a dome and can be walked around in a circle, yet there is no single vantage point from which it can be seen in its entirety.

That is precisely the point.

In Bangkok, Thailand, there is the Temple of the Reclining Buddha—Wat Pho—where a gigantic gilded figure of the Buddha is housed within a relatively confined, albeit magnificent, interior. Visitors can study individual fragments of the sculpture in extraordinary detail, yet they are unable to take in the figure as a whole. We adopted the same principle because we have no desire for our guests to share the fate of the protagonist of Pi (just kidding).

In the adjoining room, visitors will encounter an absurdist video artwork inspired by Soviet television news broadcasts and the work of the British comedy troupe Monty Python. It presents an imagined alternative reality whose inhabitants, to their misfortune, have actually achieved perfection.

Project Curator: Anatoly Belov
Concept Author: Alexey Ilin
In collaboration with: Ortiga Development