Luzhniki, the largest Russian stadium, is situated in Moscow and is part of the Luzhniki Olympic Complex which was opened in 1956. Luzhniki is located in the Central Administrative Okrug between the Komsomolski Prospekt, the Third Ring and the Luzhnetskaya Embankment. Compositionally, the stadium is orientated on an urban axe with the Kremlin, the Cathedral of Christ the Savior and the building of Moscow University.
The first extensive renovation the stadium was undergoing in 1996. The works included the construction of a roof, covering the stands, and the refurbishment of the seating areas.
After Luzhniki was chosen as the venue for the 2018 FIFA World Cup opening match, the semifinals and the final, the stadium had to be adjusted to the current FIFA requirements. The seating capacity after the renovation will be 81.000 seats. The target is to preserve the unique character of the building, its spirit and historical elements.
One of the main characteristics of the stadium’s interior will be a concourse behind the historical façade with circumferential cascade stairs. This architectural solution will establish a dialogue between the historic façade elements and the new geometry of the bowl.
Courtyard of the Milan University, Via Festa del Perdono 7, Milano
Sergey Tchoban, Sergey Kuznetsov
The basis for the concept proposed by Sergei Tchoban and Sergey Kuznetsov for the yearly exhibition Interni Legacy was provided by the individual character of the venue itself. The courtyard of the Milan University is a symmetrical and almost square space surrounded by a two-tier Renaissance colonnade. The authors‘ idea was to placed an art object in the center of this countryard on a mirror foundation and in this way to create an illusion of floating in the air. But what could possibly float in the middle of a courtyard and at the same time suit this year’s motto ‘Feeding New Ideas for the City’ ?
The problem was successfully solved by the creators who were inspired by the popular service iCloud. “We developed this concept by converting an abstract image of information cloud into a material construction made of LED billboards which translates visual images. We made a floating cloud, a U-cloud, representing the idea of an alternative approach to future development of a city. In traditional understanding, a city is a pragmatic category yet we approached it in an unusual way. In our interpretation a city is a combination of such natural factors as clouds and leaves, they constantly creat something qualitatively, ideologically and structurally new without being bound to the ground“, Sergei Tchoban commented.
Technically, the idea was implemented in a witty way. On a metallic frame LED billboards were placed displaying changing images: in the beginning they form a picture of a real cloud that transforms into a tree crown and then into a structure of city quarters. The foundation of the construction is cladded with mirror panels. The reflection of the environment makes the whole construction look immaterial, so that the visitors can only see a big cloud floating in the middle of the Milan University courtyard.
Multifunctional Complex in Moscow City
1st Krasnogvardeisky proezd, site 17-18, Moscow
Sergei Tchoban, Aleksey Iliyn, HOK
Semenova,Tsarev, Varionchik, Prishin
357 000 sqm
The concept for this project was developed in collaboration with the American architectural company HOK.
In the further course the design was detailed by SPEECH. The preparation of construction drawings and supervision of the construction site was also supervised by SPEECH.
The complex consists of two towers – a 61-storey office high-rise and a 66-storey residential building, which are arranged rectangularly.
A base for the geometry of the building is provided by the elevated ground floor. The towers’ outlines narrow in 3 steps whereas the amount of storeys in each segment increases.
This complex is part of the new financial district “Moscow City” and is one of the largest construction sites in Europe.
As a landmark of Russian metropolis, the skyline of Moscow City impresses with its imposing appearance.
Museum for Architectural Drawing
Christinenstraße 18a, 10119 Berlin
Tchoban Foundation – Museum for Architectural Drawing, Berlin
Sergei Tchoban, Sergey Kuznetsov
Philipp Bauer, Ulrike Graefenhain (nps tchoban voss)
The building is set on the Pfefferberg at Christinenstraße 18 in Prenzlauer Berg, Berlin. The grounds were developed in 1848 for the Pfefferberg Brewery. Most of the buildings on these premisses are of historic interest and have been listed monuments since 1990. They accomodate cultural facilities, galleries, restaurants and hotels.
The new museum building is located at the entrance to the complex and latches onto the firewall of the neighbouring historic house at Christinenstraße 17. The building appears as a four-storey solid construction topped by a glass penthouse.
The glass volume protrudes out several metres over the north-east side of the building so that its polished steel soffit mirrors the square below.
The lower floors form bays which jut out at different angles over the street and square. A glazed loggia above the entrance niche is the only transparency allowed through the concrete facade apart from the polygonal window openings that have been cut into the relief work of the ground floor and rear staircase walls.
All exterior walls of the Museum for Architectural Drawing are of load-bearing waterproof in situ concrete. External walls comprise a 27 centimetre thick concrete core, a 10 centimetre insulating layer of foam glass and an 11,5 centimetre sand-lime brick inner wall finished in 1,5 centimetre lime cement render. The inner leaf serves to regulate humidity by successively absorbing and releasing moisture, whilst the outer concrete leaf core is practically impervious. The facade has been designed with a relief based on historical architectural drawings, applied across the structural matrices of the exposed concrete. The drawings were digitalised and graphically edited in a free repetitive rhythm to form new images.
In the interior of the museum, design motifs from the facade reappear and manifest themselves in the building’s design code, right down to the original door handles. An understanding of the whole building is made clear through the articulation of its parts aided by the consistent graphic concept. Nevertheless, the special requirements associated with exhibiting small, often monochromatic, art works remain in the foreground of the design strategy.
Gary Tatintsyan Gallery
2-6/19, Tessinsky lane, Moscow
Gary Tatintsyan Gallery
Sergei Tchoban, Andrey Perlich
Maxim Grishanov, Anastasia Kozyreva, Maria Rasskazova, Anna Sokolnikova
1 172 sqm
The Gary Tatintsian Gallery opened in Moscow in 2005 after its founder moved to Russia and it was soon in need of new premises. In his work, the gallery owner emphasizes new art media formats, photography and conceptual design with clear allusions to the ideas and forms of constructivism and avant-garde. The interior of the new gallery was created with regard to these art and architecture trends.
The gallery occupies the whole ground floor in the Art House complex on the river Yauza. The floor area of 1.172 sqm accommodates three spacious exhibition halls and a working area for gallery personnel with a small bar and compact apartments for arriving supervisors. Another exhibition hall is located in the basement.
The gallery is based on a corridor system – a reminiscence of legendary Russian avant-garde architects Moisei Ginzburg, Ivan Nikolayev and others. On the side of the main gallery entranceб a long corridor passes into three main exhibition halls. Opposite the entrance appearce a bar counter and a reception desk with a small office behind a glass partition followed by another spacious hall. This arrangement allows for functional zoning based on a well-thought system of interrelations, it organizes the flow of visitors in a way that makes it possible to position large-scale works of modern art.
The white color of the walls softens the excessive roughness of concrete surfaces. In combination with silver natural light penetrating through huge windows and sharp artificial light coming from the suspended systems mounted on the ceiling, white walls create a little surrealistic atmosphere for the artistic space and emphasize the radical design of objects and installations presented in gallery halls.
Novaya ploschad 3/4, Moscow
Sergei Tchoban, Massimiliano Fuksas
Mikhail Desyatnikov, Kristian Sullivan, Antonio Nardozzi
Eloisa Susanna, Ludovica Reed, Ilya Evstigneer, Stefania Di Mauro, Giuseppe Malfona, Sek Lam Chow
32 000 sqm
Competition 2013, 1st place
The concept for the Museum and Education Center of the Polytechnical Museum and Lomonosov State University in Moscow is based on the interaction of two worlds. One is the world of Soviet rationalism embodied in the architecture of area’s surroundings, and another is the unpredictable Russian mysticism. The first image is dominating the lower story of the building. It represents a regular orthogonal unit with glass façades speaking the same architectural language as its neighbourhood.
Massive broken dimensions, the sculptural complexity of which is opposed to the laconism of the building’s lower part, are encased in patinated copper and rise above the flat roof of the stylobate.
This division of the structure has also a pragmatic meaning. The flat roof of stylobate allows to increase considerably the number of public spaces that includes a spacious area in front of the museum separating it from the Lomonosov Avenue. This area serves as a specific threshold providing a connecting link between the city and the double height interiors of the stylobate part.