EW[ЭВЭ] EarthWorkers

Non-human and human standards Architects' Data is a new reference book for spatial requirements in building design and site planning based on ecological and ethical principles of architecture development for the 21st century.

The original book of Architects' Data was first published in 1936 by Ernst Neufert and represented the human-centered algorithms of designs. The book was translated into 17 languages and has sold over 500,000 copies.

Neufertgreen 1st edition 2021 was presented at 'Terra' - Lisbon Architectural Triennale

Neufertgreen readers at Lisbon Architecture Triennale

Neufertgreen readers at Lisbon Architecture Triennale

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In this project, we employ contrasting conceptual building baseline models to illustrate the potential climate futures for the city. Rather than focusing solely on typical overheating concerns, the architecture also incorporates thoughtful solutions for frost resistance and multi-cycle (heat-freeze) resilience. The project visuals demonstrate how architecture can engage with weather patterns, using them as a tool for form-finding and design innovation.

The protocol’s primary objective is to develop a new vision and standards for urban design that address unpredictable weather conditions. In addition, the project aims to achieve a 30% reduction in production costs per square meter through advanced automation, shorten the production cycle to two months, and comply with the environmental safety and responsibility standards set for 2045-2060. Furthermore, the project seeks to leverage advanced Life Cycle Assessment (LCA) techniques to evaluate the environmental impact of the buildings while integrating Design for Manufacture and Assembly (DfMA) principles to optimize design and manufacturing processes.

The core of the design brief centers on creating 3D volumetric wood and hybrid modules for multi-story, private, and mixed-use projects. These modules will consist of structural wall panels, columns, and floor slabs, forming a robust and stable load-bearing structure for each element. The components are to be manufactured in controlled factory conditions and delivered to the site fully finished. Additionally, the system should be flexible and adaptable to meet various market demands and customer needs based on local contexts.

We prioritize enhancing architectural diversity by emphasizing the visual appeal, performance, and adaptability of buildings. Design diversity includes the variety of shapes, sizes, colors, materials, and configurations achievable with modular external facade elements. These components can be attached to the main structural modules and serve multiple functions, such as shading, ventilation, insulation, aesthetics, extra space, and energy generation.

Despite the simplicity of the grid structure and module type, this system allows for the creation of a variety of building types based on only two types of modules, for private and public functions. The structural grid provides a framework that can accommodate changes: open-plan offices or residential units should have plans for easy reconfiguration without affecting the building’s structural integrity.

The brief focuses on the idea that modular automated solutions could help increase the diversity of design tools by providing affordable automated project frameworks for integrating new innovative ideas, especially in the field of green sustainable architecture.

The external facade module can have a variety of geometries. It is designed to give the building a distinctive look and offer protection from different weather conditions. The module can be constructed using various materials including metal, glass, wood, or composite panels. It can also have different shapes such as flat, curved, or irregular. The module can be installed on the existing structure or on a separate frame.

We utilize Life Cycle Assessment (LCA) as a comprehensive tool for conducting environmental impact assessments on entire buildings, manufactured products, and material assemblies. The LCA analysis evaluates both direct and indirect inputs—such as energy and water—as well as outputs, including carbon dioxide emissions, that arise from the manufacturing process, transportation, installation, use, maintenance, and disposal of materials or assemblies.

By considering the entire life cycle of a material—from resource extraction to end-of-life disposal—LCA provides a comprehensive understanding of the total environmental impacts associated with a new building across various weather and climate conditions. This approach allows for a thorough assessment of how different factors influence the building's sustainability throughout its lifespan.

The challenge to the status quo.

We present a forward-thinking vision for modular, multi-story buildings that integrate private and mixed-use functions, responding directly to the evolving demands of environmental sustainability. Designed with the pressing challenges of the climate crisis in mind, it proposes adaptable architectural solutions that align with emerging environmental standards. By reimagining the potential of modularity, this approach seeks to establish a new paradigm for buildings that are both resilient and responsive to future ecological and urban needs.

Automated construction presents a challenge to architectural diversity. While it can lead to standardization and fewer unique designs, resulting in similar-looking buildings, it also has the potential to reduce costs for more complex forms.

The exterior of the building could be clad in wood and aluminum prefabricated 3D and 2D components The facade system should be designed in a manner that collaborates with the climate. This should involve incorporating shading mechanisms to reduce overexposure to the sun during hot periods, as well as additional insulation to retain warmth during colder months. It's also important to minimize the variety of facade types, penalization, and complexities to reduce embodied carbon. The facade toolkit allows plan virality of facade types on baseline structural grid.

In the face of extreme weather conditions, architecture acts as a landscape that collects grey water, filters air, and insulates interior spaces through the use of rammed earth and greenery. These seemingly controversial forms and façade solutions paradoxically yield significant benefits, enhancing environmental resilience and improving the overall quality of the built environment.

The combination of two types of modules can create a complex architectural structure with developed horizontal public space, a retail stylobate, and vertical residential units.

The Privilege of Aging Materials: A Reflection on Modern Sterility

The phenomenon of aging, often relegated to the realm of decline, demands a radical reevaluation within architectural theory and practice. Far from a mere sign of deterioration, aging emerges as a dynamic force that can enhance the functional and aesthetic qualities of construction materials.

Aging, redefined as a privilege, shatters the conventional boundaries of architectural design. To confront aging is not merely to acknowledge its inevitability but to engage with the hidden cultural and contextual forces that shape our built environment

Aging and the obsession with minimalism are intertwined in a dangerous, reductive dance—a relentless pursuit of control and perfection in an architecture that denies the complexities of time and human experience

In a world characterized by uncertainty, the allure of minimalism lies in its promise of control. Sterile spaces evoke a sense of order, a respite from the chaos of contemporary life. They present an illusion of mastery—where everything is in its place, free from the unpredictable narratives that aging materials convey. This pursuit of control, however, often comes at the expense of authenticity and connection to our surroundings.

Minimalism, with its sterile lines and stripped-down aesthetics, offers a vision of agelessness, an ideal of the pristine that erases the traces of wear, the marks of lived-in lives. It seeks to freeze time, to impose an illusion of control over the natural decay that aging brings. But in this pursuit, it misses the deeper beauty of aging itself: the organic, unpredictable accumulation of history, use, and memory that inevitably makes a space more human.

As materials age, they undergo transformations that can enrich the built environment, reflecting the passage of time and fostering a deeper connection between humans and their surroundings.

As The World ages, so too must our spaces—embracing the erosion of time, the accumulation of memories, the comfort of imperfection. The architecture of aging should revel in imperfection, complexity, and the unfiltered narratives that emerge when time leaves its mark. Instead of controlling aging, architecture must surrender to it, allowing time to reshape, to mold, and to create something far more alive.

Architecturally, Block 18 is informed by Belgrade's heritage, integrating traditional elements with contemporary, ecological, and sustainable materials such as wood and composite aluminum. This design approach seeks to harmonize the built environment with the natural surroundings, reflecting a commitment to sustainability and environmental responsiveness.

The masterplan strategy "Garden Valley" presents a synthesis of various urban structures integrated into a vast green park, with a major pedestrian boulevard dividing the site into two distinct areas. The residential zone is designed to connect the existing city with the new development along the river. Public infrastructure features extensive sports facilities, historically associated with the Sava River shoreline. The new urban services, including retail, schools, and sports facilities, are intended to benefit both the existing New Belgrade community and the revitalized Block 18.

The underlying conceptual image behind Block 18's urban design is a lavish green network of parks within the site and on the river shore. This green network consists of a chain of green spaces of various scales and openness to the public.

Re-cultivating and restoring natural green areas is a key concept in master planning. The Sava embankment is being redesigned to become a lively, sports-oriented promenade, while also prioritizing the preservation of wildlife. The updated design will include new cultural and educational spaces along the waterfront. Additionally, the embankment park will feature special green islands designed to filter the water that flows off the floodplains.

In this project, all buildings are climate-machines contributing to the city's overall climate scenarios. The shapes are designed based on the concept of balancing function and impact. Paradoxically, an overly complex form can significantly reduce the efficiency of the heating system.

The housing program is categorized into two types: City blocks and Park blocks. City blocks are characterized by higher density and taller buildings, while Park blocks are lower and offer more spacing between structures. These blocks include patio and terrace houses of varying scales, with each unit designed to accommodate both residential and workspace functions. The plan incorporates several megastructure footprints, drawing inspiration from Belgrade's planning heritage. This approach creates opportunities for diverse housing types within a single block.

The pathways in a maze are fixed, but the walls and paths can change during the game. Parts from buildings can be endlessly reconfigured and reused.

The interior spaces are fluid, designed for adaptability and interaction. Walls can shift, rooms can expand or contract, allowing for a multiplicity of experiences. The boundaries blur between indoor and outdoor, emphasizing a connection with the environment and fostering a sense of belonging

This project embraces the complexity of found materials, presenting a collage of textures and histories. The villa becomes an organism—its form dictated by the cumulative presence of various objects that have been displaced and recontextualized.

The space is composed of a collection of found objects, including: an abandoned concrete structure, two walls, twenty-one stones, four tubes

The villa is not merely a structure; it is a dialogue—a conversation between the past and present, between nature and the built environment. Situated against the backdrop of the Aegean Sea, this design operates on multiple registers: it engages with the island’s cultural history, responds to its ecological conditions, and defies the commodification of space through the use of reclaimed

Dom Radio Musicaeterna

In 2019, Dom Radio became the home of the Musicaeterna choir and orchestra. The historic building was thoughtfully transformed into a dynamic cultural center through subtle, minimal interventions, laying the groundwork for a major future renovation.

The concept of temporary adaptation focused on preserving and enhancing the building’s original acoustic qualities, particularly those of its historic recording and radio studios. Each space was explored and tested through various acoustic scenarios, then adjusted to function as a flexible environment. This allowed the spaces to be reconfigured as exhibition venues, all while contributing to the larger vision of a continuous, unified artistic experience.

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First studio

Acoustic toolkit

Acoustic toolkit

Dom Radio Acoustic toolkit

Dance studios

The main goal of our project was acoustic adaptation. To achieve this, we developed the concept of an acoustic toolkit—a collection of wooden elements that can be assembled within the spaces to create the optimal acoustic environment for each performance, while preserving and not disturbing the existing historical interiors.

In the labyrinths of endless corridors, in pre-revolution era galleries, in dimly lit halls of the soviet period — the famous orchestra has its rehearsals, young composers create new music pieces, and renowned masters and philosophers share their knowledge with listeners. In experimental studios, artists rely on their taste and intuition to create works that go against popular trends or opinions. The best of the projects conceived in the laboratory are going to be presented in various cities in Russia, Europe, and the rest of the world

Design code concept book

Dom Radio Public spaces

Sound Sculptures

Third Tesla studio. Exhibition "Hidden Avangard" 2019

Logo

The module functions as a self-sufficient, off-grid living unit, thoughtfully engineered to engage with its environmental context. Central to its design is a climate-controlled core—an intentional construct that provides a stable microclimate, shielded from the unpredictable forces of external weather. This core is enveloped in high-performance insulation, which effectively mitigates heat loss and optimizes energy efficiency, positioning the unit as a sustainable response to contemporary climatic challenges.

n an epoch increasingly marked by the uncertainties of the climate crisis, this architecture transcends conventional notions of shelter. It demonstrates a remarkable adaptability to diverse and often volatile climatic conditions. Notably, the unit's total area can be modified in response to these environmental factors. For example, the terrace surrounding the core can function as both a protective buffer and an extension of usable space, enhancing the living experience while further insulating the interior.

The width of the core is 2450 mm and the length can reach up to 12000 mm. When transformed, the area of the temporary dwelling increases from 15 to 120 m². The canopy material is constructed from a composite material as part of the ATLAS LAB project, based on the structure of insect wings and shells (prototype in progress).

By integrating essential amenities within this adaptable framework, the module redefines notions of comfort and resilience in mobile living. It stands as a testament to innovative design strategies that address the pressing need for sustainable housing solutions in a world increasingly subject to environmental extremes.

The material of the contour is a multi-layered textile facade designed for both functionality and durability. The outer layer is crafted from a fire-resistant, water-repellent fabric that not only provides protection against the elements but also ensures safety in case of fire. This advanced textile is treated to withstand harsh weather conditions, enhancing its longevity.

The facade of the module integrates advanced solar-collecting technology, enabling the effective harnessing of solar energy. This integration significantly enhances the module's overall energy efficiency and facilitates off-grid living by decreasing dependence on external power sources. Furthermore, the multi-layer construction of the facade provides enhanced insulation, contributing to the regulation of the internal climate. This design consideration not only promotes a more comfortable living environment but also minimizes heat loss, thereby reinforcing the module's sustainability and resilience in varying climatic conditions.

SCRIPT The phases of the masterplan and the work with time on the site are scripted bу the existing biosphere. We propose that the curators and patrons for the castle and the land use our masterplan

TIME PRESERVATION

We see our role to bе invisible and minimal with our interventions in the preservation of the ruin. The first step is to design а structural support intervention, which allows the ruin to remain untouched and improve access. The castle traces the shadows of new elements and experiments with new materials. lt remains а time sculpture which generates а structure for an ecosystem.

MONITORING

Effective biosphere monitoring is challenged by our limited knowledge of countless species and of the ways in which plants, animals, and microbes respond to ecological change and disruption. This Biodegradable monitoring system in form of Biodegradable seeds collects all sorts of data on the soil and plant conditions and transmits that data to a spectrometer. The data collected can be uploaded onto the user’s computer, in the soil archive through an associated app, and processed with “AI prediction scenarios” for creating different training interpretational models of the structure of the “hidden biosphere” and its agents.

SEED - Biodegradable Plant Monitoring System

The street is no longer a channel—it is a field. A thickened, textured ground that rejects the tyranny of the straight line. The carpet street is not a conduit for movement alone but a topographic condition, a continuous urban fabric that absorbs habitation, commerce, and ecology into its weave.

Like a soft, mutable textile, the city is stitched together by flows of people, water, vegetation, and commerce. Boundaries blur: street, plaza, dwelling, market, park—no longer distinct but absorbed into the deep, undulating surface of urban life.

Conceptual Framework

◯ Topographical Streets: Instead of linear corridors, movement is absorbed into a fluctuating terrain—a hybrid between landscape and infrastructure. ◯ Programmatic Porosity: Streets are no longer neutral voids between buildings but host integrated micro-ecosystems—markets, gardens, and fluid public spaces. ◯ Non-Hierarchical Mobility: No dominant circulation logic—pedestrians, cyclists, and autonomous vehicles interact through gradients rather than lanes. ◯ Temporal Flexibility: Streets shift functions over time—morning commerce, afternoon play, evening social condenser.

The modernist grid dissolves, and with it, the illusion of order. In its place: a thickened, lived-in street, the city as a landscape, a carpet woven with the rhythms of life.

No longer a space “between” buildings, it becomes the architecture itself—a deep surface, folding, thickening, eroding. A terrain where movement is not prescribed but discovered, where pedestrian pathways are carved by desire rather than dictated by plan. Vehicles, if they still exist, do not dominate but weave into the contours of a landscape designed for friction, negotiation, and encounter.

Masterplan Development Strategy

Deconstruction of Grid: Replace existing orthogonality with a soft-grid—a network of zones that respond to topography and human-scale movement. ◯ Hybrid Ground: Mix of natural and synthetic terrains (sand, grass, water-absorbent surfaces) to allow diverse modes of occupation and transport. ◯ Plug-in Nodes: Instead of fixed intersections, introduce dynamic activity clusters that morph based on time and demand. ◯ Stratified Movement: Walking paths sink, vehicle flows lift—creating an interwoven network of circulation without fixed roads. ◯ Evolving Density: Urban fabric densifies in response to use patterns—creating an adaptive framework instead of a fixed masterplan.

The modernist grid dissolves, and with it, the illusion of order. In its place: a thickened, lived-in street, the city as a landscape, a carpet woven with the rhythms of life.

The main area of the bar is adorned with thousands of mosaic patterns created by an AI generator from a single fragment found in the foundation. All the furniture is made from mirror aluminum and appears almost invisible from a distance

The collection of furniture items reflects the concept of "broken modernism" in which pure geometry exhibits imperfections

Furniture collection

The collection of tiles is constantly expanding, adding new patterns to the wall landscape

Pattern # 011

Pattern #004

The Ultimate Landscape Manifesto is written based on the methodology developed by Meganom for the project of The Pushkin State Museum of Fine Arts complex reconstruction, restoration, and adaptation for modern museum technologies (2011-2025)

We believe that the word ‘landscape’ has lost its genuine meaning given that it is widely misused by mistake to describe any territory as opposed to the man-made object, and therefore seen as a surrounding mass or a background noise. This semantic confusion takes roots from the romanticized vision of the landscape that circulated on the rise of the Anthropocene when it was associated with untouched nature in contrast to the human-created territories like cities, villages, agricultural fields, pastures, seaports, railway systems, and others. The focus shifted as long as the impacts have been rapidly increasing with the emergence of enormous global infrastructure supported by the massive scale urban construction affecting one by one adjacent vacant spaces. At long last, on the rise of the Post-Anthropocene the human has conquered nature, so has the borderline between those two vanished. Architecture continues fighting against this entirely generated landscape in the same way as the human tries to reconstruct nature.

We think that it is time to talk about architecture not as a separate intervention to the existing  morphology, but as a particle of a much more complex integrated platform. Hence, we introduce for ourselves an updated definition of the term “landscape” as a set of material and immaterial layers that we do not try to divide based on the traditional notions of nature/manmade, urban/rural.  Instead, we see it as a synergy of all overlooked and conceivable phenomena – natural, cultural, anthropogenic, etc., which tend to intersect and overlap each other, reconsidered and translated into the form of the governed project for each concrete territory. We reject contradistinctions and consider architectural and urban practices as a unified development process of the last total form materialized from all the processes and manifestations. For us there is no distinction between cities and buildings – 

the ultimate diversity of cultures is arranged in the single informational space that forms the common landscape of our civilization. Any architectural structure is a form of radical manifestation. For us architecture is not static, neither the manifesto. It is a continuously updated database that enables translating theoretical hypothesis into material objects.  

1.Landscape as Ultimate Manifesto.

This ultimacy is manifested in the continuity, even solidity, of one Überlandscape that consists of multiple tangible and intangible elements forming one coherent diversified space. We trace the all-encompassing conceptual, philosophical, political and sensuous content of the landscape rather than its physical entity.

We suppose that by creating new tools for measurement of architecture and putting questions like “how the climate of the landscape is expressed?” we can create a more solid form and project it towards the future. We use the ultimate manifesto as the universal tool for a complex research and conceptualization of the landscape. With each newly born project, it is immediately reconsidered and accordingly complemented with the additional layers.

2.Landscape as Hypothesis.

The project of the ultimate landscape is an attempt to describe the complex adaptive system consisting of multiple hidden processes that are in a continual state of transformation. What constitutes the functional ecology of the landscape is impossible to define since the questions “what for” and “for whom” merged together blurring semantic and metaphysical delimitations of its subjects and objects. Ultimate Landscape is indeed a product of the Anthropocene but it already affects us in the same way as it is affected by us, hence it will always be unpredictable even if we know the dynamics of all those impacts. The attempts of programming, artificial modeling and masterplanning will never achieve their long-term goals – what we should aim at is designing uncertainty, plugged in a platform for the circulation of potentials that we can’t predict at this very moment. Hypothesis is about a never-ending process – the project never achieves its final form being always in the state of transition.

3. Landscape as Memory.

Landscape serves as a hard drive for all the soft events - processes, histories, laws, rules, consensuses, myths, failures, and successes of the past. The human concurred the nature and upon it created its own. Its geographical reconfigurations are equally material and virtual, green and concrete at once – аnthroposcape, a physical mold of our civilization. Software becomes hardware, Information takes its material form.

4. Landscape as Climate.

Landscape is an ecosystem, a network of interactions consisting of crossover environments – political, cultural, social, economic, natural, and others that are tightly intertwined in time and space, permanently affecting each other through endless feedback loops. It is the intersection of the landscapes formed by alien cultures, mixed and swallowed by each other giving birth to new species and burying the ones that couldn’t survive.

5. Landscape as Provocation

It is by its nature a territory of evolutionary processes, spontaneous activities, conflicts, and mistakes that might lead to the emergence of new forms of activities while changing the existing behavior patterns. We build potential scenarios based on the union between imagination and reality, program and uncertainty. It rejects and in the same way encapsulates contrapositions like exterior/interior, human/nature, organic/non-organic, culture/mundanity, urban/rural. The ultimate absence of borders and limitations creates new interpretations and challenges.

6. Landscape as Myth.

It is an attempt to standardize a dream, to create an idealized place for everyone. It is an imaginary place of ideas and hopes, being in the constant rotation of natural selection. An idealized space that is never achieved, an unapproachable rendered model of the paradise that we have cultivated in our minds and failed to normalize. It is a dream about ourselves.

The Ultimate Manifesto is an attempt to develop an active design instrument in order to test the theory of the “total form” in practice. The necessity of such method appeared during the process when we raised several questions while working on the Pushkin State Museum of Fine Arts complex reconstruction project: one of the fundamental ones was the question of defining the border between the form and processes. In the project, we applied the metaphor of rhizosphere – a unified plateau for segmental buildings – the platform that creates a uniform design and offers programmable opportunities for different initiatives. The museum is mixed with the city, the borderlines become transparent and permeable. The opportunities of the platform are only limited by the conception of the depth of the urban and cultural processes, whereas architecture becomes an instrument for erasing limitations and restrictions, interior and exterior, by becoming a united microlandscape. By understanding that any intervention alters the overall system we consider all the twelve buildings of the museum, internet resources, the evolutionary city, transient spaces, and future exhibitions as one united body of the museum complex. For us, any of these museums by its typology is a part of the global museum infrastructure that shares and represents a united historical and cultural landscape. Moving around the world and visiting different museums, the spectator is, in fact, an explorer of the unified global museum landscape, which combines the common history of the exhibition spaces and expositions into one imaginary Supermuseum. All the museum collections form a united display of information and all exhibition spaces become a united space of representations as integral layers of the Ultimate Landscape.

In the project, we see all the buildings and the city as a united form of the landscape defined in a much broader sense in our Manifesto. The Ultimate Manifesto enables us to challenge routine architectural practice, adding to its visionary instrumentarium by mixing theory with reality. It is updated and expanded with each new project and can be applied to any scheme regardless of the scale, location, aesthetics, and time of origin, exploring forms as a united form in various incarnations – all the cities as a united city, all the cultures as a united culture – together they form the Ultimate Landscape, originated and fostered by the Anthropocene fever.

Dom Radio

In December 2019, musicAeterna relocated to Saint Petersburg, and Dom Radio became the creative residence of the orchestra and choir. We were invited to create an experimental light-touch renovation project, aimed at exploring the building and developing a design code for its future renovation.

All pop-up installations and minimal renovation techniques are rooted in the essence of Byzantine modernism. A paradoxical union—where temporalities collide. Here, history and the present do not merely coexist; they negotiate, redefine, and resonate across time. Byzantine modernism does not erase the past; it amplifies it.

It is a seamless interweaving of legacies, where time is no longer linear but layered, creating spaces where past and future are inseparable. The heritage of the building is not preserved, it is redefined in the new language of simplicity.

Tesla Studio
The building was explored by architects, artists, filmmakers, and writers, who, along with acoustic experts, examined its unique spaces. Based on this exploration, the idea of Byzantine Bauhaus emerged as the central narrative for the quick or temporary adaptation. This approach was developed to respect the building’s historical and architectural integrity while allowing for flexible use and creative evolution

Tesla lectorium
The guiding principles of the light-touch renovation of Dom Radio were shaped by the building itself.

Architectones. All installations were made of reusable and recyclable materials, and the design code of the bar refers to avant-garde architecture of the early 20th century.

The space of Dom Radio was designed to host the public program of the orchestra, which is anchored in the concept of Byzantine modernism—an imaginative style inspired by the cultural movements associated with Musicaeterna and Teodor Currentzis. This aesthetic aspires to create a vibrant cultural center in Saint Petersburg, seamlessly integrating contemporary artistic expressions with the rich historical and spiritual traditions of Byzantine heritage. By incorporating elements such as intricate geometric forms, varied color palettes, and a strong emphasis on communal gathering spaces, the design aims to cultivate a creative atmosphere that fosters cultural exchange and artistic collaboration, embodying the dynamic spirit of Musicaeterna.

R.A.D.I.O. 'Broadsheet for the opening ceremony 2019' The real broadsheet about partly fictional, partly real new architectural and musical dimensions of the historical building.

R.A.D.I.O. Broadsheet

Public program. Lectures

Offices

Rest rooms

Round Table

Wormworm is a service that empowers users to create environmentally friendly architectural and design materials and elements using available sources in a specified market.

'Straw fur coat'

'Straw fur coat' facades'

Concept

Rational Sustainability is embedded as an operational strategy, focusing on energy efficiency and optimizing logistical processes. The design also promotes biodiversity by fostering interactions with diverse manifestations of nature. This is achieved not only through the careful selection of materials that promote ecological longevity but also through their seamless integration with the surrounding landscape. The project, therefore, strives to unite human habitation and the natural world in a state of harmonious coexistence, placing ecological methodologies and sustainable development at the forefront. A particular emphasis is placed on ensuring the year-round functionality of spaces to accommodate diverse user groups.

The form and structure of each individual element play a critical role in shaping the overall architectural composition, particularly along the frontal line of the settlement. The strategic displacement of building volumes, while maintaining alignment with the red line, creates a cohesive yet nature-oriented facade. This design approach ensures that the settlement presents an organized, yet organic appearance, drawing from the surrounding natural environment.

Structure

The project includes a range of key facilities, each contributing to the settlement's functional and aesthetic coherence. These include an administrative and utility complex with a beauty salon, wellness center, household services, order collection points, café with bakery, and cooperative store, covering an area of 2360 m². Additionally, the settlement features a kindergarten (800 m²), a school and sports complex (3150 m²), and a Temple of Music (1600 m²), providing cultural and educational spaces. A wellness center (1150 m²) and workshops, self-storage, and ceramics facilities (1000 m²) further support the settlement’s multifaceted character.

The design emphasizes the inclusion of landscaping and public spaces as essential components of the natural surroundings.

The design integrates durable materials and forms that embody a symbiosis between human and natural elements. This fusion of strict geometric lines and organic curves ensures both the longevity of the structures and their seamless integration with the surrounding landscape.

The selection of materials and the structural organization of spaces are intended to enhance the presence and influence of nature within the settlement. The approach emphasizes ecological integrity, where materials and spatial configurations reinforce the natural environment. Furthermore, the project incorporates resilience, ensuring that the settlement remains tranquil and provides a sustainable, comfortable living environment year-round, regardless of external disruptions.

Spatial evolution is conceived as a symbiotic collaboration between humanity and the natural environment. At the core of this project is the integration with nature, fostering a harmonious environment that facilitates cooperation between human activity and the landscape.

The house is open for the sea and hidden from people. Hidden places for seclusion. Sea deck for ritual arrival. Stella - is the signal from the city.The bell created in the island soil. The grotto for one person in the rock. The amphitheater is open into the horizon and the hall for one person is hidden in the rock. Acoustic and windscreens.

5 stones for swimming and sunbathing

2 stairs to the sea

Collection of trees for conversations- 9 olives of 18 cypresses.

6 tables of the different sizes in different parts of the site for work

breakfasts, conversations, and celebrations

Stones - signs around the site

The ladders and steps cut in in the rock

the adapting landscape for a human body

Let's Be Honest with Time

As our world becomes more conscious of the environmental toll of construction, the conversation around sustainable materials in architecture is shifting. For too long, we've relied on materials that contribute to long-term waste and environmental degradation—cement, plastic, and steel, to name a few. It's time to be honest with ourselves and recognize that the future of architecture must lean toward solutions that work in harmony with nature.

The Biodegradable Paper Brick #4 was developed as part of the Sustainable Decadence project, which focused on creating an interspace material with a predetermined lifespan. Selected for use in Russia's first biodegradable pavilion, the material was tested in the Moscow suburbs in 2021.

The real challenge lies in balancing durability with eco-consciousness, but with innovation on the rise, biodegradable materials are stepping in to help us create structures that are as transient as life itself, without leaving behind a legacy of destruction.

Biodegradable materials offer a provocative alternative. From mycelium bricks to bamboo panels, these materials break down naturally over time, reducing waste and minimizing the carbon footprint of buildings. They aren't just a trend; they're a return to a smarter, more responsible way of building that aligns with the natural cycles of our planet.

Biodegradable Pavilion. First stage of Lifespan

Outdoor summer library

‘Hyper Antiquity’

In the architectural discourse of the 21st century, the spirit of the phenomenon of ‘Hyper Antiquity’ emerges as both a provocative statement and a curious paradox. This project explores, speculatively, the terrain of our modern obsession with innovation and the nostalgia for antiquity. It is crucial to acknowledge the irony inherent in this approach. As we sculpt our cities in homage to the ancients, we risk fetishizing the past, reducing it to a collection of aesthetic tropes rather than engaging with its deeper meanings. This reimagining, while visually striking, may overlook the complexities and contradictions of antiquity itself—those very qualities that make it relevant today.

Is Our Destiny a Matter of Crawling in the Shadows of Giants?

The project idea was developed in collaboration with the client during our initial concept session. While creating the brief for the future project, we realized that the language of antiquity exists alongside reality, living its own parallel life. This timeless vocabulary both nourishes the future and is enveloped in a range of contemporary, often controversial, interpretations.

We have named the preliminary studies "Hyper Antiquity," in honor of, or perhaps in defiance of, utopian ideal standards and the reality that resists them.

Book #4
As we navigate this intricate terrain, the challenge lies in finding a balance between reverence for the past and the demands of contemporary life. Hyper Antiquity calls for a critical engagement that honors historical narratives while simultaneously forging new pathways forward. It reminds us that in our pursuit of the monumental, we must remain vigilant against the pitfalls of nostalgia and strive to create spaces that resonate with both the echoes of history and the vibrancy of the present…

‘Marble fog ‘
The ancients crafted their environments with a deep understanding of local ecosystems, but today’s reimaginings frequently strip these lessons of their nuance, relegating them to mere decorative motifs.

‘Marble fog’ Marble, paper, digital version

The risk lies in reducing the complexities of antiquity to mere stylistic choices, stripping them of their original significance and context. "Marble Fog" recontextualizes the skyscraper as a monument to nostalgia, compelling us to interrogate the integration of historical weight within contemporary urban landscapes.

Book #2
‘Contemporary nostalgia’

In the swirling vortex of contemporary nostalgia, “hyper antiquity” emerges as a striking phenomenon, a socio-cultural performance where the past dances provocatively with the present. It’s a seductive game, one where antiquity is not merely a relic but a vibrant, pulsating force shaping our desires and identities.

Book #3
To treat antiquity as an untouchable archetype for the future is to engage in a kind of naïveté—an academic mirage that glosses over the messy realities of our temporal existence. Instead, we must recognize antiquity as a living, breathing entity, a socio-climatic spectacle that reflects our anxieties and aspirations…

Book #5
Antiquity presents itself as a climate paradox, a surreal collision of past ideals and present crises. We often look back to ancient civilizations, marveling at their apparent harmony with nature, yet this nostalgia masks a jarring reality.

Book #1
‘Decorative artifacts’

The phenomenon of Hyper Antiquity raises questions about authenticity and originality in architectural practice. Can a building that embraces classical motifs and materials truly be a product of contemporary thought? Or does it, in fact, become a simulacrum—an imitation that erodes the very essence of what it seeks to revive? This tension between homage and innovation invites a critical examination of our cultural narratives, challenging us to consider how we define progress in relation to the past.

‘Marble fog’
Marble Fog is not the ultimate expression of freedom in reinterpreting antiquity; rather, it stands as a critical 92-meter exploration of our tolerance for opaque historical symbols. The fascination with antiquity in contemporary design presents an ethical conundrum that warrants careful examination. As architects and designers draw inspiration from ancient forms and concepts, they must contend with the responsibility of representing the complex cultural and historical narratives inherent in these artifacts

WW Press 2020. Sand Book is an annual catalog of experimental Earthworkers projects. The 2020 edition is dedicated to "stone paper" as a construction material.

Paper Door

Temporary door. Greece. 2019. Built

Something instead of a fence

Sound vessel and shelter.The frequencies of the harmonic hum can be heard miles away, breaking the Antarctic silence. Sound tone varies depending on the snow cover level and seasonal atmospheric conditions. Anchored in ice and covered by snow, the bell amplifies the subtle movements of ice beneath, the snow and wind above. The temporary resident could engage in the very act of listening. In the winter, it is destined to be used primarily as a shelter for those in need, while in the summer it offers possibilities not yet imagined.

Uncovered in the summer months, the structure reveals the complete form, resembling a sacred object, a bell, a vessel, weathered and disfigured. Interior space facilitates a residence of infinite musical explorations and an archive of soundscape collection of bell recordings. A destination, an origin of sound, the unconstrained bell expands into the landscape.

Archive of bell recordings is dedicated to all unheard and not found in Antarctica.

“At first, you might find it very difficult to challenge and replace the old interpretations of obsessions. You might also have a hard time believing in the helpful interpretations that you came up with. This is normal and expected. Don’t be discouraged, and keep practicing. Similar to resisting your compulsions, the first time you do it is the hardest; it will get easier with regular practice. Your belief in the new interpretations will grow stronger as you regularly practice resisting your compulsions and challenging your unhelpful interpretations.”