Kazan’s New Garden City Competition

An “eco-district” Master Plan

Winning plan by Knight Frank (image © Knight Frank) courtesy: Agency for Strategic Development

 

Moscow has been short on housing for decades. Now the need for housing in the far-flung reaches of the Russian Federation is taking shape. Kazan, a city east of Moscow on the upper reaches of the Volga River in the Republic of Tartarstan, has just announced the winners of a competition for a completely new suburban plan. Although such a competition might not appear as anything new to western countries, where new towns were built in England and elsewhere, and especially in China, where new towns are sprouting up on a regular basis, this represents a new way to approach urban planning in the Russian Federation. According to Kazan’s mayor, Ilsur Metshin, “The competition featured the world’s best architectural and design players, who fought for the right to reach the final. This has enriched us all – we really did see completely new approaches to design, or at least unusual for Russia. This is a large territory, and there is enough of everything: both land, and scale, as well as the desire to see the eco-district of tomorrow.”

The competition was open to international participants, and drew 47 entries from a number of countries outside Russia. Three finalists, each receiving 2 million rubles for their work, were selected to present their designs to a Russian jury.

After reviewing presentations of all the concepts, including the functional programming strategy, the architectural and urban planning concept, the framework financial and economic model for implementing the concept until 2030, and a preliminary design of the territory for the initial implementation stage, the jury discussed the projects submitted and determined the winner by vote. 

The winner was the Anglo-French-Russian consortium led by international consulting company Knight Frank (Russia, UK), which included XTU Architects (France), OXO Architects (France), John Thompson & Partners/JTP (England), Architectural Landing Force (Russia, Republic of Tatarstan), and TERRA SCAPE (Belgium). Their team presented the “Ecopolis ‘Two forests’” project, featuring the infiltration of green fingers in the future eco-district. “The concept involves the formation of active clusters with dense buildings, where life will be in full swing, a “clearing” with less dense buildings, and local public spaces with playgrounds and meeting places. There will be clusters, and groups of clearings, and the ‘fingers’ are united by a long park in the region and a large green ring. The park threads sub-centers at the intersection with the roads, where children’s sports and event zones and cafes will be located, as well as a square with the main cultural center. Thus, the three elements are active clusters, the green ring and the district park, forming the basis for the successful development of the eco-district. As a result, the existing ecosystem, biodiversity and high quality of the environment are prioritized at the highest level.


First place images © Knight Frank courtesy: Agency for Strategic Development

 

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Interview: James Mary O’Connor FAIA (Winter 2017)

After receiving his Diploma in Architecture from the Dublin Institute of Technology and BS in Architecture from Trinity College in Dublin, James received his Masters in Architecture from the University of California, Los Angeles while a Fulbright Scholar in the U.S. Shortly after his time as a student in Charles Moore’s Master Class at UCLA, he joined the Moore firm in Los Angeles, now Moore Ruble Yudell. Beginning in the late 1980s, he was involved in the firm’s many projects in Germany, many of which dealt with masterplanning and the construction of large housing, primarily in Berlin. Subsequently, he was involved in the Potatisåkern Master Plan & Housing, as well as the Bo01 Housing Exhibition, both in Malmö, Sweden.
James was MRY’s point person in its subsequent involvement with the firm’s many projects in the People’s Republic of China, beginning with their winning competition proposal for the Century Center project in Beijing. Although unbuilt, it didn’t escape the notice of the Chinese, who invited the firm to participate in a competition for the Tianjin Xin-He large neighborhood masterplan—which they won. This was followed by the 2004 Chun Sen Bi An Housing Masterplan competition in the city of Chongqing, located in central China—completed in 2010. This high profile project resulted in a number of affordable and high-end housing projects throughout China. The firm’s most remarkable sustainability project was the COFCO Agricultural Eco-Valley Master Plan project outside Beijing, envisioned to become the first net zero-carbon project of its kind in the world.
In the meantime, the firm’s focus in China has evolved from its concentration on housing to institutional projects, such as the Shanghai University of Technology‘s research buildings. In the meantime MRY has been noted as a leader in the design of campus projects in the U.S. and abroad, as well as numerous government projects—courthouses and embassies.

 

 

Interview: Craig Dykers/Snøhetta (Fall 2006)

craig dykers 4

COMPETITIONS: When did you decide you wanted to become an architect?

Craig Dykers: I started off wanting to work with fashion—women’s fashion and clothing seemed very interesting to me. I quickly learned that the world of fashion wasn’t what I had anticipated. It came to feel very superficial and calculating. I left that and was somehow accepted into medical school, perhaps because of an interest I had in the human body. My grades were not very high; but my notebooks were apparently impressive. In medical school your notebooks are reviewed as well as taking tests My ability to draw anatomical forms was very good and one of the professors recommended that instead of studying medicine I should enroll in the art school and become an anatomical illustrator.

 

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Alexandria Library, Alexandria, Egypt (Competition 1989, completion 2001)
Surprisingly I was accepted into the art department and I soon found myself feeling very comfortable. I began to fall in love with everything; I was beginning to get commissions, drawing cartoons for a local paper, and doing editorial illustrations. I called up my father one day—with whom I had had a very good relationship, and told him I wanted to become an artist. This was met with silence. I didn’t understand that, because he had always taken me to museums, and he was very much a lover of art. He simply said, ‘Well son, you’re not going to get any help from me.’ A couple of weeks later I asked him why he had been so negative. He replied, ‘If you need to call up your father to get his approval for being an artist, then you will never be a good artist. You should have done it and not called me. Then I would have given you all the help you wanted.’

I was confused with what to do with this conundrum. He advised me further, ‘You like science and art; architecture seems like a good thing.' I admitted that I had no idea what that was all about. He said something like, “Architects make churches and things like that. I felt I could work with this, making places for people. The architecture school accepted me and I rolled right into it, staying up many nights to work on my studio assignments. The end result of that long story is that there is an interest in the human form and the notion of the human body as it relates to the things we create. I think that is still with me.

COMPETITIONS: Was Charles Moore already in Austin when you were a student there?

CD: He arrived as I was leaving and there was only one semester overlap. I remember asking him why the nice parts of cities often appear to be on the west or north sides. Not entirely true, but it’s pretty frequent.

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Alexandria Library, Alexandria, Egypt (Competition 1989, completion 2001)

COMPETITIONS: Snøhetta’s origin began with the Alexandria competition. How did that come about?

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