Traditionally the subway is perceived as a projection of the urban environment above it.
Such a strategy perfectly works for stations of shallow foundation. In these cases architects
try like hell to keep visual and thematic communication between a platform and the city.
The main feature of Moscow subway is that the most part of its stations have deep
foundation. At the depth of 63 meters or more communication with the city breaks.
Therefore, we consider that any attempt to reflect communication between the station and
the city above it will be quite unconvincing. It just won't be fully understood by an audience.
At such a depth it seems more important to reveal the communication with Time, with the
Era and secondly follow the track of communication with the place.
Moscow subway has always been a reflection of historical and cultural context, of the main
ideology of the time. Political paradigms and the country constantly change, Moscow
subway does with them. This work is our feeling of the time and the country in attempt to
transmit it through design of three new subway stations.
For each of them we have created a sacred space where the archaic morphology is
implemented through modern materials and technologies.
We will not decipher meanings — they are in the illustrations.

RZHEVSKAYA STATION
Having created the 3D model of this type of the station according to drawings, we realized
that this space is quite awkward. Proportions of poles and arches are hopeless. Any attempts
to decorate this form won't be able to make this space better.
We suggest that we change its morphotype to use a new form which will create another
space filled with new proportions and meanings.
Basilica-shape slopes of the ceiling, the number of arch apertures, the exit portal to
escalators — in addition to other associations, there is a feeling of a transit — there is the
“Rizhskiy” railway station above it.
The existing walls of the station are painted in dark blue, cobalt color. The new shell is
made of sheets of polished brass. Light sources are located between the existing and new
forms. Light passes through holes in a brass shell. Lighting changes three times a day:
- shades of rising sun in the morning
- warm "solar" light in the afternoon
- cold "lunar" light at night
Floor — polished ceramic concrete of natural color.

SHEREMETEVSKAYA STATION
Having created the 3D model of this type of the station according to drawings, we realized
that this space is quite awkward. Proportions of poles and arches are hopeless. Any attempts
to decorate this form won't be able to make this space better.
We suggest that we change its morphotype to use a new form which will create another
space filled with new proportions and meanings.
The existing walls of the station are cladded with the glassfiber concrete panels repeating an
awkward form of the existing arches and arches. The tubes made of plexiglass at the ceiling
of the central tunnel create a form of a gabled roof. The plexiglass tubes scatter lighting
from the light sources hidden between them. The light changes reacting to weather and time
of the day.
Floor rendering — polished ceramic concrete of two colors — natural grey and red in the
middle of the central tunnel. This image has much in common with theatricality — there is
“Satirikon” theater above the station

STROMYNKA STATION
The rhythm of two rows of columns set the necessary archetype. The only thing left is to
follow it and to create the ideal mullion-beam system which is strongly organises the
space. The structure is solid and rhythmical. Floor, columns and ceiling are united by the
same material — concrete. The "daylight” comes down through the bars of the ceiling.
City is almost nearby. Side walls of the tunnel are revetted with sheets crumpled and
polished brass. Light, trains and moving people are reflected in them and refract.
Column, beam, rhythm, proportion, concrete are the attributes of core expression of the
construction. It is the tribute to legendary Russian Constructivism. The masterpiece of the
great Konstantin Melnikov - Rusakov cultural center is situated above.
Rendering of columns and beams of a ceiling — glassfiber concrete.
Ceiling caissons — safety opaque glass (triplex)
Side walls of the tunnel — sheets of the "rumpled" polished brass
Floor rendering — polished ceramic concret