Under the perforated cover, where each of the identical circles has its own picture, there is a voluminous catalog of one of the most famous architectural bureaus in Moscow, which owns the projects of the striped black-and-white parallelepiped of the office complex on Belorusskaya Square, the curved facade of the glass tower of the office of the Capital Group campaign on 1 Brestskaya, but above all - a complex of buildings that laid the foundation for the modern development of the Ostozhenka district, from where, in fact, the name of the workshop comes from.
The publication includes works by "Ostozhenka" for ten years that have passed since 1996, when the bureau declared itself at the 19th Milan Triennial with the exposition "The Fate of the Urban Territory - Ostozhenka Between Past and Future", although the workshop itself was created earlier - in 1989.
Traditionally, the publication is preceded by an interview with the head of the workshop, Alexander Skokan, and an ingeniously subtle introductory article, in which its author Elena Gonzalez successfully tries to comprehend the work of Ostozhenka, deliberately distancing herself from the well-known worn-out pair of modernism - postmodernism. The paradox of Ostozhenka, the earliest in Moscow that began a consistent dialogue of laconic modern forms with the urban environment, is defined as “heroic features of opposition,” and one cannot but agree with the author in this.
The catalog was published by the Tatlin magazine and is included in the series of its issues as № ½ for 2006 - the catalog of works by Sergei Skuratov has already been published in the same format.