An exhibition can become a space where architecture transcends drawings and building sites to become an artistic statement. Such was the case of ARCH MOSCOW show in 2025, curated by land art maestro Nikolay Polissky. The artist challenged architects to abandon the habitual façades, visual effects, and conceptual trappings to address the essence of their discipline. ABD architects responded with three sculptures, each conceived as a form of mediation: on method, process, and the architect’s accountability to space and time.

“Today, the true intentions of architects are hidden beneath fancy packaging; their real potential constrained by pragmatism’s grip. Let us shed these fetters briefly and step beyond tedious prudence to reveal the true face of our architecture as it is—unvarnished by garish colours, unobscured by the smokescreen of abstruse texts. Strip away the enticing wrapping, and we’ll see the genuine essence of our architecture: that which each creator can add to what has been built before us.”

—Nikolay Polissky

“True form emerges when one stops clinging to the single right answer.”

This sculpture literally embodies the movement of thought—twelve rotating blocks, one face rectangular and austere, the other rounded. There is an interactive element: the viewer combines elements, discovering endless configurations. A metaphor for architectural research, where the result comes from movement and shifting perspectives. Initially conceived in concrete, the object was eventually made in timber—a sensuous, living material inviting engagement. The work underscores that process is inherent to architecture, and form is an instrument of discovery rather than a dogma.

“As a young architect, I often feel how challenging yet exhilarating it is to give shape to something that initially seems formless. I wanted to share that sensation and show that architecture is both contemplation and transformation. It mattered to me that viewers could rotate and reconfigure the object—a metaphor for architectural thinking, which knows no final point.”

—Danila Ryzhov, architect, ABD architects

“Good architecture begins with immersion—in context, structure, future.”

This sculptural object embodies the system underlying the practice’s work. The approach demands deep study of the subject from every angle: through the lens of time, space, perception, material. The architect must examine the brief from multiple vantage points, examine the details, understand relationships between elements before moving on to design. The pyramidal form—a hybrid of vintage television screen and kaleidoscope—draws the viewer inward, creating a moment of contemplation and close observation. The material, mirrored plastic, is both technological and emotive. It creates dual optics: on one hand a nod to vintage electronics, on the other—an invitation to dialogue with the self and the object.

“I wanted to achieve a sense of playful recognition, to create a form that would spark interest, ironically reference something familiar, yet simultaneously compel one to slow down and look closer. The form came easily, as if on an impulse. The work that followed—finding the right support, integrating mirrors, bringing the idea into material form—reminded me of the way we design. What matters is that this work came into being almost without effort, revealing itself not merely sculpture but a starting point for a conversation about our discipline. I hope such projects become regular at the studio.”

—Vasily Kuleshov, Lead Architect, ABD architects

“Form may change, but the essence remains.”

The volume is utilitarian to the point of austerity. An attempt to deconstruct architecture, to reveal its layered foundation without ornamentsJust geometry, connections, and logic. The sculpture employs the methods of architecture: geometric grid, principles of construction, play of scale. The work affirms that even in small format, the architect undertakes the entire journey from conception to realisation, from sketch to presentation. This is the value of experience.

“Architecture without its trappings is a structure of ideas, meanings, and solutions. Each part is a necessary element of the future building. There is a true beauty in its rationality. The small format is a chance to make a concept come to life instantly, entirely, with no aberrations. This experience is no different from a major building. This work was not conceived instantly: it took some meandering reflection, study of urban fabric, field sketching, and team discussions, all parts of a process that interpreted architecture not merely as a profession, but as a specific way of seeing and perceiving our surroundings. Conceptually, I wanted to figure out the essence—the structural core. Strip away the superfluous. What remained was steel, gravity, and form.”

—Ilya Levyant, Principal Architect, ABD architects

Today, the sculptures live their own lives: two remain in the ABD architects office as part of the studio’s daily life, to engage with or get inspiration from. The third one—Ilya’s work—travelled to Archstoyanie festival and found new resonance in a natural landscape, entering in a dialogue with Nikola Lenivets art park. These three objects were not only products of creative research, but an impulse towards new forms of exchange.