At Fublis, our Design Dialogues series showcases architects and designers who are reshaping the industry through their creativity and vision. In this edition, we feature Archiproba Studios, a practice known for its expertise in public interiors and adaptive reuse.

Led by a research-driven approach, Archiproba Studios balances historical preservation with contemporary functionality, crafting spaces that honor their past while serving modern needs. Their work on D I Telegraph exemplifies this philosophy, delicately merging restoration and renovation to create a dynamic co-working and event space. Similarly, the Luminary Inspirational Center blends traditional Dagestani architecture with modernist elements, offering a space that inspires young minds while remaining deeply rooted in its cultural context.

Sustainability is integral to their approach. In projects like the Schwalbe Hybrid Building, the studio embraces Cradle-to-Cradle principles, ensuring 98% of materials are recyclable and integrating energy-efficient systems that set new standards for industrial design. Their work reflects a broader vision—one where architecture prioritizes longevity, environmental responsibility, and the well-being of its users.

In this interview, Archiproba Studios shares insights into their creative process, the challenges of working with historic structures, and their vision for the future of architecture. From embracing healing architecture to pioneering new materials, their perspective offers a compelling look at the evolving role of design in shaping our built environment.

Archiproba Studios specializes in public interiors and adaptive reuse. How do you strike a balance between preserving historical significance and introducing contemporary functionality in your projects?

Tamara Muradova: When designing adaptive reuse projects, we always begin with thorough research of the building and its historical context. We dedicate time to studying architectural and planning solutions from archives, as these design elements form the foundation of the new project. We see our role as mediators between past and present, carefully wrapping tangible memory in a new form and inviting people to rediscover its charm. Working with historical buildings is often far more complex than designing from scratch. It requires meticulous, long-term collaboration among specialists from various fields to adapt a historic structure to modern technical and aesthetic needs. For me, the balance between historicism and modernity lies in the precise optics of the architect. Our presence should be as discreet as possible—not overpowering the building’s authenticity, not chasing fleeting trends, and not trying to “improve” what already exists. Instead, we look decades ahead, considering how the project will age, how future generations will engage with this architectural code, and what the building will continue to reveal about the history of its place.

Restoration vs. Renovation is a key theme in the D I Telegraph project. How did you approach the delicate balance of preserving the historical integrity of the space while making it functional for a modern co-working and event environment?

Tamara Muradova: I think it is important to provide a brief definition of these terms, as in practice, many people struggle to distinguish between restoration and renovation. Restoration and renovation are two distinct approaches to working with historical buildings. Restoration typically involves returning a building to its original state while preserving as many authentic materials and details as possible. Renovation, by contrast, entails a deeper modernization that may include changes to the layout, functions, and structures, adapting the space to modern requirements. The DI Telegraph project is perhaps a unique case, as it navigates between these two methods. When we first entered the space, we were inspired by its spatial qualities—high 7-meter ceilings and large-span reinforced beams that created a striking enfilade effect. Preserving this sense of “air” seemed crucial to us. We convinced the client to allocate a significant part of the project budget to carefully stripping away many layers of paint from the concrete structures that had accumulated over 80 years. These large-span concrete structures became the project’s defining feature, as architect Ivan Rerberg first implemented them in the Telegraph building in 1927. The new spatial layout follows the enfilade’s main axis, allowing one functional zone to flow seamlessly into another, as we wanted to maintain the stunning perspective and openness of the space. Thus, our design approach can be considered a delicate renovation, where the primary goal was to preserve and reveal the story of the place, emphasizing its unique architectural elements for visitors.

The original 1927 design by Ivan Rerberg introduced pioneering reinforced concrete structures. How did the materiality and construction methods of that era influence your design decisions in restoring and adapting the space?

Tamara Muradova: As I mentioned earlier, the unique reinforced concrete structures from 1927 served as a foundational element of our project. We deliberately preserved and emphasized their materiality, ensuring that their historical essence remained intact. By carefully stripping away the paint layers accumulated over time, we exposed the raw texture and sculptural quality of the concrete. This allowed us to restore the structural clarity and original aesthetics of the space. The innovative structural solutions of that era inspired us to embrace a highly flexible spatial layout. Since the space features large-span beams with only a central row of columns, we avoided rigid partitions. Instead, we introduced adaptable design elements such as translucent partitions, full-height mobile acoustic curtains, and an additional balcony level at the entrance. These interventions allowed the space to remain visually unified, unobstructed, and dynamic.

Your studio places a strong emphasis on research. Can you share an instance where research significantly altered the course of a project, leading to a more innovative or unexpected design outcome?

Tamara Muradova: Research always plays a key role in our projects, allowing us to find innovative and unconventional solutions. For example, one such project is the Luminary Inspirational Center, located in a remote mountain village. This project posed a rather challenging task: how to choose an appropriate architectural solution that aligned with the client’s brief and the local context. Initially, we began to explore traditional Dagestani architecture, which was mainly built using local stone—tuff. We also considered how children would experience that traditional architectural environment while contemplating the future. Would a space so deeply familiar from childhood encourage them to expand their perspectives, or would it reinforce conventional ways of thinking? It was essential for us to understand what kind of space could inspire them to think more boldly and positively. The solution that emerged from our analysis showed us that the space should not be homogeneous. Instead, it should subtly yet unexpectedly shift children’s perspectives and encourage broader thinking. Thus, against the backdrop of breathtaking mountains, the idea emerged to blend concepts of past, present, and future, expressed through architectural solutions and modern technologies.

The Luminary project merges traditional Dagestan architecture with modernist elements like black metal and glass. How did you approach this fusion to ensure that both architectural languages coexist harmoniously rather than compete with each other?

Tamara Muradova: This visual approach did not appear by chance, but as a result of preliminary research conducted during the project. We wanted to create an architectural environment that would inspire children and, on a subconscious level, instill in them the idea of not being afraid to experiment in life, of being bolder, and evolving. In the language of architecture, our tools were materials and their stylistic diversity. Thus, against the backdrop of the main building of the center made of Dagestani tuff, with its characteristic elements such as towers and patterned stonework, a clean and transparent pavilion of metal and glass emerged. We tried to create an ensemble of elements that would not compete but rather complement and enhance each other’s expressive effect. And since this entire architectural scenario unfolds against the mountainous landscape, the magnetic impact of this approach becomes even more powerful.

The concept behind Luminary is that ‘architecture exists out of time.’ How did you translate this philosophical idea into tangible design choices that allow the center to feel timeless and culturally relevant for future generations?

Tamara Muradova: I truly believe that great architecture always exists out of time. There are many remarkable buildings in the world that were built several decades ago yet still look modern, relevant, and beautiful. Although generations come and go, the design code remains universal for all. When it comes to the architecture of Luminary, we wanted it to reflect the principles of sustainability. Therefore, we chose not to demolish the old unfinished building from the 2000s, but instead preserved and modernized it. We enhanced the architecture with alternative energy sources, such as solar panels and a small wind turbine, to ensure an uninterrupted power supply for the center. The architecture of the pavilion was designed as a modular system, where all prefabricated elements were delivered to the site and assembled rapidly on location in the village.

With sustainability at the forefront of contemporary design discussions, how does your practice integrate environmental responsibility into adaptive reuse, beyond the inherent sustainability of repurposing existing buildings?

Tamara Muradova: In our architectural practice, sustainability is not just about building reuse but also a thoughtful approach to ecology and resource conservation. Using the Luminary project as an example, we went beyond standard adaptive reuse and implemented several key solutions. Energy efficiency: The buildings are equipped with alternative energy sources (solar panels on the roofs and a small wind turbine in the courtyard). These methods reduced dependence on external networks and made the facility more autonomous. Smart structures: Our pavilion follows a modular design, with all elements pre-designed, produced with minimal waste, and assembled on-site efficiently. This reduced construction waste and lowered the carbon footprint. Material consciousness: The project uses local materials. For example, Dagestani tuff, which is not only authentic but also environmentally friendly as it is extracted nearby, reducing transportation costs and emissions. Bioclimatic design: We took natural climatic conditions into account, creating optimal ventilation and natural lighting to minimize the need for artificial cooling and illumination. Thus, our practice aims for sustainability not only through building preservation but also through the careful selection of materials, smart technologies, and minimizing environmental impact.

The Schwalbe Hybrid Building is a rare example of cradle-to-cradle design in industrial architecture. What were the biggest challenges in ensuring that 98% of materials were recyclable, and how did you navigate sourcing sustainable yet functional materials?

Tamara Muradova: The Schwalbe Hybrid Building project is a rare example of applying Cradle-to-Cradle (C2C) principles in industrial architecture. One of the main challenges for us was selecting materials that combine stringent sustainability standards with the necessary functionality for industrial spaces. A key aspect of the project was ensuring that approximately 98% of materials could be recycled, while 100% of the concrete (the building’s main structure) and steel (the ventilated facade) could be reused. We conducted a thorough analysis of various materials, from structural components to finishes and even furniture, working closely with eco-design consultants to ensure the highest level of sustainability. It was crucial for us to use natural, recycled, and recyclable materials. For instance, recycled rubber wood was used for decorative elements and furniture, recycled rubber for wall and floor finishes, and eco-friendly glass for partitions. As a result, we created a visually appealing design for the project that minimizes environmental impact while effectively supporting work processes, production, and employee well-being.

The building autonomously regulates temperature using an energy-efficient air heat pump and ceiling sails. How did this system influence spatial design and user comfort, and do you see this becoming a standard for future industrial architecture?

Tamara Muradova: The energy-efficient air heat pump and ceiling sails played a key role in creating a comfortable and environmentally friendly working environment for the Schwalbe Hybrid Building users. These systems provide an optimal microclimate that regulates autonomously. The ceiling cooling panels distribute temperature evenly throughout the building, maintaining comfort in both hot and cold conditions. We carefully planned the placement of system elements so they wouldn’t disrupt functional areas or compromise the flexibility of workspaces. We strongly believe that, with today’s growing demands for sustainability and energy conservation, self-regulating climate systems will not only improve occupant comfort but also significantly reduce operational costs and the building’s carbon footprint.

Architecture constantly evolves, balancing innovation with tradition. If Archiproba Studios could introduce a new architectural principle or philosophy that would redefine the industry for the next century, what would it be?

Tamara Muradova: I believe that 21st-century architecture should move away from superficial formalism and turn toward people, creating spaces that respond to the needs and lifestyles of modern society. In this sense, I feel aligned with the principles of healing architecture, where the main emphasis is on creating a sustainable emotional background for users through design. Architecture should move beyond temporary and short-term trends, instead slowing down in the production cycle to become more meaningful and profound. Additionally, I consider the development of innovative recycled construction and finishing materials to be essential in minimizing the carbon footprint in the industry.