Architect Karen Balian claims that in this interior there are no hidden meanings and a complex concept. Here everything is just what it is. Everything is realistic. It was just a two-story brick house that needed to be made residential and without flirting with the user. Do not decorate, do not create any impression, do not make it an attraction. Just adapt to life, while significantly rebuilding.

Each element of the interior is associated with the history of architecture and design. And the first association that the project calls Karen Balyana- The style of the classic architecture of the twentieth century, Frank Lloyd Wright. As the author says, "Wright, as well as Le Corbusier and Mies Van der Rohe, were the main teachers of my generation of architects, the three whales on which our understanding of the architecture of the twentieth century was shaped." In this interior, Wright's concepts are present in the form of a game with elementary geometric figures - squares and rectangles, the overlapping and combinations of which create a spatial game, a special harmony. For example, the living room is built on a rhythmic layering of squares - a fireplace, a dining table, a wooden panel on the floor, columns. But it's not just about the forms.

The key role in the interior play texture. Actually, the work on the interior began with an experiment. What to do with the brickwork, which in the plastered form looks too brutal, and with a full finish it loses its face? The author decided to play on the conceptual effect of incompleteness: under-plastered brick, and how to cover with a thin film or even a veil. So that it was not too rough, and the pattern of the laying was read. Also received with ceiling tiles. For contrast, part of the walls were nevertheless decorated with traditional smooth plaster, albeit with a slight carelessness, so that the contrast was not too sharp. Other textured dominants of the interior are rust and chrome. A floor with specific corrosive graphics, a “rusted” fireplace is paradoxically combined with the glossy metal of chandeliers and furniture. The latter, in contrast to the harsh color, are chosen in the conventionally classical style, but at the same time they are not so classic that the contrast is sharp.

Any detail of this interior speaks about the special style of the space design - about the principle of understatement, about the technique of half tones and hidden effects. Let the author refuses the deliberate conceptuality of his project - it is not at all deliberate, but simply modern. Indeed, in our times, in order to return things to their original simplicity, it is necessary to choose a difficult approach to them - a conceptual one.