загородный особняк общей площадью 500 м2 Andris Kulikov, Anton Nepershin

Passing the gallery

A photo: Evgeny Luchin

Text: Vasily Lifanov

Architect: Andris Kulikov, Anton Nepershin

Metal Works: Vladimir Kozhnov, Evgeny Savostykov, Oleg Demeshek

Magazine: N11 (34) 1999

The house stands in the depth of the plot, markedly different from others, seen everywhere. Those are heavy and massive. This one is light, light. Looking up. By proportions - calm, natural. Although not without sharp corners ... This house is as well built as a girl who has long practiced ballroom dancing. Outsiders may think that such a figure is by nature, but in fact it is the result of work, the result of a painstaking and inspiring process.Dating history The hostess met the architects after carefully looking at them and their work at another facility. And when the hostess realized that she liked these people and this style, that's when it all happened.So, mistress The woman is independent and wealthy, active. Fully convinced - in a reasonable and logical. It has a taste ... She is one of the directors of a private company operating in the furniture market. Therefore, with European furniture design is familiar, one can say, personally and "perfectly well".Process of creation The hostess took an active part in it - most of the situation was bought by her. I must say that having taken up the creative process of selecting furniture and home accessories, the hostess greatly facilitated the life of the architects. And they got the opportunity to focus their efforts on the formation of internal space, setting the strategic direction for the development of the entire interior. The hostess, seeing how, with her prior consent, the image of the house emerges, she herself tried so that the items being purchased were not out of the general style. The architects only occasionally corrected it, and this mainly concerned questions of the scale of the thing. They said to the hostess: "A larger mirror is required here. And here should be a chandelier of approximately such a certain size." And the owner offered another option. In general, the relationship between the hostess and the architects evolved confidentially and constructively. Consonant, co-author.House, plot and wishes When the architects came here, the house was already in the frame. And the hostess even outlined the layout. The suggestions that were made to the architects were: “I want the house to be light and spacious and to have joy in it.” OK The architects took up their duties. A sketch by sketch was presented to the hostess for consideration, one solution was tied with the others. Finally, the concept of the future interior was defined. The house, in principle, has a standard design. Nevertheless, the architects still managed to give it originality by finishing the facades. The feeling of lightness and slimness of the building is formed by light gray tones of the basement and roof, as well as light green planes of the walls, on which white-brown graphics of windows, doors, friezes and balcony fences are drawn. At the same time, the sharp slopes of the roof, to which help the attic diamonds are attached, are at least intriguing. An intriguing and coarse-drawn geometric layout of the site with a path smoothly bending around a decorative pond.Stylissimo interior The layout was generally given by the builders. She functionally hosted the hostess. For their part, the architects, in line with the wishes expressed, proposed the basic color scheme of the interior: light yellow combined with light green and in some places bluish-gray and pink-violet. These large "background" color combinations combine a house and, interacting with lighting and with each other, give a feeling of its internal volume, openness and "airiness". And already in this “climate” various color accents “bloom”: furniture, accessories, lamps and so on. In addition to color, the impression of unity of the interior “works” and many other design solutions. Here you and the “running into” parquet from one room to another are contrary to the main “flow” of parquet dies, and through - from room to room - false ceilings, and repeating - from room to room - decor motifs (circle, triangle). Here you and the elements of the light direction, and "framing" each room material - wood. Oak plinths, panels and curtain rods everywhere are solved "on a large scale" - without unnecessary carving. This simple solution also “works” on the impression of unity and spaciousness of the interior. And another thing that is valuable: if the overall color palette is noticed immediately, then the above design moves are discovered by a person gradually, which becomes a pleasant surprise for him. And the house does not bother. Similarly, pleasantly and unexpectedly detected dislocations in some places in the symmetry of the composition. The dialogue of a continuous arc (or a circle) and an acute angle is constantly attracting interest in the house. All this - like seasoning to a dish - brings dynamics into space, and spice into impressions.Ground floor. Hallway - Hall The hallway. On the left hand there is a hanger and two "cigarettes" with mirrored doors unfolded at 45 degrees to each other. On the right hand, a mirror stretched the entire length of the room, at the foot of which there are two narrow armchairs, blue and yellow. All three mirrors "communicate" with each other through reflections. The circumference of the false ceiling is offset relative to each other. The outer circle denotes the central symmetry of the room in the plan, the inner one - the axis of symmetry of the interior composition. Hall - the center of the entire public part of the house. This certifies the inflorescence of the chandelier and the concentric circles diverging from it - lagged on the ceiling and marble on the floor. Symmetrically to the entrance there are radiator panels, mirrors and entrances to the main dining room and the hostess's office. Straight - extended doorway leading into the combined area of ​​the living room, kitchen and dining room. Its continuation at the top is an inset, assembled from racks that form a broken “ornament”. Exactly the same "ornament" we see above the door leading to the hallway. The function of these "related" inserts is twofold: the visual lengthening of the doorways, which "lifts" the ceiling; and the "acute-angled" whipping of that benevolent mood, which is born by all the symmetrical figures of the room. It is interesting to see how the architects solved the problem of natural lighting of the hall. Light from the street penetrates here through the glass doors of the living room, hallway, study and front dining room, as well as from the window above the flight of stairs and from the colored interior windows. Due to this, the hall is perceived as conceptually light and airy. And the color added to the light. These stained glass effects are created by three internal windows between the living room and the hall. The windows themselves are made cleverly: colored crystal rods are laid between the double glasses, which form a pictorial composition telling us about the intertwining of colors between each other (blue - green - lime - yellow).Ground floor. Front dining room and study Located symmetrically, they are slightly different colors. In the office, it is "colder" and in blue - to improve the process of thinking. In the dining room (for bon appetite) the walls are more prone to "warmth". The space of these rooms is “kept” by simple and massive cornices, baseboards and panels - they frame the rooms as if. The interior of the dining room, as it should be, is oriented from the window to the far wall. In the center is a table, against the far wall is a cherry-colored sofa, by the side walls, opposite each other are low cabinets with dishes. Mirror, crystal chandelier, paintings. Symmetry? Yes. But looking closer, you know - not really. Symmetry "sbivka" occurs under your feet: the parquet in the room laid obliquely - in the direction of the door and then in the hall. This dynamic strokes do not allow space to stagnate and “bloom” like water in a quiet pond. It receives an impulse for movement, and this is vital.Ground floor. Living room - kitchen - dining room It seems to be, in general, a single space. Although it consists of three quite readable zones. At the same time, the spaces of each separate zone interpenetrate each other, being tied together. So the parquet of the living room goes beyond the line of the doorway - into the dining room. One time