In the night forest

apartment of 120 m2

Passing the gallery

A photo: Kirill Ovchinnikov

Text: Danila Gulyaev

Project author: Andrey Gorozhankin

Photographer: Sergey Konyukhov

Magazine: N4 (126) 2008

Architect Andrey Gorozhankin designed the interior with the conditional name "Night Forest". Here the architectural and decorative means reproduced the exciting atmosphere of a dark thicket.

Of course, the interior with such an exotic concept is designed for an adventurer and romance, to whom a dark forest is not terrible, and adrenaline is important. And then the author of the project and the customer successfully found each other - both love strong impressions. According to Andrey Gorozhankina, in the night forest you are especially acutely aware of the connection with nature, here all the sensations are primordial and unclouded, all instincts are sharpened. In addition, the night forest is beautiful. The mobile, lively darkness is somewhere cut by the moonlight breaking through the thicket, somewhere is ghostly disturbed by a phosphoric luminescence - here cutting not only impressions, but also color contrasts. The colors in the night forest in general are fundamentally different, not like the day, and in the interior the architect reproduced this particular color painting. The walls in the apartment are black, and not even in tone, but in the form of large strokes. The general dark background is cut by flashes of bright intense color, like a fragment of a forest torn out from the dark by a lunar ray. The role of flashes is played by bright green prints on black curtains - these are enlarged photos of grass. The curtains are translucent, and when light from neighboring rooms is pierced through them, the effect of fog glowing at dusk is created. It softens the blackness of the walls and the L-shaped plane of oak wood, which begins behind the headboard, climbs up to the ceiling and there is pulled from the bedroom to the living room. It symbolizes the tree, under the crown of which the occupant sleeps.

Symbolically, the whole topography of the apartment is connected with the image of the forest. More precisely, not just forests, but a wooded hill. The fact is that the apartment is zoned by differences in floor levels. The living room is located above the hallway, and the bedroom is even higher than the living room. Accordingly, the entrance hall is a lowland, from which an ascent to the top of the hill - the bedroom - is made through a thicket. And at the top grows the most magnificent tree above the bed.

The apartment is also zoned with translucent curtains that separate one room from another, although in principle it’s all a single space of a studio apartment. As already mentioned, this apartment is not just housing. The owner is constantly in it and does not live, it is intended for privacy. Therefore, this is not a kitchen, but rather a bar. Therefore, the bathroom is combined with the bedroom and is separated from it only by a glass partition through which the entire apartment is viewed when you lie in the bath.

The whole apartment with its black walls and ceiling seems to be immersed in darkness and at some moments it seems limitless and dimensionless. Andrey Gorozhankin says that he wanted to create a kind of macrocosm in which a person would perceive everything around on a larger scale, as if from the point of view of an ant, to whom everything seems gigantic. But this is a purely visual, not a spatial effect - the apartment is designed as a way that the owner is optimally comfortable and cozy. It has a small area, and the architect has resorted to the Japanese tradition of organizing space, where the minimum unit of area is the size of the human body. For example, a seated person takes an average of one square meter, and for a person standing a meter is approximately the distance of an outstretched arm. All distances in the apartment are designed to meet this minimum unit.

Project author Andrey Gorozhankin: "The interior lives less than the building, it is often changed, almost every five years. It is more than the architecture associated with the human mood, with the emotions, which he, in fact, translates. In this interior the task was just to to convey a certain emotional state. It seemed to me interesting to work with the mood that arises when you go through the woods at night and feel small, and everything around is big ... "