квартира общей площадью 208 м2 Konstantin Vernigor

Passing the gallery

A photo: Evgeny Luchin

Text: Anastasia Smolin

Architect: Konstantin Vernigor

Builder: Andrey Turovsky

Magazine: (30)

It is simply amazing how differently architects define for themselves what, strictly speaking, architecture is. For some, it is an art form, an important component of spiritual culture; others are more inclined to pay attention to the style and features of an individual building; Finally, the third closest is understanding architecture as a building construction science. Architect Konstantin Vernigor - just from the third category. He sees exact science in architecture — with his theorems, axioms, and formulas. There is no place for accidents, the whole process is logical, justified by numerous factors. And so even the approach of the architect to work is akin to scientific research. Today we will try to describe the interior created by C. Vernigor, using his own terminology - a bit dry, but very precisely characterizing the stage of work on the space. According to the architect, the interior is a very academic (regardless of the "tricked" design) thing. And academicism should be laid initially - in the approach to the project, in the decisions, in the sensations of the architecture itself. The first stage of work is always redevelopment. Initially, this is an approximate division of space into zones, then plans are refined, individual elements are being worked out. Note that we are talking about considerable terms, it takes about two months only to find the only suitable concept. In this case, the completion of the planning phase of work coincided with the purchase by the customers of the second floor of the apartment. A significant increase in the area did not change the already existing concept of the interior. It was decided to simply “transfer” its main characteristics to another floor without disturbing the integrity of the style chain. And now let's see how the seven principles for creating an interior formulated by Konstantin Vernigor were embodied in the resulting apartment.The principle of architectural mood It is based on the idea of ​​a "many-sided" interior. In other words, being in the same premises, during the day you fully enjoy the beauty of natural light, and in the evening you can see muffled neon “lights” with no less pleasure. For Konstantin Vernigor, light is the means by which architecture is revealed, its winning fragments are amplified and, on the contrary, the losing ones are concealed. It is in this direction that the structure of the guest half "works", including the living room, dining room and kitchen. Moreover, the widespread use of neon can not be called only a lighting option. The goal was different: to create with the help of a neon "glow" an unusual, bewitchingly intimate atmosphere, replacing the daily "truth of life."Principle points When the basic idea of ​​the interior is formulated and its possible moods are found, the architect “takes up a pencil”. At this stage of work, according to Konstantin Vernigor, it is important to find a semantic point on the apartment plan. This refers to a certain point in which the philosophy of the surrounding space is concentrated and from which its conceptual development originates. In our case, the semantic point is the center of the dining room. This is the compositional core around which the action begins to unfold.Principle of independent scope Further, the space begins to be worked out in detail, filled. The light architecture of the dining area consists of very simple elements that “hold” the composition. Thin wooden verticals around the dining table emit directly the dining room. They exclude the "studio" perception of the room, delineating a small cozy corner. From the side of the central hall, the dining room is partially covered by a through semicircular partition, forming a completely separate fragment filled with details. In Vernigor's terminology, this is an independent volume that forms the environment around it. The idea of ​​an independent volume is that it is necessary for any interior as a conceptual core, but its individuality does not need an interior and can exist separately.Principle of experiment Speaking about the recognizable handwriting of the architect, we often mean repetitive from interior to interior details or ways of working with the material, characteristic lines or "brand" color combinations. Of course, it is important for an artist to find his own style, but sometimes this frozen constancy has a bad influence on creativity. Such a fate can be avoided thanks to tireless experimentation, reasonably combined with your favorite and tried and tested techniques. In this case, the place of the experiment was the corridor of the second floor. The traditional classical theme taken as a basis was transformed here, in the words of the architect, into a suite of new waves. Such experiences extremely individualize the interior, make it lively and memorable.Principle of lines of motion Somewhat apart are the principles of "motor" (or "dynamic"). The most complete panorama of the swirling space is revealed from the central hall. It is served as an exhibition room, in the near future it is supposed to place a mini-museum here. The hall is not located in the geometric center of the apartment, its role is the center of movement. As for the actual lines of movement, they are a branched labyrinth of "paths". In addition, there are two major axes - parallel corridors on both sides of the living room. A variety of options for moving around the apartment were thought through carefully and in detail, as a result, the owners and guests are provided with maximum comfort.Principle of emphasis Accents evenly distributed in the interior are obligatory and, most importantly, functionally justified. A small niche, a fragment of a wall or a corner - all this is thought out with special attention. Strong accent reception - light direction. Its development takes no less time and effort than the design stage of work. Depending on the layout, the type of lighting and lighting is selected, and the effects created by highlights and shadows are thought out. Another obvious accent gives the choice of colors.Principle Zero Ноль - это пустота и начало начал одновременно, самостоятельная философская величина, в разных своих проявлениях присутствующая в каждом интерьере. Одно из таких проявлений - круглая замкнутая форма, которая рождает бесконечные вариации и образы. Principle Zero угадывается в динамичном рисунке потолка. Простые геометрические элементы наслаиваются друг на друга, сливаясь в замысловатую и сложную конструкцию. Взятый за основу круг трансформируется, превращаясь в целую символическую "схему" потолка. Расшифровка этой схемы потребовалf бы долгих рассуждений на совершенно иные темы. Поэтому именно здесь мы поставим логическую точку и подведем краткий итог всему вышесказанному. По мере профессионального роста и расширения опыта автора этой системы число принципов неизбежно будет увеличиваться. В результате Konstantin Vernigor получит формулу, которая поможет решать архитектурные задачи, исключая абсурд в работе, и укажет верный путь к высокому профессиональному результату.