Albina Nazimova, interior decorator, and Ilya Piganov, artist have invaded the "holiest of holies" with impunity. This is a place you cannot just stroll into off the street (in any sense). There is no sign - one thing that specifically innovative socialites may regard as ultra-trendy. The ambiance is as nevertheless right and tranquil devoid of frenzy, quietly club-like. Members of the Union of Architects (whose creating this is) carry on to appear here - at least as soon as a month, when they come to pay their membership fees. The restaurant of the Property of Architects in Granatny pereulok has from Soviet occasions been acknowledged for its combine of exclusiveness and democratic tolerance - like all restaurants in creative unions, incidentally.
When the determination was taken to refurbish it the designers had been confronted with two difficulties. The first was the force of tradition, which encouraged folks to regard this as a kind of private club mainly for architects and their buddies. The 2nd was the space's unambiguous and rigid structure. The tradition had to be maintained in some way the architecture, to be left intact. From the commence, it was made the decision that the big "main" room, the potent pseudo-antique columns dividing the latter from the modest "side-chapels", and the small cafe ' in the "vestibule" would be preserved. But it truly is hard to believe that an interior constructed in the 1970s in a fashion reminiscent much more of the Soviet Baltic states than of Moscow - more of Jurmala than Palanga, - a masculine, naturally aggressive interior, could be so transformed. And transformed, furthermore, without having the intervention of a specialist architect. Leaving the architecture untouched, interior-decorator Albina Nazimova has produced the restaurant more "feminine", softer, and - more complex.
A hint of withering, a couple of drops of bourgeoiserie, a faint nostalgia for the vanished Excellent Empire. The present claret was diluted with grey the ultramarine was diluted with gray, and the green, also diluted with grey. The end result is an classy pallor, as if everything have been covered with a layer of museum dust - that non-professionals are not advise to touch. Albina Nazimova says she desired "the main palette and emotional colour to derive from what Ilya Piganov was doing". The restaurant has ten panels by this effectively-known Moscow artist. All are photo-collages realized via complicated method that Piganov invented himself. These performs fit neatly into the hard room. Piganov's objects are, on the 1 hand, complex and painstakingly produced.
One can gaze at them permanently as with Persian miniatures or fantastically patterned wallpaper on a sleepless night. On the other hand, they are unobtrusive and effortlessly fade into the background when men and women want to focus on some thing else - an crucial high quality in art which is to be displayed in a public room. Not only the colours, but the furnishings and lighting are successful. The restaurant has nut and ebony tables, sofas, and chairs bought in China (right after taking Europe by storm, the idea of ordering designer furniture from the Orient has made inroads into Russia too), all powerfully lit by designer lights. Ingo Maurer's Classical chandelier (which has grow to be the maestro's calling card) copes excellently with the high ceilings. Chellini's normal lamps do the same for the length and width of the rooms.
Granatny pereulok, seven, the Residence of Architects
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