HOUSE INTERIOR AND EXTERIOR
NOVOSIBIRSK
|MAY 2008

ARCH

HIS BUILT WORKS, NAMELY HIS BESPOKE PRIVATE HOUSES, WHEN ANALYSED IN CHRONOLOGICAL SUCCESSION, REFLECT THE DIFFERENT STAGES OF EVOLUTION OF THE CLIENT’S AESTHETIC PREFERENCES. INTERESTINGLY, THERE IS A CLEAR TRANSITION FROM THE ÉPOQUE OF ‘DEVELOPED SOCIALISM’ TO THE REALITIES OF THE PRESENT DAY.

In 2004, at the International Festival of Architecture and Interior Design, Ivan Shalmin received a laureate diploma for the design of his villa, titled ‘Arch’. For the same project, he also received a special recognition prize at the exhibition of Suburban Construction for ‘the clarity and simplicity of his design solution’ by the Moscow Committee of Architecture. Both events took place at the Brestskaya House in Moscow.

Architect Ivan Shalmin had studied architecture in Novosibirsk. Since then, he has been living and working in Moscow. Ivan has received numerous awards for his work at various architectural competitions and exhibitions, and his works continue to be published in prestigious architectural magazines. 

His built works, namely his bespoke private houses, when analysed in chronological succession, reflect the different stages of evolution of the client’s aesthetic preferences. Interestingly, there is a clear transition from the époque of ‘developed socialism’ to the realities of the present day. We would like to open the anthology of Shalmin’s Moscow based works on the pages of this magazine with his house titled ‘Arch’. Situated in the Ryblevka region, with an area of 890 sqm, it was completed in 2003.

When the client commissioned the architect, his idea was to build a ‘traditional family nest fit for nobility’ – a house in a classical style, where several family generations would reside under one roof. After many discussions regarding the layout and plans, the client wanted to see some sketch designs for the façades. In order to help him part with the idea of a traditionally kitsch Russian mansion, the architect decided to use shock therapy.

Instead of several stages of graphically defined options and ideas that would have never been approved, the architect presented the client with a physical model. The building was post modernist in style, signifying the end of the brutal ‘high-tech’ era and the beginning of laconism. The concept of the ‘Arch’ is a spatial, three-dimensional solution. Therefore, the model was the best way to fully convey the design.

Despite the different aesthetic, the classicism that the client had initially dreamt of had actually formed the basis of the spatial organisation. The backbone of the design is the main element that organises the succession of spaces – not a corridor, but a mere central axis and all the main volumes are then ‘speared’ onto it. The windows are east and west facing and this is typically characteristic of traditional Russian architecture. This way, the sunrays fall onto the front entrance and the balcony, designed for short promenades and the east becomes the symbol of a new beginning. The main façade has one large window (8m x 8m) with a balcony, and the entrance door itself is almost invisible. Behind the large glass opening is a double height living area, separated from the dining room by a barely tangible partition, featuring a dual aspect fireplace. In the living room, right above the seating area is a light well that enables the viewer to look up at the stars whilst sitting on the sofa.

The two blocks either side of the living room, on the left and the right, are private spaces (the study and the bedrooms). Each one has 2-3 small (1m x 1m) windows. On the south-facing terrace, there is an outdoor summer kitchen. From the study, you can come out onto the northern terrace and the kitchen is linked to the northern terrace via a small window, designed specifically to pass a cup of coffee through. In the study, the windows are north facing, to prevent bright rays of direct sunlight. Instead, the light is diffused, creating an evenly lit space for perfect working conditions.

For the client’s son, the architect designed a double height studio space with a gallery bedroom and a study space beneath. This room becomes a point of equilibrium of the spatial structure of the whole building, as it provides the best panoramic viewpoint. From here, you can see the ultimate perspective of the ‘Arch’ as conceived by the architect. A full view of the main living area and what lies beneath the main façade window - the winter garden on one side, and nature on the other. On the west side, directly behind the kitchen-dining room is the swimming pool. The walls that enclose it are fully stepped, enabling the spectator to swim out… into the pine forest! Thus, the main compositional axis, (east-west) is formed, the sun is about to set and the day culminates with a cleansing ritual.

In terms of layout, the entire house was shaped by the scenario of the client entertaining his guests. It was up to the architect to separate this process from the activities of all the other members of the household, and this is why the house has five staircases. Just like the lighting features, all the stairs have been custom designed by the architect, and this is what makes the house well and truly unique. The stair that leads onto the second floor consists of more than 2000 individual components, although this is hard to believe at first glance. Each cylinder that holds a truss, just like each fixture for the steps consists of 8 components. Compared to the standard ‘high-tech’ style, ‘the poetry of the standard bolt’ takes on a singular form. This in itself marks the beginning of the architect’s transition to laconism. The wooden steps are made of plywood, with every step covered in a double layer of wood veneer, then stained and varnished to finish. Now, almost five years after completion, these wooden elements have kept up pretty well.

The circular functioning of the trajectory of the incoming guests and their entertainment doesn’t disturb the privacy of the other inhabitants. Here is the sequence of events designed for the incoming guests: first, they enter and descend into the basement to watch a film, then they play pool, visit the wine cellar and finally they ascend onto ground level. After relaxing by the fireplace in the living room, they enjoy a meal in the dining room or on the outside terrace and then go for a walk in the forest. Upon return, they use the sauna, swim in the swimming pool and then they start the cycle all over again with a new film. This loop could go on to infinity. The plot of this infinite cycle of leisure can be described as ‘a fine life amongst delightful objects, surrounded by untouched nature’.

TEXT: MARINA OSHEPKOVA
PHOTOGRAPHY: IVAN SHALMIN’S ARCHIVES
GRAPHICS: IVAN SHALMIN

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