Albina Nazimova, inside decorator, and Ilya Piganov, craftsman have attacked the “holiest of holies” without risk of punishment. This is a spot you can’t simply walk around off the road (in any sense). There’s no sign – something that particularly propelled socialites may see as ultra-in vogue. The environment is so far right and serene without free for all, discreetly club-like. Individuals from the Union of Architects (whose building this is) keep on showing up here – in any event once per month, when they come to pay their enrollment expenses. The eatery of the House of Architects in Granatny pereulok has from Soviet occasions been known for its blend of eliteness and vote based resilience – like all eateries in imaginative associations, by chance.
At the point when the choice was taken to restore it the architects were stood up to with two issues. The first was the power of custom, which urged individuals to see this as a sort of exclusive hangout fundamentally for modelers and their companions. The second was the space’s unambiguous and unbending structure. The custom must be kept up here and there; the don vi thiet ke uy tin, to be left unblemished. From the beginning, it was concluded that the huge “principle” room, the amazing pseudo-antique segments separating the last from the little “side-houses of prayer”, and the little bistro ‘ in the “vestibule” would be safeguarded.
In any case, it’s hard to accept that an inside developed during the 1970s in a style suggestive a greater amount of the Soviet Baltic states than of Moscow – a greater amount of Jurmala than Palanga, – a manly, normally forceful inside, could be so changed. Also, changed, besides, without the intercession of an expert draftsman. Leaving the design immaculate, inside decorator Albina Nazimova has made the café increasingly “ladylike”, milder, and – progressively mind boggling.
A trace of shriveling, a couple of drops of bourgeoiserie, a black out sentimentality for the evaporated Great Empire. The current claret was weakened with dim; the ultramarine was weakened with dark, and the green, additionally weakened with dim. The outcome is a rich paleness, as though everything were secured with a layer of gallery dust – that non-pros are not encourage to contact. Albina Nazimova says she needed “the primary palette and passionate shading to get from what Ilya Piganov was doing”. The eatery has ten boards by this notable Moscow craftsman. All are photograph collections acknowledged through confounded procedure that Piganov developed himself. These works fit conveniently into the troublesome space. Piganov’s articles are, from one viewpoint, complex and meticulously made.
One can look at them always similarly as with Persian miniatures or fabulously designed backdrop on a restless night. Then again, they are inconspicuous and effectively blur out of spotlight when individuals wish to concentrate on something different – a significant quality in workmanship which is to be shown in an open space. The hues, yet the furnishings and lighting are fruitful. The café has nut and midnight tables, couches, and seats purchased in China (subsequent to overwhelming Europe, requesting architect furniture from the Orient has made advances into Russia as well), all intensely lit by fashioner lights. Ingo Maurer’s Classical crystal fixture (which has become the maestro’s distinguishing mark) adapts perfectly to the high roofs. Chellini’s standard lights do likewise for the length and width of the rooms.