Архитекторы Алексей Розенберг и Пётр Костёлов

imagery Originally, a house with bearing stone walls created a strong tectonic image of a shelter-dwell- ing. Recessed windows and doors emphasized the wall thickness and complemented this image. The introduction of the post and beam system divorced the structure from the load-bearing func- tion of the walls, the thickness of which was significantly reduced. The window and door frames were flush with the walls, which became thinner, and in many cases practically disappeared, turn- ing into transparent glass of the hinged facades. The concept of thin functional wall-layers has changed the nature of the house as a shelter. However, in low-rise wooden construction, the walls have changed little: they still remain load-bearing, both in timber frame or log houses. As a result, a Shed becomes one of the most frequently used images, a prototype of the original shelter-dwell- ing that can protect from the weather and danger. The Shed’s deliberate brutality arises from its direct protective function, which excludes any attempts to decorate it. emotionality The achievement of an emotional response when interacting with an architectural object raises the perception of architecture to a qualitatively higher level. At the same time, architecture is not always associated exclusively with positive emotions. For example, memorial complexes dedicat- ed to tragic events arouse grief and compassion, while places of worship purposefully guide their visitors through an arduous spiritual pilgrimage, which may be exhausting both physically and emotionally. One of the tools for evoking certain emotions is an incommensurate scale, a special layout, unusual lighting, a unique color scheme and decor. The scale is perhaps one of the main instruments that affect the emotional state. For example, the human scale environment, typical for democracies, is opposed to the monumental scale of public buildings in autocratic regimes, re- minding ordinary people of their low rank in the elaborated hierarchy. functionality The “inside-out” design, allows the outer shell to reflect the inner function. The location of the windows, their sizes and shapes are designed not only taking into account the geographic co- ordinates of the house, cardinal directions, lighting, and views from the inside, but also depend- ing on the spatial arrangement of the interiors. It is quite evident that the facades should not have typical windows, which are purely mechanically placed there. Every window should be different in size, shape and location. On the eastern and western sides, they should be smaller to avoid un- wanted light exposure which commonly occurs in the early morning and late evening during the hot summer season. The south side allows larger windows, since the risen summer sun does not get inside. The northern windows, on the contrary, may be small to prevent heat loss during the cold winter period. Each window performs its own function. For example, one of the windows in the east facing bedroom catches the first rays of the morning sun. A window in the bathroom is designed for lighting and ventilation. A floor-to-ceiling window in the living room will expand the space, blurring the boundaries between the inside and the outside. A low horizontal window op- posite the dining table makes it possible to enjoy the view while sitting. Roof windows not only evenly illuminate the interior with natural light and allow airing, but also evoke a special emotional state when it is raining or snowing. integrity The design of interiors, furniture, and decor items contributes to the perception of the project as a whole. Every detail is subordinate to the general idea and is its integral part. Random and extrin- sic objects are excluded or minimized. The project is perceived in its entirety, both at the level of its main volume, and at a lower level of its interiors. Integrity, combined with flowing spaces, blurs the boundaries between outside and inside, exterior and interior, structural elements and decor items. peter kostelov