Here's the link between a salon in Russia and fashion set designers Bureau Betak

Moscow – ‘Colours are just as important as materials and textures: I use them to emphasize aspects of my designs.’ So said Russian architect Eduard Eremchuk in Frame 134He’s part of a new wave of architect-designers who seek to challenge normalized perceptions of what retail and hospitality in Russia – and beyond – are ‘supposed’ to look like. ‘Sometimes I pick shades purely to maintain a brand’s identity in the spatial design,’ he said, ‘other times they are inspired by the city.’

The former was the case for Eremchuk’s first Russian project outside of his hometown of Rostov-on-Don. Located in Moscow, Sfera is a modular space where make-up artists, hairdressers and manicurists can rent a workstation by the hour. Thanks to the use of curtains, the interior – most of whose furniture was designed by Eremchuk himself – can easily transform to host events.

The project highlights a skillset enhanced by Eremchuk’s internship with fashion set designer Alexandre de Betak, where he began to think about projects like scenarios. ‘One of the most important factors is how people behave in a space, how they move and what they see. Designing a space is about organizing people, creating a series of zones for different purposes and lengths of stay.’

Not only functional, the curtains add the only accent to an otherwise grey interior-scape. Featuring colours from the brand’s logo, the print was inspired by heat maps and developed together with Katya Pyatitskaya, founder of Laroque Studios.

Eremchuk was born in 1994, during a difficult period for Russia. ‘In post-Soviet times there wasn’t much experimentation – people were scared to be different and it was almost impossible to do something unique. But this is changing as obstacles are disappearing. A new generation is bringing fresh ideas forward, and building an environment relevant to the present day.’

eduarderemchuk.com

Read our in-depth interview with Eduard Eremchuk in Frame 134. Get your copy here.

Location Bol'shaya Novodmitrovskaya Ulitsa, 36 Moscow, Russia, 127015

 
 

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Frame 134

The May/June issue of Frame was produced when the coronavirus was wreaking havoc in Southeast Asia, but seemed like distant thunder in the rest of the world. But by the time we went to print, the entire globe had been severely impacted. With the travel industry ostensibly upended overnight, it may seem like a strange time to address the topic. Prophetically, though, we centre on remote hospitality. How can the sector spread tourism more evenly? Suddenly, in the current era of social distancing, our take on travel has never been more relevant.

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