SupremUS- coliving in the House of Political Prisoners built in 1931. First floor is multifunctional public space, which consisit of: office, recreation area for office workers, a cinema hall and a lecture hall, a library, a public recreation area, which cfn be used as a reading room and a café.
Main sources of inspiration were dystopia of authors like Zamyatin, Orwell, Huxley, and Malevich's Suprematism compositions.
The idea of the office planning solutions was that Suprematist composition can be used as space zoning scheme. Thus, the "Supremus 56" Malevich was divided into three levels: fine lines in the picture were the lighting scheme, large blocks formed the basis of areas of accommodation, while smaller units have served circuit equipment, outlines of some parts of the picture have been assigned to certain elements of equipment (cabinets, racks , tables).
Also in the project there are certain allusions, such as fully glass cubes with glass furniture as work areas, in Zamyatin's novel "We" the home of the future was described this way. Rest room for workers of coliving filled with plants and it is dominated by green color. This is also a reference to "we", where the characters escaped from the cold world of the future to the "green wall" where they could live freely, where nature has not been enslaved man.
On the other wing there is almost sterile white cafe area, on the basis of descriptions of factoey-kitchen, the former "women liberators" and the main alternative to the "smoked old kitchen". One of the walls of the cafe sewn with wood paneling, thus is a reference to the novel "1984", a place that was popular with artists and poets was called "the Chestnut Tree Café"
Main sources of inspiration were dystopia of authors like Zamyatin, Orwell, Huxley, and Malevich's Suprematism compositions.
The idea of the office planning solutions was that Suprematist composition can be used as space zoning scheme. Thus, the "Supremus 56" Malevich was divided into three levels: fine lines in the picture were the lighting scheme, large blocks formed the basis of areas of accommodation, while smaller units have served circuit equipment, outlines of some parts of the picture have been assigned to certain elements of equipment (cabinets, racks , tables).
Also in the project there are certain allusions, such as fully glass cubes with glass furniture as work areas, in Zamyatin's novel "We" the home of the future was described this way. Rest room for workers of coliving filled with plants and it is dominated by green color. This is also a reference to "we", where the characters escaped from the cold world of the future to the "green wall" where they could live freely, where nature has not been enslaved man.
On the other wing there is almost sterile white cafe area, on the basis of descriptions of factoey-kitchen, the former "women liberators" and the main alternative to the "smoked old kitchen". One of the walls of the cafe sewn with wood paneling, thus is a reference to the novel "1984", a place that was popular with artists and poets was called "the Chestnut Tree Café"
"Afterward I showed her my "notes" and spoke (I think I spoke very well) about the beauty of the square, the cube, the straight line."
Yevgeny Zamyatin "We"
"Square. The Rulers of the World. A Pleasantly Useful Function."
Yevgeny Zamyatin "We"
"Yellow. Two-Dimensional Shadow."
Yevgeny Zamyatin "We"
"For some reason the telescreen in the living-room was in an unusual position. Instead of being placed, as was normal, in the end wall, where it could command the whole room, it was in the longer wall, opposite the window. To one side of it there was a shallow alcove in which Winston was now sitting, and which, when the flats were built, had probably been intended to hold bookshelves. By sitting in the alcove, and keeping well back, Winston was able to remain outside the range of the telescreen, so far as sight went. He could be heard, of course, but so long as he stayed in his present position he could not be seen."
George Orwell - 1984
"I woke: soft, bluish light, glimmer of glass walls, glass chairs and table. This calmed me; my heart stopped hammering."
Yevgeny Zamyatin "We"
I opened a heavy, creaking, opaque door, and we stepped into a gloomy, disorderly place (they called it an "apartment"). The same strange "royal" musical instrument—and again the wild, disorganized, mad music, like the other time—a jumble of colors and forms. A white flat area above; dark blue walls; red, green, and orange bindings of ancient books; yellow bronze—chandeliers, a statue of Buddha; furniture built along lines convulsed in epilepsy, incapable of being fitted into an equation.
Yevgeny Zamyatin "We"
"Books and loud noises, flowers and electric shocks-already in the in- fant mind these couples were compromisingly linked; and after two hundred repetitions of the same or a similar lesson would be wedded indissolubly. What man has joined, nature is powerless to put asunder. "They'll grow up with what the psychologists used to call an 'instinc- tive' hatred of books and flowers. Reflexes unalterably conditioned. They'll be safe from books and botany all their lives."
Aldous Huxley "Brave new world"
"Women! We’re going to blow the soot off you, clean the smoke from your nostrils, the din from your ears, we’re going to get you a potato that peels itself magically, in an instant, we’re going to give you back the hours the kitchen has stolen from you—you’re going to get half your life back. You, young wife, you cook your husband soup. You sacrifice half your day to a puddle of soup! We’re going to transform your puddles into shimmering seas, we’re going to ladle out cabbage soup by the ocean, pour kasha by the wheelbarrow, the blancmange is going to advance like a glacier! Listen, housewives, wait, this is what we’re promising you: the tile floor bathed in sunlight, the copper kettles burnished, the saucers lily-white, the milk as heavy as quicksilver, and the smells rising from the soup so heavenly they’ll be the envy of the flowers on your tables.»
Yuri Olesha «Envy»
