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Oleg Carlson: “After I watched the Hugh Laurie TV series I realized that I am also a doctor, only I treat houses instead of people”

The architect is speaking about his Facebook project in which he shares about frequent cases of “healing” private residences designed with mistakes of various degrees of severity.

04 October 2018
Interview
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A country residence is a special architectural genre, which, as life shows, is something that not all of the architects can successfully master. A lot of country houses require major adjustments, they need therapy, and sometimes even surgery. Oleg Carlson has come up with an Internet project #ДокторHouse: the materials of the country residence projects that he cured are posted online in a “before-and-after” format on his Facebook page and the page of “ASB Carlson and K”.

How did your “Doctor House” story begin?

Surfing the Internet on long winter evenings, you can find lots of different things, including information about designing country houses. My colleagues post online their floor plans, the developers advertise their projects of country houses, and so on. And sometimes designers come with the project complaining about the fact that they do not understand how to do the interior design for the floor plan that was just thrust upon them.

Regretfully, most of houses built by such projects are subject to major reconstruction or even demolition. However, while the house is not yet in construction, it is not too late to put things right. And sometimes you just examine such a project, then you grab your pencil and start correcting the obvious limitations of the house planning. Or sometimes you just take the geo basis, the house plans, and make over the entire project – let’s say, revert the axis or apply the modular design principle.

This is how I started this “before and after” page on Facebook, where we posted the materials of the original and the revised projects, getting in touch with the authors in order to share our experience, to prove our solutions right, and to teach them the principles of architectural design.

And after I watched the Hugh Laurie TV series I realized that I am also a doctor, only I treat houses instead of people. House, M.D. has been out for thirty seasons (well, here we might want to ask Oleg what exactly he considers to be a “season”). Each year we “cure” from 20 to 30 projects. We have a goal of correcting the limitations of the project before the construction begins, thus saving the client’s time, money, and the customer's nervous system.

Oleg Carlson © ASB Carlson & K
The facades of a country house: before and after © ASB Carlson & K


Plan of the 1st floor: before and after © ASB Carlson & K


Plan of the 2nd floor: before and after © ASB Carlson & K


What are the main limitations of the projects that you undertake to make over?

The most common mistake is when you have a large total area and lots of useless premises in the house: corridors, some transient zones that are not included in the scenario of the life of the house, gigantic furnace rooms, and such like. Now add to this inconvenient and unsafe stairways – steep or narrow or dark – and incompetently designed bathrooms. A separate subject is the second-level space. You just cannot have second-level space in houses under 300 square meters because it steals the useful floor space from the bedroom. Say, why would you ever want to move from a cramped city apartment into a house of your own with bedrooms 10-12 square meters?

This is what goes on on the inside. On the outside, it is mostly open balconies and entrance groups that get piled up with snow, and flat roofs that start leaking every spring requiring some major repairs.

A lot of mistakes have to do with positioning your house in the site: the living room windows overlooking the fences, and the windows of some stupid mechanical rooms overlooking the gardens. The living rooms may look south, and the bedrooms may look north – and this is in our climate where you may not see the sun for weeks!

Once I was invited by the “Idealny Renont” (“Perfect Remodeling”) TV show on Channel 1 to the house of Sergey Yursky and his wife Natalia Tenyakova. This is where I had the complete set of designing mistakes! Starting from the wrong orientation of the house on the land site, which resulted in the fact that the house was turned to the plot with its rear façade, and the bedroom windows were stopped dead by the fences. There was yet another curious thing that was left off-screen in the TV show: how, with a bedroom on the second floor, the house got an extra outlaw bathroom, and how the stairway was made over in such a way that now the only way to climb it without running the risk of breaking your neck was doing it in groups holding each other’s hands.

What do you think is the cause of such unsuccessful projects?

Our architects are underpaid by their clients. Oftentimes, even very rich people look to pay for their project as little as possible, inviting “architects” who agree to design a house for 10 euros per square meter. So they end up getting what they later on take to us for a fix.

The quality of the project is not guaranteed by the client’s readiness to pay, either. I have had to make follow-up corrections in the projects done by an American firm that designed a house in the Wright style.

Wright houses are all about iron logic based on the modular design principle. But this logic has yet to be adapted to our climatic conditions, starting from organizing the tambour, which is nonexistent in Wright’s projects.

Another reason for these stupid mistakes – and this is something that I totally disagree with – is the belief of some of my colleagues that “the customer is always right”. The client comes to an architect assuming that he is a professional. The architect’s task is to ask his client lots of questions about how he sees his or her house, what kind of family they have, what their lifestyle is, hear the client out, and then propose his own solution, convincing, if necessary, the client of its advantages. The client’s will is no excuse for a bad project.

And what can you say about your own clients? Their wealth and social status alone must be enough of a reason to be intimidated to disagree with them, are they not?

As time goes by, you also develop your own authority, and when really rich clients come to you, they realize that they are coming to an acclaimed professional. These clients know how important it is to listen to the professional opinion.

Villa "Svetlana": before and after © ASB Carlson & K


Villa "Svetlana", plan of the first floor: before and after © ASB Carlson & K


Villa "Svetlana", plan of the second floor: before and after © ASB Carlson & K


Could you say that all of the Russian clients prefer some specific style?

Classical houses are definitely more popular in this country because classics is something that our clients understand and are used to. The main problem is that oftentimes you have a land plot of about 30-40 hundred square meters, and the client wants to build on it a manor house or even a palace, oblivious of the fact that a palace, whatever kind it is, presupposes lots of space around it.

It’s not often that the clients come to me asking to design a house in modern style. In order to want to build a “modern” house, you need to have lived in a classical one for a while. The client must get ripe for the modern architecture, learn to appreciate the beauty of its shapes, technologies, and materials. So, most of the time we play classics.

Let’s take our settlement “Sokol” for example – the houses that were built here in the very beginning. Some will say that this is a boring and dull kind of architecture. But in reality, everything was done there in a beautiful, competent, and grand-scale manner.

The facades of a country house: before and after © ASB Carlson & K


Floor plan: before and after © ASB Carlson & K


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What kind of advice would you give to those who only begins to design houses on their own? How do you learn to make great projects?

Back in the day, you could only get information from specialized magazines, and those were few and far between. At the university, we could only get them with written acknowledgement of receipt. Today you have the Internet that shows you all the expertise that is out there. Just go for it, take it and use it but don’t forget to use your head as well. Again, because of the Internet, the same mistakes keep popping up in many different projects over and over again. And, again, there are lots of great projects out there – you don’t really have to design anything, everything was designed before you.

Also, you need to learn to explain to your client the benefits of professional architectural solutions, and then you are going to end up getting more great projects to be ultimately proud of.

The Internet is more and more becoming the leading educational resource. Do you plan to further develop your “Doctor House” project?

Today, the knowledge and experience that we accumulated in the course of design and construction of individual residences, as well as our appreciation of the architecture of the perfect house, is only our knowledge and experience, about which we share a little on our “Doctor House” page.

We also have plans for launching our YouTube channel in the nearest future. We are already posting videos online in which I share about the subtleties of making a floor plan for a private residence. We will be posting a new video every two weeks: sharing about our new projects as they are “on paper” and about our visits to our clients. So, we are planning to continue sharing our experience and we hope that in the future Doctor House will not only treat houses but also teach people.


04 October 2018

Headlines now
Living in the Architecture of One’s Own Making
Do architects design houses for themselves? You bet! In this article, we are examining a new book by TATLIN publishing house. This book – unprecedented for Russia – features 52 private homes designed and built by contemporary architects for themselves. It includes houses that are famous, even iconic, as well as lesser-known ones; large and small, stylish and eccentric. To some extent, the book reflects the history of Russian architecture over the past 30 years.
A City Block Isoline
Another competition project for a residential complex on the banks of the Volga in Nizhny Novgorod has been prepared by Studio 44. A team of architects led by Ivan Kozhin concluded that using a regular block layout in such a location would be inappropriate and developed a “custom design” approach: a chain of parceled multi-section buildings stretching along the entire embankment. Let’s explore the features and advantages of this unconventional method.
Competition: The Price of Creativity?
Any day now, we’re expecting the results of a competition held by the “Samolet” development group for a plot in Kommunarka. In the meantime, we share the impressions of Editor-in-Chief Julia Tarabarina, who managed to conduct a public talk. Though technically focused on the interaction between developers and architects, the public talk turned into a discussion about the pros and cons of architectural competitions.
Terraced Design
The “River Park” residential complex has confidently and securely shaped the Nagatinsky Backwater shoreline. Featuring a public embankment, elevated courtyards connected by pedestrian bridges, and brick façades, the development invites exploration of its nuanced response to the surrounding context, as well as hints of the architects’ megalithic design thinking.
A Kremlin’s Core and Meteorite Fragments
We continue our coverage of the competition projects for the residential district that the development company GloraX plans to build along the embankment of the Rowing Channel in Nizhny Novgorod. ASADOV Architects approached the concept through a deep dive into local identity, using storytelling to pinpoint a central idea for the design: the master plan and composition are imagined as if a meteorite had struck a “proto-Kremlin”. Sounds weird? Find more details below!
The Volga Regatta
GloraX plans to develop a residential complex spanning 14 hectares along the Volga River in Nizhny Novgorod. The winning design in a closed-door competition, created by GORA Architects, features housing typologies ranging from townhouses to terraced high-rise slabs, a balance of functions, diverse ways of engaging with the water, and even a dedicated island (no less!) for the city residents.
A New Track
We took a thorough look at D_Station, a railcar repair depot dating back to 1906, recently reconstructed while preserving its century-old industrial structure, upon the project by Sergey Trukhanov and T+T Architects. Though work on the interiors – set to house restaurants and public spaces – is still underway, the building’s exterior already offers plenty to see. Visitors can explore the blend of old and new brickwork, appreciate the architect’s unique interpretation of ruin aesthetics, and enjoy the newly built pedestrian route that connects the Citydel Business Center’s arches to Kazakova Street.
Four Different Surveys
The “Explore the City” competition, organized this year by the Genplan Institute of Moscow, stands out as a pretty unconventional one for the architectural field but aligns perfectly well with the character of urban planning work. The winning project analyzed contemporary residential complexes, combining urban planning insights with a realtor’s perspective to propose a hybrid approach. Other entries explored public centers, motivations for car ownership, and housing vacancy rates. A fifth participant withdrew. Here’s a closer look at the four completed works.
Scheduled Evolution
ASADOV Architects unveiled the EvyCenter pavilion, a microcultural hub for fostering personal growth, organizing workshops, and doing gymnastics. Additionally, this pavilion serves as a prototype for a scalable country house, drawing inspiration from the “Loskutok” project, and constructed from CLT panels in a factory. This marks the beginning of a developer project initiated by the architectural firm (sic!), which is seeking partners to expand both small Evy settlements and even larger Evy cities, which are, according to Andrey Asadov, aimed at fostering the “evolutionary” development of the people who will inhabit them.
The Golden Crown
The concept for a dental clinic in Yekaterinburg, developed by CNTR Studio, revolves around the idea of a “mouth full of gold”: pristine white porcelain stoneware walls are complemented by matte brass details. To avoid an overly literal interpretation, the architects focused on the building’s proportions, skillfully navigating between sunlight requirements and fire safety regulations.
Flexibility and Integration
Not long ago, we covered the project for the fourth phase of the ÁLIA residential complex, designed by APEX. Now, we’ve been shown different fence concepts they developed to enclose the complex’s private courtyards, incorporating a variety of public functions. We believe that the sheer fact that the complex’s architects were involved in such a detail as fencing speaks volumes.
A Step Forward
The HIDE residential complex represents a major milestone for ADM architects and their leaders Andrey Romanov and Ekaterina Kuznetsova in their quest for a fresh high-rise aesthetic – one that is flexible and layered, capable of bringing vibrancy to mass and silhouette while shaping form. Over recent years, this approach has become ADM’s “signature style”, with the golden HIDE tower playing a pivotal role in its evolution. Here, we delve into the project’s story, explore the details of the complex’s design, and uncover its core essence.
Gold in the Sands
A new office for a transcontinental company specializing in resource extraction and processing has opened in Dubai. Designed by T+T Architects, masters of creating spaces that are contemporary, diverse, flexible, and original, this project exemplifies their expertise. On the executive floor, a massive brass-clad partition dominates, while layered textures of compressed earth create a contextually resonant backdrop.
Layers and Levels of Flight
This project goes way back – Reserve Union won this architectural competition at the end of 2011, and the building was completed in 2018, so it’s practically “archival”. However, despite being relatively unknown, the building can hardly be considered “dated” and remains a prime example of architectural expression, particularly in the headquarters genre. And it’s especially fitting for an aviation company office. In some ways, it resembles the Aeroflot headquarters at Sheremetyevo but with its own unique identity, following the signature style of Vladimir Plotkin. In this article, we take an in-depth look at the United Aircraft Corporation (UAC) headquarters in the Moscow agglomeration town of Zhukovsky, supplemented by recent photographs from Alexey Naroditsky – a shoot that became only recently possible due to the fact that improvements were finally made in the surrounding area.
Light and Shadow
In this article, we delve into the architectural design of the “Chaika” house by DNK ag architects, which was recently completed in 2023 as part of the collection of signature designs at ZILArt. As is well-known, all the buildings in this complex follow a design code, yet each one is distinct. This particular building stands out not only for its whiteness and minimalism but also for the refined use of a limited number of techniques that, together, create what can confidently be called synergy.
Casus Novae
A master plan was developed for a large residential area with a name of “DNS City”, but now that its implementation began, the plan has been arbitrarily reformatted and replaced with something that, while similar on the surface, is actually quite different. This is not the first time such a thing happens, but it’s always frustrating. With permission from the author, we are sharing Maria Elkina’s post.
Treasure Hunting
The GAFA bureau, in collaboration with Tegola and Arkhitail, organized an expedition to the island of Kilpola in Karelia as part of Moskomarkhitektura’s “Open City” festival. There, amidst moss and rocks, the students sought answers to questions like: what is the sacred, where does it dwell, and what sustains it? Assisting the participants in this quest were landscape engineer Evgeny Levin, artist Nicholas Roerich, a moose, and the lack of cellular connection. Here’s how the story unfolded.
Depths of the Earth, Streams of Water
In the Malaya Okhta district, the Akzent building, designed by Stepan Liphart, was constructed. It follows a classic tripartite structure, yet it’s what you might call “hand-drawn”: each façade is unique in its form and details, some of which aren’t immediately noticeable. In this article, we explore the context and, together with the architect, delve into how the form was developed.
Fir Tree Dynamics
The “Airports of Region” holding is planning to build an airport in Karachay-Cherkessia, aiming to make the Arkhyz and Dombay resorts more accessible to travelers. The project that won in an invitation-only competition, submitted by Sergey Nikeshkin’s KPLN, blends natural imagery inspired by the shape of a conifer seed, open-air waiting spaces, majestic large trees, and a green roof elevated on needle-like columns. The result is both nature-inspired and WOW.
​A Brick Shell
In the process of designing a clubhouse situated among pine trees in a prestigious suburban area near Moscow, the architectural firm “A.Len” did the façade design part. The combination of different types of brick and masonry correlates with the volumetric and plastique solutions, further enhanced by the inclusion of wood-painted fragments and metal “glazing”.
Word Forms
ATRIUM architects love ambitious challenges, and for the firm’s thirtieth anniversary, they boldly play a game of words with an exhibition that dives deep into a self-created vocabulary. They immerse their projects – especially art installations – into this glossary, as if plunging into a current of their own. You feel as if you’re flowing through the veins of pure art, immersed in a universe of vertical cities, educational spaces – of which the architects are true masters – and the cultural codes of various locations. But what truly captivates is the bold statement that Vera Butko and Anton Nadtochy make, both through their work and this exhibition: architecture, above all, is art – the art of working with form and space.
Flexibility and Acuteness of Modernity
Luxurious, fluid, large “kokoshniks” and spiral barrel columns, as if made from colorful chewing gum: there seem to be no other mansion like this in Moscow, designed in the “Neo-Russian-Modern” style. And the “Teremok” on Malaya Kaluzhskaya, previously somewhat obscure, has “come alive with new colors” and gained visibility after its restoration for the office of the “architectural ecosystem” as the architects love to call themselves. It’s evident that Julius Borisov and the architects at UNK put their hearts into finding this new office and bringing it up to date. Let’s delve into the paradoxes of this mansion’s history and its plasticity. Spoiler: two versions of modernity meet here, both balancing on the razor’s edge of “what’s current”.
Yuri Vissarionov: “A modular house does not belong to the land”
It belongs to space, or to the air... It turns out that 3D printing is more effective when combined with a modular approach: the house is built in a workshop and then adapted to the site, including on uneven terrain. Yuri Vissarionov shares his latest experience in designing tourist complexes, both in central Russia and in the south. These include houseboats, homes printed from lightweight concrete using a 3D printer, and, of course, frame houses.
​Moscow’s First
“The quality of education largely depends on the quality of the educational environment”. This principle of the last decade has been realized by Sergey Skuratov in the project for the First Moscow Gymnasium on Rostovskaya Embankment in the Khamovniki district. The building seamlessly integrates into the complex urban landscape, responding both to the pedestrian flow of the city and the quiet alleyways. It skillfully takes advantage of the height differences and aligns with modern trends in educational space design. Let’s take a closer look.
Looking at the Water
The site of Villa Sonata stretches from the road to the water’s edge, offering its own shoreline, pier, and a picturesque river panorama. To reveal these sweeping views, Roman Leonidov “cut” the façade diagonally parallel to the river, thus getting two main axes for the house and, consequently, “two heads”. The internal core – two double-height spaces, a living room and a conservatory, with a “bridge” above them – makes the house both “transparent” and filled with light.
The White Wing
Well, it’s not exactly white. It’s more of a beige, white-stone structure that plays with the color of limestone – smoother surfaces are lighter, while rougher ones are darker. This wing unites various elements: it absorbs and interprets the surrounding themes. It responds to everything, yet maintains a cohesive expression – a challenging task! – while also incorporating recognizable features of its own, such as the dynamic cuts at the bottom, top, and middle.
Urban Dunes
The XSA Ramps team designed and built a three-part sports hub for a park in Rostov-on-Don, welcoming people of all ages and fitness levels. The skate plaza, pump track, and playground are all meticulously crafted with details that attract a diverse range of visitors. The technical execution of the shapes and slopes transforms this space into a kind of sculptural composition.
Proportional Growth
The project for the fourth phase of the ÁLIA residential area has been announced. The buildings are situated on an elongated plot – almost a “ray” that shoots out from the center of the area towards the river. Their layout reflects both a response to Moscow’s architectural preferences over the past 15 years, shifting “from blocks to towers”, and an interpretation of the neighboring business park designed by SOM. Additionally, the best apartments here are not located at the very top but closer to the middle, forming a glowing “waistline”.
The “Staircase” Building
In designing the “Details” residential complex in New Moscow, Rais Baishev spiced up the now-popular Moscow theme of a “courtyard” building with an idea drawn from the surrealist drawings by Maurits Escher. He envisioned the stepped silhouettes and descending slopes as a metaphysical mega-staircase, creating a key void within the courtyard that gave the project an internal “spine”. This concept is felt both in the building’s silhouette and on its façades.
Projection of the Quarter
No one doubted that the building that Vladimir Plotkin designed as part of the “Garden Quarters” would be the most modernist of all. And it turned out just that way: while adhering to the common design code, the building successfully combines brick and white stone, rhythmically responding to the neighboring building designed by Ostozhenka, yet tactfully and persistently making a few statements of its own. This includes the projection of the ideal urban development composition “14–9–6”, which can be found right next door, mathematical calculations, including those for various types of terraces (and perhaps the only reminder of the Soviet past of the Kauchuk rubber factory!), and the white “cross-stitch” pattern of the façade grid.