CONTEMPORARY SOCIETY NEEDS NEW SYMBOLS Times have changed, and we no longer build, as we did during the Middle Ages and the Renaissance, cathedrals which symbolised our spiritual victory over death, chaos and destruction, and which embodied the extent of what humankind could achieve at that time.
Constructed to the very limit of what could be achieved with the technology and materials available at the time, they reflected the image and impression of the world of contemporary society that was oft repeated in frescoes, stained-glass windows, sculpture and music. They were centres in which was reflected the understanding of the past and the relationship towards the present of the people who built them.
Since that time, our perception of the world around us has altered radically, our horizons have broadened, and today we possess limitless opportunities thanks to the materials, technologies and means of expression that we now command. However, the greater the possibilities, the more frequently we show a complete helplessness when faced with the task of synthesising our knowledge and world view into a unified whole which extends beyond the bounds of the utilitarian, and it often seems that the people who built those cathedrals were a great deal bolder then than we are now.
Nevertheless, we cannot refute the fact that modern society needs new symbols which reflect the same issues which confronted the people who built beautiful cities many centuries ago, moreover we understand that we cannot live on monuments to the past alone, and we are now confronted with the necessity to create new projects which reflect the epoch in which we are living. These thoughts form the principal motive which led us to create the Heart of Malta complex, a monument which bears within its form a reminder of the merciless power and unpredictability of nature, and is intended to become what the cathedrals of the past became – the quintessence of our contemporary culture as it desperately strives to break the bounds of what it possible.
We see this project as an open window into the future, and a proud response to the vicissitudes of our own history and destiny.
I would like to remind those who separate the terms “natural” and “human” when discussing integration of structures into a natural context, that a human
being’s consciousness is also a part of nature, and also lives according to her immutable laws, and that such a separation looks at the very least presumptive.
We are, after all, also a part of nature, just one which possesses self-awareness and the ability to interpret that which occurs around us.In spite of the superficial impression of being in conflict with the environment, what we have in this project is an example of the ultimate conceptual and architectural integration of a structure into its physical context, meaning that here we can speak of a successful solution which goes beyond the bounds of the concept of urbanisation. The image of an Azure Window built from steel, one which reflects the sky, the land, and the sea – this is a very powerful image.
Therefore we are confident that we have been able to fully and faithfully reflect in our project the interaction of humanity and nature, the theme of downfall and prevailing, as a fundamental leitmotif for contemporary culture, having created an architectural design with its own drama and story, and whose familiar silhouette, in the edges of which reality itself dissolves, will intrigue and fascinate many people all over the world, and will reflect in the best possible way the spirit of Malta’s past.
Svetozar Andreev
СВЕТОЗАР АНДРЕЕВ, АРХИТЕКТОР / ДИЗАЙНЕР ИНТЕРЬЕРА
Родился в 1975м году в Санкт-Петербурге. С 1997-го работает, как самостоятельный дизайнер и архитектор. Основное направление работы:
архитектурное проектирование и девелопмент, дизайн интерьера, разработка эксклюзивной мебели, предметов интерьера и графический дизайн. Автор множество интерьерных и архитектурных проектов, и коллекций эксклюзивной мебели. Работы Светозара Андреева отмечены премиями и номинациями, неоднократно занимали первые места в международных конкурсах Проекты Светозара Андреева регулярно публикуются в основных россиийских и зарубежных изданиях, посвященных дизайну интерьера и архитектуре, появлялись на обложках журналов. В настоящее время Светозар Андреев CEO собственной студии Hotei-Russia / The Svetozar Andreev Studio и работает как архитектор и дизайнер интерьера.
- Номинант конкурса ARCHIP «Международная Архитектурная Премия 2007» В номинации "Новаторство"
- Первое место конкурса Sobaka.ru «Лучшие дизайнеры и интерьеры 2009» В номинации "Лучший частный интерьер"
- Первое место конкурса Sobaka.ru «Лучшие дизайнеры и интерьеры 2007» В номинации "Лучший частный интерьер"
- Финалист конкурса журнала Sobaka.ru «Лучшие дизайнеры и интерьеры 2008» В номинации "Лучший частный интерьер"
- Победитель конкурса ARCHIP «Международная Архитектурная Премия 2006» В номинации "Новаторство"
THE SVETOZAR ANDREEV STUDIO / HOTEI-RUSSIA IN WORLD MEDIA СТУДИЯ СВЕТОЗАРА АНДРЕЕВА / HOTEI-RUSSIA В МАССМЕДИА
ARCHITECTURE AND INTERIORS BY THE SVETOZAR ANDREEV STUDIO
INTERIOR DESIGN BY THE SVETOZAR ANDREEV STUDIO / HOTEI-RUSSIA
INTERIORS BY THE SVETOZAR ANDREEV STUDIO Our interior design method is defined by a holistic architectural approach. In all our projects we strive to create a harmonious and free space, and we can do this only because of our extensive experience in renovating historical buildings. Thanks to this experience we are able to create a free layout, even in places which at first glance appear totally unsuited to the realization of any design concept. The majority of our projects are created in highly unprepossessing apartment or attic spaces criss-crossed with dividing and supporting walls. We strive by all means at our disposal to reveal the latent potential of any space, and as we know that a designer’s work does not begin and end with the simple throwing-together of ready-made pieces from different manufacturers, we undertake the bespoke design of many furnishing and decorative elements for a specific project ourselves. In all projects we endeavour to ensure that every element of the interior reflects the fundamental design concept, and represents an organic and functional part of the overall composition.
ИНТЕРЬЕРЫ ОТ СТУДИИ СВЕТОЗАРА АНДРЕЕВА Наш метод проектирования интерьеров отличает архитектурный подход. Во всех проектах мы стремимся создать гармоничное и свободное пространство. В этом нам помогает многолетний опыт, накопленный в процессе работы над реконструкцией зданий. Благодаря ему, нам удается создавать свободную планировку даже в помещениях, на первый взгляд, совершенно неприспособленных для реализации этой концепции Большинство наших интерьеров, созданы на месте изрезанных перегородками и несущими стенами, невзрачных квартир и чедачных помещений. Мы стремимся любыми средствами раскрыть возможности, заложенные в помещении
и будучи убеждены, что работа дизайнера интерьера не исчерпывается примитивной компиляцией готовых предметов, сделаных разными производителями, проектируем сами многие предметы мебели и элементы отделки, специально для конкретного проекта. Во всех проектах мы стремимся к тому, чтобы каждый элемент интерьера отражал основную идею, и был органичной и функциональной частью общей композиции
ROOFTOP VILLA `SAARI MOIS`
BY ARCHITECT SVETOZAR ANDREEV
Idea, Architecture & Design: Svetozar Andreev Copyright © Svetozar Andreev 1997-2021. The Svetozar Andreev Architectural Studio “Hotei-Russia”
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TWO-LEVEL ROOFTOP VILLA `SAARI MOIS`
BY ARCHITECT SVETOZAR ANDREEV
Idea, Architecture & Design: Svetozar Andreev Copyright © Svetozar Andreev 1997-2021. The Svetozar Andreev Architectural Studio “Hotei-Russia”
BACKSTAGE PHOTOSHOOTING
IN THE ROOFTOP VILLA`SAARI MOIS`
ROOFTOP VILLA BY ARCHITECT SVETOZAR ANDREEV ON THE MINOTTI.COM
MINOTTI: Transformation of an extremely harsh interior space in a historic 18th century building into a modern, three-level, light-filled attic offering every imaginable comfort. This was the challenge successfully met by architect Svetozar Andreev, mastermind behind the renovation project for this apartment in the historic city center of St. Petersburg. Furnishings for the living room, filled with light from the large windows in the sloped roof ceiling, include a composition of elements from the Hockney sofa system, whose fluid lines emphasize the modern, dynamic character of the architectural design.
