Published on – April, 17 2023
Where business and art intersect, we find design. In a world in constant flux, design is also evolving. We are becoming more mindful of our consumption habits and seeking ways to make a positive impact on the planet. Humans inevitably generate waste, create temporary goods, and produce enduring objects. The goal of modern design is to minimize waste, maximize the utility of temporary goods, and foster the creation of enduring products. Kira Virzhe, a renowned designer, decorator, and artist, has dedicated her career to shaping the interiors and exteriors of non-residential and public spaces. Through her work, she has witnessed the evolution of global design trends. The concept of “sustainability” now encompasses not just materials and consumption patterns but also the spaces we inhabit and our spiritual well-being.
Since opening the ‘Left Foot’ contemporary art gallery in an old warehouse building, you’ve successfully transformed more than one industrial object into a work of art, seamlessly integrating them into the surrounding environment. Tell us about other interesting eco-friendly solutions in public space design.
There are countless examples where design has become the starting point for changes in people’s lives and society, but since I’m involved in architecture and interior design, I was particularly struck by the story of creating the Pink Floyd album ‘Animals’ cover and the depicted Battersea coal-fired power station, which for many years smoked with four chimneys and polluted the London sky. At the same time, the station is the largest brick building in Europe, its chimneys are 109 meters high, and the building itself has an original interior and Art Deco decor. It served as a backdrop for many artistic and musical projects, but it became iconic and recognizable thanks to the ‘Animals’ album, where the station is featured alongside a pink inflatable pig. Battersea ceased operations in 1975, and in 1980 the building was listed as a cultural heritage site – thanks to the album cover. After that, for many years, different owners tried to breathe new life into the building, but no one succeeded until the architect Rafael Vinoly took up the task. He proposed to start using Battersea again to generate electricity, but this time in a green way, processing waste, biofuels, and other renewable resources. Instead of a ruined roof, a transparent “eco-dome” was erected. The building’s owners assured Londoners that they would not be disappointed with the result and could expect architects and designers to turn the station into a “magnificent place to live, work, and play.” And so it happened – thanks to the album cover, the genius of artists, architects, and design penetrating everywhere there is room for creativity. This story is a powerful example of how design, architecture, art, music, and business converge in one place and create values of the highest order.
There are quite a few similar objects from the past and the century before last in the world, and I was lucky enough to participate in several such projects. The world has become transparent, global design trends penetrate everywhere and know no boundaries. Not so long ago, in the Siberian city of Omsk, I had the opportunity to participate in a project very similar to the London Battersea, it was the design of the reconstruction of a former thermal power plant, a building from the beginning of the 20th century with a very rich and interesting history. Notably, three boilers were installed in the main building of the station, which were delivered with great difficulty from the same England. During the Civil War of 1919, the government of Kolchak transferred the station building to a detachment of French military. After inspecting the main building, the French decided to equip it as a radio station, using a 70-meter smoke stack as a mast for communication with Paris. After some time, retreating under the onslaught of the Red Army and leaving the station in 1919, the French shelled the main building and the chimney. The damage was insignificant, the holes were patched up, and the station operated until 1986. Later, already in a dilapidated state, the station passed into the ownership of a private enterprise, which initiated the opening of a cultural and entertainment complex with a restaurant, banquet hall, and universal spaces for various events in the building.
The reconstruction, dismantling, and adaptation of the old coal-fired power plant for other purposes was a difficult and very costly task. The project in the loft style won the competition: a style where the industrial spirit meets modernity, which values space and naturalness. The undoubted advantage of this style is that it is not constrained by strict rules, but there are several key elements that form its recognizable image. Industrial charm, brickwork, rough plaster, pipes, ventilation elements – these “imperfections” are unique. Loft is a style that can create a cozy but not boring environment. In addition, the customer set the task of implementing the project using only natural materials.
The eco-style, woven into the fabric of the industrial interior, fit in quite logically, the ecological theme is close to the religious one, it can only be spoken of quietly, chamberly as it happens in a forest or on the bank of a quiet river. It is this state of mind, comfortable and friendly, that people should feel when entering the space of the former power station. A contemplation of life in quietude, seclusion, and stillness. This is what the Greek word ‘isikhia’ means. From this arises art, architecture, design, and the ensuing ecology of space and soul. The Siberian power station’s history is poised to become a significant story. It has all the prerequisites for this.
In Omsk, you transformed an old hangar into a modern concert venue, blending vintage industrial style with steampunk elements. This place has now become the city’s largest youth concert venue. How do you find creative solutions for each new project?
Typically, one project follows another, and they often have overlapping elements due to the average person’s standardized requests and the need for a predictable outcome. The next project begins as a reaction to the previous one, and then it becomes crucial how we interpret and present the ideas. It’s up to us to decide the meaning and perception of the overall design concept. With their charisma and ability to freely convey the necessary information, designers shape the final result. Moreover, the designer’s interpretation of information is what truly matters; they should not merely replicate the client’s whims and misconceptions. A designer should not become a mere executor of “whatever you please.”
Today, we all have direct access to information in its original form. We transform intangible concepts into tangible forms, turning thoughts and actions into images and relationships. It is up to artists and designers to shape the world around us. We are the ultimate trendsetters. As a wise book says, “You are human! God’s favorite creation! Do something to get His attention!” It’s difficult to find a better motivation for a creative artist or designer.
The market for design talent is vast. Cities are expanding, absorbing industrial zones with residential development, and some buildings are naturally adapted for socio-cultural purposes. In Russia, this process has led to an unexpected result – increased demand for design and project planning. Former factories have become the subject of reconstruction, transforming into shopping centers, office buildings, and residential complexes. I’ve personally experienced this trend while working on projects in former industrial areas. For instance, I designed the “Tabaker” restaurant in a former tobacco factory, the “Khalif” restaurant in the administrative building of the “Krasny Pakhar” plant, the “Khibara” restaurant in one of the workshops of the former Putilov plant, and the “Mishkin and Mishkin” restaurant-club located in a converted garage for heavy trucks at “Sibzavod”. The disappearance of factories built during the Soviet era was caused by a number of reasons. But one thing is certain: their disappearance within residential areas has undoubtedly had a positive impact on the urban environment. Factories, often operating with outdated technologies, released harmful substances into the atmosphere, polluting the air and water. Their closure was a step towards a cleaner and healthier urban space. I see the same trends in the United States.
Previously, you opened several art and industrial workshops for creating custom decor items, and you developed a new technology for printing on mirrored canvas, which opens up vast possibilities for creating unique interior designs. How do you manage to find new design solutions?
Creating a unique interior is a challenge faced by every designer. But how can we ensure that a space not only looks aesthetically pleasing but also reflects the character and preferences of its inhabitants? The answer lies in creative solutions, which always depend on the specific task and situation. Design solutions, like any creative process, do not follow strict algorithms. They are born from intuition – the ability to grasp truth directly, without reasoning or logical conclusions. It is intuition that allows a designer to see something special in ordinary objects, create unusual compositions, and combine different elements into a harmonious whole.
Intuition is not merely a feeling, but a state where logic yields to direct perception. It allows one to “feel” a space, understand its history and purpose. Through intuition, a designer can sense the energy of a space, perceive the subtle details invisible to the naked eye, and create an atmosphere that reflects the soul of its inhabitants.
You have over 30 years of experience in interior and exterior design. How sustainable is the “green trend” in design and architecture today, and why?
This is not merely a passing trend, but rather a fundamental transformation of the industry. Traditional materials are being supplanted by innovative, eco-friendly alternatives. Recycled plastics, biodegradable materials, and natural fibers are now commonplace in sustainable design. Moreover, new construction technologies are being developed to minimize environmental impact. The design of public spaces is evolving to prioritize comfort and harmony with nature, featuring elements such as green roofs, living walls, and rainwater harvesting systems. In today’s world, sustainable design is increasingly essential. It enables us to create beautiful, functional environments without compromising the health of our planet. By leveraging innovative materials and technologies, we can foster a more sustainable and harmonious future. Issues of sustainability, once overlooked, are now at the forefront of public consciousness, and it is the designer’s role to champion these values.
What are the prospects for the development of green design?
As technology advances, the demand for eco-friendly design solutions is only set to increase. Today, design is characterized by its interchangeability and minimal risk. Design quality is exceptionally high, production standards are unparalleled, and craftsmanship is superb. Yet, there are also troubling trends. The revolutionary generation has been replaced by one seeking ‘comfort and prestige,’ eschewing risk and striving for security, a generation isolated from the chaos of creative freedom. Differences between products are now virtually indistinguishable, and the unique qualities that define individuality are insignificant. While we admire aesthetic and technical standards, they fail to move us. We are mired in a world of polished stereotypes. This heightens the demand for individual, creative solutions that can break free from these stereotypes and create something truly novel. Design decisions must incorporate both revolutionary and provocative elements in order to disrupt the status quo and challenge preconceived notions.
