This genre itself - the yachtsman's house (boathouses) - was invented by Evgeny Ass, the author of the master plan for the development of Pirogovo. According to the original idea of the architect, the houses were supposed to form a street on stilts along the coast, but the customer rejected this option due to the complexity of operation. Then the houses "moved" to land, but the strict regulations developed for them remained in force: each house had to be raised above the ground by 60 cm, its size in terms of plan should not exceed 5x8 meters, and its height - 6 meters. Using these "templates", the projects of the yachtsmen's dwelling were developed at once by several leading Russian architects, among whom was Vladimir Plotkin, and the concepts invented by them formed a kind of "bank of proposals" for buyers of land plots on Cape Zavidkin.
Many people are already familiar with the Yachtsman's House as a successful implementation, including the Under the Roof of a House festival, the exposition of which he opened this year and became a laureate (silver in the Realized Country Residential House nomination). This is a very effective and self-sufficient three-part volume, in which two black-and-red parallelepipeds flank a snow-white "sail". But the most interesting thing is that this house has already become in the course of joint revision of the project by the architect and the customer.
The fact is that the dimensions of 5x8x6 meters prescribed by the regulations were initially small for the customer and his large family. As his home by the water, he wanted to see a structure, which in area would be about three times larger than the parameters laid down in the general plan of the resort. And then Vladimir Plotkin had an idea to create a house that visually breaks down into three independent volumes. The "housings" are interconnected by thin glazed passages, which at first glance, especially from afar, are invisible. This trick made it possible to comply with the regulations and at the same time design a house that fully meets the requirements of the customer. Including, by the way, in functional areas - the customer wanted the "parent" and "child" halves to be separated from each other, and the public area (double-height living room space) acted as a kind of buffer. “In addition, we have a certain gap in the area. When we designed a single house, then, of course, we chose the area down to the last square centimeter, and this inevitably dictated the shape of a parallelepiped to us, - says Vladimir Plotkin. “When we had three volumes at our disposal, it became possible to play with the shape of at least one of them.”
And if the outermost houses, parent and child, in the plan are really as close to rectangles as possible, then the "long" sides of the central volume are rounded and form very plastic arcs. However, Plotkin is modest: the residential parts are not banal parallelepipeds either. The parental house, from which, in fact, the work on this project began, is made up of two pairs of parallelepipeds, between which there is a transparent interlayer, realized with the help of custom-made unique seven-meter double-glazed windows. In each of the pairs, in turn, the volumes are displaced relative to each other horizontally, due to which spectacular consoles appear on both main facades (street and facing the water). The dynamism set with their help is multiplied by the use of contrasting materials - black polished stone and natural wood. Such a palette inevitably gives rise to associations with a chessboard, and the architects really wanted the window openings not to disturb this image, so tinted glass was matched to the stone, and the windows on the light "cells" are hidden behind the "blinds" made of thin wooden slats.
The house, intended for children, is much closer to a parallelepiped, but here, too, the architects found room for a delicate plastic maneuver: one of the bedrooms, the main windows of which are facing the street, has a narrow triangular bay window, thanks to which it also gets a view of the water surface of the Klyazminskoye reservoir … The central white building, in turn, faces the street with an almost deaf facade, and is opened to the water by huge squares of windows.
The theme of a two-tone facade is actively developed in the interior: rooms decorated in black correspond to stone-faced volumes (for example, a bathroom made in such a "Gothic" style looks very stylish), and rooms in wooden blocks are decorated, respectively, in a soft palette of natural shades of wood … As you might guess, the double-height living room has become snow-white: not only the ceiling, walls and furniture are white here, but even the parquet floor.
Thus, the house, the architectural image of which is built on a combination of three equal parts (stone, wood, glass), then itself became the third of the projected complex, prompting its authors the idea of a three-part composition consisting of contrasting, but proportionate and therefore organically complementary elements …
