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天空之家是日本建筑师Kiyonori Kikutake于1958年设计的一座私人住宅。该建筑由一个大型模块化空间构成，并通过贯通式门洞延展出可移动隔断，这些元素的形态与功能成为室内设计师在本项目中加以运用的重要依据。天空之家是建筑代谢主义的宣言，其核心原则在于模块化，即根据居住者不同阶段与需求，对建筑构成进行转化与调整。因此，本项目在一定程度上引入了模块化原则，并将“菊竹室”（Kikutake Room）作为核心连接元素，其内设图书空间。项目中的每一项室内要素，包括其几何形态、位置与色彩，均由这一概念所预设与引导。

Sky House was a 1958 private building by Japanese architect Kiyonori Kikutake. The building was comprised of one large modular room, with movable partitions elongated through portals, the shape and function of which drove the interior designer to use them in the project. Sky House is a manifesto of metabolism in architecture, the main principle of which is the function of ‘modularity’, or the transformation of the building’s components based on the stage and needs of the people living there. Thus, the principle of modularity was partially integrated, and the Kikutake Room, with its library, became the central connecting element of the project. Every interior element in the project – its geometry, location, and color – was predetermined by this concept.

▼起居区域概览，Living area overview © Inna Kablukova

▼图书空间概览，Library area overview © Inna Kablukova

▼起居区域近景，Living area close view © Inna Kablukova

▼图书空间近景，Library area close view © Inna Kablukova

▼起居区域一角，A corner of living area © Inna Kablukova

▼图书空间一角，A corner of library area © Inna Kablukova

天空房间
The sky room

公共空间由多个分区组成，其中包括一间天空蓝房间，其功能可转化为厨房区域的第一部分。当立面开启时，该空间用于无需炉灶的快速烹饪；当立面关闭时，其功能则转变为工作区或办公空间。镜面反射营造出额外窗户与通往新空间的通道效果。在厨房的另一延伸区域中，同样的视觉错觉被再次运用。在嵌入式体量两侧设置的镜面反射出图书空间，如同天空之家的环形画廊，不仅从各个方向包裹空间，同时也将厨房与客厅划分为更为私密的区域。

The common space includes several zoning components, including a sky-blue room that transforms into the first part of the kitchen area. When the facades are opened, the space is used for quick cooking without the use of a cooking surface. When the facades are closed, the function of the room changes to a work area/office. A reflection in the mirror creates the effect of an additional window and through-passage to a new room. The same illusion is present in the area where the second part of the kitchen continues. On either side of the built-in box, there are two mirrors that reflect the library, like the circular gallery of the Sky House, not only enveloping the space from all sides, but also dividing the kitchen-living room into a private area.

▼天空房间开灯与关灯，Sky room with lights on/off © Inna Kablukova

▼天空房间立面开启与关闭，Sky room with facades open/closed © Inna Kablukova

▼天空房间工作区近景，Sky room work area close view © Inna Kablukova

一位特殊的业主
A challenging client

对设计师而言，该项目尤为特殊，因为它是为她的个人居住而设计。当设计师为自身空间进行设计时，往往需要同时承担多重角色，对设计与实施的不同环节负责。从进行作者监督、构思概念与项目、与施工方沟通，到材料选择，设计师往往会被自身决策所困。然而，这种内在矛盾的产生，同时也释放出创作表达的自由。

This project was very special for the designer, as it was being designed for personal living. A designer assumes several roles when designing a space for themself, becoming responsible for different functions of design and implementation. By conducting author’s supervision, creating a concept and project, communicating with contractors, and selecting materials, a designer can become cornered by their own decisions. However, while it may create internal contradictions, at the same time it unleashes the freedom of creative self-expression.

▼卧室，Bedroom © Inna Kablukova

家具设计
Furniture design

除软体家具外，项目中的所有家具均根据室内设计师的草图定制，其中最具代表性的包括餐桌、书架以及主卫中的洗手池。餐桌的桌腿借鉴了天空之家的支撑结构，不仅稳固承托台面，还会随着观察视角的变化而呈现不同形态，其设计灵感同样源自菊竹纪洋项目中的贯通式门洞。主卫的洗手池如同一件雕塑装置，在其后方无缝镜面的作用下逐渐过渡为一个立方体形态。客卫则采用了ASKO与Maxim Kashin Architects合作推出的限量版家用洗衣设备，融入了Maxim Kashin的至上主义图案，该系列仅生产10套，以纪念Kazimir Malevich首场至上主义展览“0.10”。

All of the furniture in the project, with the exception of the upholstered furniture, is designed according to the interior designer’s sketches, with the most unique being the dining table, the library, and the sink in the main bathroom. Like the supports of the Sky House, the legs of the dining table firmly hold the tabletop in place, and also change depending on the observer’s view. Their shape is also inspired by the through portals in the project designed by Kiyonori Kikutake. The main bathroom sink resembles a sculptural object that transitions into a cuboid shape due to the seamless mirror located behind it. The guest bathroom features a limited edition of the ASKO x Maxim Kashin Architects home laundry, featuring Maxim Kashin’s Suprematist pattern, with a total of 10 units produced in honor of Kazimir Malevich’s first Suprematist exhibition, 0.10.

▼主卫洗手池，Main bathroom sink © Inna Kablukova

▼主卫洗手池细部，Main bathroom sink detail © Inna Kablukova

▼客卫空间，Guest bathroom © Inna Kablukova

▼客卫空间细部，Guest bathroom detail © Inna Kablukova

选择的困难
Difficulty of choice

项目中最具挑战性的决策在于墙面色彩的选择。设计师尝试了约20种不同的米色方案，这些颜色在一天中不同光照条件下呈现出显著变化。选择困难主要源于室内整体采用单色体系（除天空蓝点缀外），因此必须选取一种在各种光线条件下均能与空间中其他单色元素协调统一的色彩，从而在垂直与水平界面之间形成连续过渡的整体感。

The most difficult decision was the choice of color for the walls. The designer made approximately 20 colorings of beige shades, which changed dramatically depending on illumination at different times of the day. The difficulty in choosing a color was largely due to the fact that the interior is completely monochrome, with the exception of the accent sky. Here, it was important to choose a color that, in any lighting condition, would be in harmony with the rest of the single tone objects in the project, thereby creating a sense of a single transition from a vertical plane to a horizontal one.

▼室内细部，Interior detail © Inna Kablukova

▼概念平面图，Concept floor plan © Krisanova Design Studio

Technical sheet
Official Project Name: Rethinking the Sky House
Area: 72 m²
Location: Moscow, Russia, Residential Complex Prime Park
Architects/designers: Arina Krisanova
Project completion date: November 2025
Photographer: Inna Kablukova
Interior stylist for the photo shoot: Irina Temnova

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