Sketch design of the interiors of saint Charalambos church in Krasnaya Polyana, Sochi, Krasnodar region
Sketch design of the interiors of saint Charalambos church in Krasnaya Polyana, Sochi, Krasnodar region
Location: Krasnaya Polyana village, Sochi, Kransodar region, Russia
Managers of the project: Dmitry Ostroumov, Maria Latyshonok
Artists: Maria Latyshonok, Tatiana Agafonova, Ekaterina Burko, Vladislava Brignevich
3D visualisations: Evgeny Beliakovich
3D models: Evgeny Beliakovich, Ulyana Moyseychik
Graphic designer: Darya Orlova
Year: 2024
Managers of the project: Dmitry Ostroumov, Maria Latyshonok
Artists: Maria Latyshonok, Tatiana Agafonova, Ekaterina Burko, Vladislava Brignevich
3D visualisations: Evgeny Beliakovich
3D models: Evgeny Beliakovich, Ulyana Moyseychik
Graphic designer: Darya Orlova
Year: 2024
The church in honor of the Holy Martyr Charalambos is located in Krasnaya Polyana village, Krasnodar region. When our project of interior design started, the painting of the frescoes was already underway. The walls are already partly painted with frescoes.
The interior of the temple is a space for prayer and worship. Our main task was to create an integral space where the human mind can focus and prepare for the “common cause” (liturgy).
The harmony of coloration, the proportions, and the combination of certain materials combine the walls, the floors, and the objects of the interior into a common ensemble. The style of the interior turned out to be mixed. The iconostasis is of Byzantine type, and the decoration is inspired by the southern motifs of Ethiopia and Greece. The first reason for such a choice is that Saint Charalambos was born and lived in northeastern Greece. The second reason is that the church itself is located in the south of the country and was built in a Byzantine manner.
In some objects, there is also a delicate presence of scarlet color and its shades, symbolizing martyrdom.
Among the materials used for the project are marble, wood, yellow brass, glass, and gold.
The interior of the temple is a space for prayer and worship. Our main task was to create an integral space where the human mind can focus and prepare for the “common cause” (liturgy).
The harmony of coloration, the proportions, and the combination of certain materials combine the walls, the floors, and the objects of the interior into a common ensemble. The style of the interior turned out to be mixed. The iconostasis is of Byzantine type, and the decoration is inspired by the southern motifs of Ethiopia and Greece. The first reason for such a choice is that Saint Charalambos was born and lived in northeastern Greece. The second reason is that the church itself is located in the south of the country and was built in a Byzantine manner.
In some objects, there is also a delicate presence of scarlet color and its shades, symbolizing martyrdom.
Among the materials used for the project are marble, wood, yellow brass, glass, and gold.
The iconostasis is made of several types of marble with carvings and inserts of frosted glass stones and yellow brass. The Royal Doors are made of brass using such techniques as partial oxidation of the surface, electroplating, and casting. In the Royal Doors, there are stained-glass icons of the Annunciation and the Evangelists. The iconostasis consists of a row of several icons. On the right side, there are the Savior and the Holy Martyr Charalambos. On the left side, there are the Mother of God and the Great Martyr Panteleimon. Above the Royal Doors, there is the Mandylion icon of the Savior. Textiles are actively used for the decoration of the iconostasis. There is the catapetasma, or altar veil; there are veils behind the icons of the Savior and the Mother of God, in the openings of the deacon's gates and on their sides, and also on the windows in the sanctuary. These textiles will be embroidered with images of crosses, angels, and flowers. In the arched openings above the iconostasis, there are pendants in the form of yellow brass crosses with stained-glass inserts.
The sanctuary furniture (altar, prothesis, and synthronon) was also designed. It is made of stone with decorative inserts of yellow brass and glass. A ciborium rises above the altar. The scales of its roofing are made using the techniques of glass fusing and gilding. There is also a pendant sanctuary candelabrum made of yellow brass with seven glass lamps. On the right side of the sanctuary, there is a wardrobe for vestments and a table. On the left side, there is a cabinet for censers and a wash stand. The contour of the apse is united by a low marble lining. Into it, all the adjacent pieces of furniture are built: the synthronon, the prothesis, the cabinet for censers, and the wash stand. The fabric on the windows is terracotta dusty pink, the same color as on the iconostasis.
The sanctuary furniture (altar, prothesis, and synthronon) was also designed. It is made of stone with decorative inserts of yellow brass and glass. A ciborium rises above the altar. The scales of its roofing are made using the techniques of glass fusing and gilding. There is also a pendant sanctuary candelabrum made of yellow brass with seven glass lamps. On the right side of the sanctuary, there is a wardrobe for vestments and a table. On the left side, there is a cabinet for censers and a wash stand. The contour of the apse is united by a low marble lining. Into it, all the adjacent pieces of furniture are built: the synthronon, the prothesis, the cabinet for censers, and the wash stand. The fabric on the windows is terracotta dusty pink, the same color as on the iconostasis.
The project changed the columns in the church. The new capitals are more proportional, and the bases are enlarged. The existing columns look very massive. In order to increase their height visually, decorative brass lattices are added above the capitals. They hide the junction of the capitals and the pendentives.
In the existing frescoes, there is a lot of blue color, so the color palette is diluted with light and cold shades of stone and glass in combination with warm wood and yellow brass.
The project includes the design for the analogions, the panikhida table, the table for candles, the pews, the benches, the wall and floor icon cases, and the candlesticks for the main space of the church. The casket for relics and a stand for it were also designed. Wooden furniture and doors have decorative carvings with yellow brass and glass inserts. Sketches of Corona Lucis and lamps have also been designed; they are to be made of yellow brass and glass.
The frescoes are shown only approximately in this project.
In the existing frescoes, there is a lot of blue color, so the color palette is diluted with light and cold shades of stone and glass in combination with warm wood and yellow brass.
The project includes the design for the analogions, the panikhida table, the table for candles, the pews, the benches, the wall and floor icon cases, and the candlesticks for the main space of the church. The casket for relics and a stand for it were also designed. Wooden furniture and doors have decorative carvings with yellow brass and glass inserts. Sketches of Corona Lucis and lamps have also been designed; they are to be made of yellow brass and glass.
The frescoes are shown only approximately in this project.
The floor of the church is simple and rather ascetic, in contrast to the painted walls. Its coloring is minimalistic, combining warm and cold shades of marble and yellow brass inserts. The layout of the church has the clear form of a cross. Its lines are visually directed in the four cardinal directions. In the center, on the solea, and at the entrance, there are images of circles and stars, symbolizing eternity and hope.
Visualisations:
