The concept of the project was formed on the basis of defining and emphasizing the specifics of the place - the city of Khabarovsk, which can be reflected in the following set of theses:
- "a lot in small" - being on the outskirts of the country and in an unprecedented (compared to other countries) remoteness from its center, the city is forced to produce the fullness, richness and diversity of modern urban life within itself and, above all, relying on its own strength ... It is important that the city itself has a capital status, being the administrative center of the Russian Far East. Hence the active and active way of life, dynamism, striving forward. Hence the positivity, based on the historically proven skills of turning the minuses of one's geographic location into pluses.
- “city of borders and contrasts”. The presence of some of the following characteristics gives the city a rather distinct individuality, but their combination makes it simply unique:
- "water - land" - a city on the border of two elements. It stands on a very large river, which in itself is not so rare. But its location is unique only on one coast. And this bank is high, from which a vast panorama of the natural landscape on the other bank opens up, practically without signs of active human presence. Thus, the contrast of the type is clearly visualized:
- “city (person) - wild nature”. Moreover, even in the absence of direct visual contact, the immediate proximity of these "wild" spaces and the "breath" of the mighty river is felt throughout the city at a subconscious level.
- "state border Russia - China". Khabarovsk is one of the largest cities in the world located on the state border. Moreover, these countries are the brightest representatives of various cultures and civilizations. Hence the following contrast:
- "Europe - Asia", although from a geographical point of view, it is not. And this is another contradiction.
- "warm - cold" - climatic contrast. Winter is very cold, summer is very hot. And both seasons are united by the active presence of the sun. And the French artist Raoul Dufy believed that the degree of brightness of the sun is easier to determine from the opposite - by the cast shadow. The darker and more muffled the shadow, the brighter the sun and vice versa. Hence another characteristic contrast:
- "sun - shadow" and this contrast is most obvious in winter, when the city is covered with white snow, and the sun draws on it with shadows - impressive, but quite familiar for the townspeople graphics, which in most countries of the world can only be admired high in the mountains.



The basis for the development of this project was the constructed reinforced concrete frame of the building with the given planning and structural characteristics of the type: dimensions of the building, height of floors, pitch and dimensions of columns, placement of elevator shafts, stairs, etc., as well as an extremely limited land plot.
The designer was given the task to develop, within the framework of these restrictions, the facade solutions, layout and interiors of the hotel that meets the standards of the DOUBLE TREE by HILTON brand, as well as an office center interconnected with the hotel.



The planning decisions of the rooms were, in many respects, a consequence of overcoming the obvious, at first glance, drawback - non-standard elongated proportions with limited width and increased depth (length). But precisely the presence of this "drawback" made it possible to carry out the original functional planning zoning of the room, highlighting two main spatial zones in it: the living room and the bedroom. And such a division is more likely to associate with suites, rather than standard. The theme is also picked up by the bathroom, which is not designed as a separate closed room, but in the form of a set of separate rooms: a shower and a restroom. At the same time, the washbasin is located in an open area at the junction of the compact hallway and living room. Thus, the impression is formed that the guest in this room "has more" than in a room with a traditional layout of the same area, and the thesis "a lot in small" gets a very specific planning embodiment.


A single facade theme for the entire volume of the building is solved in the form of a light grid with elongated vertical divisions, evoking associations with slender colonnades. The light grid is complemented by dark vertical elements, which allow to adjust the rhythm of the facade solution to the internal structural and planning structure of the object, when the column spacing does not coincide with the location of the room partitions. The enlarged, not coinciding with the floor-by-floor division of the facades distinguishes the object against the background of the surrounding buildings and improves its readability when perceived from distant angles, incl. from the side of the river. Due to the color contrast, dark elements are perceived as shadows and fade into the background, giving volume to the flat facade surface ("sun-shadow"). Light and dark material - floor-height composite panels. A dark fragment of the facade from Komsomolskaya Street is made in volumetric anthracite-colored ceramics with a horizontal relief. The accent piece is clay red terracotta tiles. The combination of large-sized, perfectly smooth aluminum-based composite panels and small-piece relief terracotta tiles effectively emphasize the decorative features of each material. At the same time, the contrasting juxtaposition of natural terracotta and technological aluminum, which is often called "flying metal", evokes associations such as "nature-technology", "ground-air", which is quite in line with the proposed design concept.
At the same time, the object acquires an integral, complete, rather emotional image, stylish in its elegant restraint, which, according to the author, corresponds to the stylistic characteristics of the famous hotel brand.


It remains to emphasize the functional and planning specifics of the rooms by means of design. The main space of the room is divided by color into two parts, or rather, the volume, in their proportions close to the cube: "white" and "black" or rather "light" and "shadow".
The "white, light" area by the window is the bedroom. Its ceiling is somewhat understated, which makes this space more intimate and visually expands the room when viewed from the hallway. The main element is a bed floating above the floor. The effect is achieved by the legs shifted in depth and by the bottom illumination. Guided by the HILTON principle that the bed should be white, being the embodiment of cleanliness and freshness, we turn it into a light cloud, into which it beckons to plunge into the arms of sleep. The white wall panel behind the bed "flies" from the light of the bedroom into the shadow of the living room and, reflected in the mirror, further into the hallway. The floating effect is facilitated by the fact that the wall beneath it is tiled with the same carpet as the floor. This technique blurs the line between wall and floor, contributing to the visual expansion of the room. The atmosphere of weightlessness and flight is also supported by console bedside tables, with a luminous top made in the form of a box of their translucent corian. The overall feeling of lightness is also facilitated by the solution of the suspended ceiling, the front part of which is made in the form of an edge, above which light breaks through, creating the feeling that it is light from a window. And the ceiling is perceived not as a usual plaster box, but as a light plate hovering over a floating bed. The floor is a soft carpet, against the light mottled background of which yellow stripes - the sun's rays - run from the window. Their brightness, volume and luminous effect is emphasized by shadows - dark stripes coming towards them from the living room area. The sunbeam also perceives a thin luminaire built into the LED partition over the entire width of the white zone.
The "dark, shadow" zone in the back of the room is the living room. Situated between the light areas of the bedroom and the hallway, it is perceived as a shadow in the sun-drenched meadow, inviting you to “relax in the shade”. The living room is located closer to the entrance, which is natural from the point of view of functional zoning. If you want to sit in a chair, you do not have to walk around the bed, fitting into the aisle between it and the table. The original feature of the room was the proximity of an armchair and a table, which made it possible to use a wall swivel lamp, both as a floor lamp and as a table lamp. Other light sources in the living room are hidden. One, as mentioned, is the luminous edge of the bedroom's false ceiling. The other, located on the opposite side of the cabinet and the lowered shower partition, is directed upwards, gently reflecting off the ceiling. A significant role in the composition of the issue is played by a high chest of drawers, which, together with a chest of drawers in the next room, is built into the partition dividing the rooms in an S-shaped pattern .. Against the background of the rectangular graphics of the room, the circle of a coffee table made of solid oak in natural color stands out.
The premises of the entrance group are faced with light large-format porcelain stoneware and are saturated with light penetrating, in particular, through a glass prism - the upper part of the shower cabin. Its partitions and door, made of frosted glass with a smoky tint, as well as the partition and the toilet door, are also translucent. The main decorative element is a wall with a washbasin. It is faced with embossed "gold" tiles that shine with reflected light from hidden lighting. The radiance “endlessly” multiplies in a large mirror on the opposite wall, creating a “reflection in reflection” effect, bringing an emotional note to the perception of the entire interior.
As a theme for art objects, photographs with expressive water landscapes are offered, designed to remind you of the proximity to the river, create a mood of calm and give the room extra depth.
Volumetric perception and a sense of comfort is also facilitated by the fact that the finishing materials, with their color restraint, are diverse in textures and textures: soft woolen carpet, embossed vinyl wallpaper on the walls and ceiling of the bedroom, dark, velvety-matte coloring of the living room, "living" wood table , translucent corian, absolutely transparent enlightened glass, in combination with matt, silver mirrors, natural (no print) surface of porcelain stoneware with a light, partially polished relief, etc.,. Hidden light, depending on the time of day, either emphasizes contrasts and boundaries, or erases them.