Every project for an architect and designer is like a story that is written, lived through, and then remains as a materialized object. And even when over time the physical object undergoes significant changes or ceases to exist altogether, the story does not disappear; it remains in the form of drawings, illustrations, photographs, and, of course, memories. I have such a story, and I want to tell it to you, to share it from a first-person perspective because it had a profound impact on my professional life.

So, let's start from the beginning and keep it short, if possible. I received a call from a young female voice offering me to design a nightclub in the city center, no more and no less. The story remains silent about how they came to know about me. (At that time, I had just finished a restaurant project in the city center, and its implementation was in full swing.) When I arrived to inspect the premises of the future nightclub, which turned out to be a former factory workshop with an area of 1100m2, I met the client, a challenging character, as it turned out later. The space was quite impressive, the deadlines were tight, and the task was not an easy one. The client provided no clear concept, style, format, or color solution, so I had to come up with everything from scratch. Despite having no prior experience in designing nightclubs, I had to immerse myself in this topic by studying articles and publications by foreign colleagues. I also had to develop designs for 4-5 bars, ensuring they were all different yet harmoniously connected. The seating arrangements for visitors and VIP guests required significant adjustments in terms of ergonomics and finishes.

I also had to think about the design of restrooms, stairs, and glass sections of the atrium floor, yes, so that people from below could observe beautiful women's legs. According to my vision, the Nightclub began with a luxurious vestibule in dark red tones, decorated with replica paintings by Terra Rogers and large mirrors with faceted contours of light. Black glass chandeliers, velvet poufs in the color of the walls, and a bar counter in classic motifs made of white marble were also present. All this, including the design of the main hall, down to the smallest details, was implemented. The finishing materials (stone, tiles, textiles), as well as the lighting and sound equipment, were imported from China. I chose marble for the floors and tiles for the vestibule, which had built-in diodes, creating the impression of a scattering of lights on the floor. The entrance to the main hall from the vestibule was adorned with two columns made of natural stone with capitals stylized in the Corinthian order. For this, I had to travel to China three times and back. By the way, the tiles for the restrooms were made in China according to my sketches. There, I also selected the textiles for the sofa groups and canopies made of delicate white fabric for the VIP area, as well as glass cases serving as necklaces for it. The carpeting was manufactured in China based on their samples and my sketches.

All these materials, equipment, and products had to be certified and meet the necessary operational characteristics. To ensure everything was realized, it was necessary to work closely with all specialists involved in sound, lighting, technology, construction, contractors, marketers, and artists. The bars turned out to be indeed different, yet they all had a common theme. The columns in the main hall were covered with black glass with facets in the form of tiles and resembled precious stone creations. All glass items were also made by local craftsmen. The replica paintings by Terra Rogers and the huge 3D panel on the second-level wall with the bar were also part of the design.
As a "bonus," I had to work on the design of the club's facade and entrance group to ensure a unified style and to give the establishment a recognizable identity.

Realizing the design of such a massive project required painstaking work from a large number of talented individuals. It demanded strong nerves and endurance since the client was not easy to deal with, and I had to create and produce my design against this backdrop. Just imagine, when I was on a business trip in China, I received a call informing me of my father's passing... After the funeral, on the tenth day, I returned to work, was back in China, and continued to create further.
This project was, in its own way, special. It was my first nightclub, the interior of which I designed. This project cost me dearly, but now, with the passage of time, I am proud of myself in every sense.

And, in fact, this is about the fact that a designer has to deal not only with the "pangs of creativity" during the process of working on a project, ideas, doubts, insights, and painstaking work, but also with the emotional-psychological aspect of one's own personality. It is when you need to step out of your comfort zone, leave your home, and go toward the goal of creating and realizing a project, even in a strong storm, and stand your ground, and reach the destination without losing yourself in the process. Now, after years have passed, I thank everyone who opposed and helped, who was with me or against me during this experience. Now, this establishment no longer exists. However, when I meet people involved in the realization of this project, I am glad that our thoughts and memories are the same.

Later, I visited the place once and was impressed by the work done. The club existed for eight years and was a significant nightlife spot in the capital city."