At Fublis, our Design Dialogues series is dedicated to showcasing the innovative minds and creative journeys of architects and designers who are making a significant impact in the industry. Through in-depth conversations, we celebrate their achievements and explore their unique perspectives, offering invaluable insights that inspire both peers and emerging talent.

In this edition, we feature VizDome.space, a dynamic architectural and design firm known for its commitment to creating realizable, contextually responsive, and aesthetically compelling spaces. With a strong focus on integrating beauty and functionality, VizDome.space has worked across diverse cultural and environmental landscapes, shaping architectural narratives that are both visionary and deeply rooted in tradition.

From residential and commercial projects to large-scale urban interventions, the studio’s approach is characterized by meticulous planning, thoughtful material selection, and a deep engagement with local contexts. Their projects—ranging from the multi-generational Moonsail House to the poignant Reconstruction of Northern Saltivka – The Blanket—demonstrate a profound understanding of space as a medium for social interaction, resilience, and identity.

In this insightful discussion, VizDome.space shares their philosophy on translating architectural visions into tangible realities, the role of architecture in fostering cultural memory, and the evolving responsibilities of designers in a rapidly changing world. Join us as we delve into their inspirations, challenges, and aspirations for the future of design.

With a focus on creating realizable designs, how does Vizdome Space ensure that the vision in drawings and visualizations translates accurately into built forms? What challenges do you face in maintaining this integrity?

VizDome Space: From the preliminary design stage, all the design decisions we propose to our customers are fully implementable. Our approach integrates real design solutions and actual building details, even in the first iteration of the building model or sketch. This means that once our customer approves the preliminary building design, the working drawing stage will further develop the same building by adding more details. In other words, the design of a building or interior will only change at the client’s request, not because the solution is unrealistic.

Usually, the difficulties begin during the construction stage. For example, in Ukraine for some types of objects it is legal not to conclude a contract of author’s supervision. Inexperienced customers think that if they do not enter into such a contract, they will economise. After all, they have all the drawings. It’s a critical error. Building design is a complicated thing. It requires interaction between the designer and the contractor. Therefore, it happens that it is necessary to start bringing the object to the design state when the work has already started and the customer has realised that he cannot perform these supervision duties. Because he doesn’t have to. This is such an uneconomical economy. Even if the client has not ordered author’s supervision, we provide support. After all, our goal is a satisfied client with a realised project. As it was originally designed.

The design of the Moonsail House beautifully balances the needs of three generations, each with distinct lifestyles and creative pursuits. How did you approach the challenge of designing spaces that cater to such diverse interests while maintaining a cohesive architectural narrative?

VizDome Space: The Moonsail House project was done for the Indian competition for the most extraordinary house. We worked from the general to the particular on the project. We started from the symbol of a tree. You could even say from the symbolic family tree. A tree has a trunk and branches coming from it. That is how we started the design with the central part of the building, where the grandparents‘ and parents’ rooms are located, as well as public spaces for communication of the whole family. Then we moved on to the sons’ branch and the daughter’s branch. We thought about which spaces should be as open as possible. For example, the parents’ fashion studio or the daughter’s drawing studio. And which spaces should be as isolated as possible. Like sleeping areas.

This movement from the general to the particular helped to preserve the whole image of the building and not to go into unnecessary details. We got clean forms but also maximised comfort of use.

The concept of the house draws inspiration from the image of a sailing vessel, yet it also evokes a futuristic vibe, reminiscent of a spaceship among ancient ruins. Could you elaborate on how you blended these contrasting themes to create an architecture that feels both rooted in history and visionary?

VizDome Space: We try to put different meanings into our works. It can be several different themes at the same time. They can be related to each other or not. Because our main goal is for the user, the inhabitant of this building, to find or create his own meanings in it. That is, to have the freedom to create their own scenarios while staying in this space. This project was created for a extraordinary family. For people who move this world. For people of art. Like a sail filled with wind, they move the whole huge ship and let it sail the vast expanse of the sea.
Nothing comes out of nowhere. We stand on the shoulders of the giants of previous generations. That is why such contrasting images as a sailing ship, a spaceship and an ancient ruined city seem to be connected. We are sprouting from the past but moving into the future.

All three themes are represented in a certain way: in the form – the sail of the ship, in the materials – the spaceship, the closeness to roots, history and nature – a garden that imitates the ruins of an ancient city.

Your firm emphasizes the integration of beauty and functionality in all your projects. How do you strike the right balance between aesthetic appeal and practical utility, especially in culturally diverse environments like Ukraine, Switzerland, and Cyprus?

VizDome Space: In many key aspects, the world is global. We sit in the same seats, sleep in the same beds, and wash in the same baths. Therefore, you should take something global, add a local touch, and you will have a satisfied client. We learn from our customers and local partners. For example, in Germany, it is forbidden to cut tiles into pieces smaller than 5 cm, but in Ukraine, we don’t have such a regulation. In Cyprus, finding a manufacturer for custom-made furniture can be challenging. You need to research local shops and delivery options. In Switzerland, on the other hand, you often have to source everything from Germany and arrange delivery, as things are generally cheaper there.

The approach of using a “second skin” with mesh panels provides a cohesive aesthetic while also offering sun protection and enhanced ventilation in Reconstruction of Northern Saltivka – The Blanket. How did you balance the functional benefits with the visual narrative of healing and unity for a community impacted by war?

VizDome Space: Northern Saltivka is a neighbourhood of Kharkiv, which was the first to take the sneaky of Russia’s dastardly strike. Kharkiv continues to suffer from Russian shelling every day.

This project is a reflection on the war, which is already in its fourth year on a full scale, and before that 8 years on the scale of a part of the country. As architects we thought about how we could restore and make what we have look better with minimal budget and as fast as possible. At the same time the architectural environment would be improved and an element of greater social interaction, comfort and most importantly safety would be introduced. After all, the border with Russia is only 30 kilometres away.

History shows that no peace treaty and in general, in principle, no agreements will deter Russian rulers from trying to take someone else’s territory. In this case, the territory of the entire country. Including Kharkiv and Northern Saltivka.

Kharkiv is a city that will never be empty. Northern Saltivka is one of the largest residential areas of Kharkiv. Its residents deserve to live safely comfortably and peacefully on their land and in their homes.

The name of the project Blanket refers to childhood, to the feeling of security that a blanket gives. As a child, the best way to hide from the monster is to cover yourself with a blanket. But we don’t hide our heads in the sand. We don’t think that if we close our eyes, the monster will disappear. We prepare ourselves for the possibility that it might reappear. And at the same time, we live our lives in our own city in its comfortable and friendly environment.

The design thoughtfully incorporates public bomb shelters, reflecting the harsh realities faced by the community. How did you balance the need for security and functionality with the desire to create open, inclusive, and welcoming public spaces?

VizDome Space: In this case, an obvious decision was made: to create public spaces that are in no way related to the theme of war but to place bomb shelters nearby.

The war continues and happens every day. Every day in Kharkiv, and not only in Kharkiv—throughout Ukraine—people are dying in Russia’s aggressive war against Ukraine.

It is necessary to try to reduce the overall level of daily stress and horror. People should live in the most friendly and comfortable conditions possible. Therefore, to shift the focus somewhat away from military events, public spaces have been created to encourage people to interact more with each other.

For example, we have zones with fireplaces. There are areas where neighborhood residents can plant greenery. This is a very significant part of the Ukrainian cultural code—to plant, grow, observe the development, and harvest crops. Until recently, every family had a personal vegetable garden or a small countryside house, which we call a “dacha.”

After all, all these solutions, these different types of public spaces that encourage people to interact and establish social connections, are important not only for civilians but also for military personnel. Those who come home on leave now, and later, when the war is over, will return and, through such spaces, will be able to reintegrate into peaceful society. And perhaps, this might even help them forget the horrors of the front—at least partially.

Your projects span various international regions. How do you adapt your design approach to different cultural contexts and architectural regulations while maintaining your studio’s design identity?

VizDome Space: Our studio’s approach is human-centered, and that never changes. Clients come to us for a visual style that resonates with them, meticulously thought-out layouts, and well-considered planning techniques. We study the cultural characteristics of the country and the specific needs of each client. We have questionnaires for our clients that cover various aspects of life and the use of the future building.

We begin by deeply researching local traditions, materials, and construction methods, ensuring that our designs respect and integrate with the surrounding environment. At the same time, we collaborate with local partners and craftsmen to understand the nuances of building regulations and logistical challenges.

It is this deep immersion into the daily life context of each client that allows us not only to fulfill their request but also to maintain our unique design signature.

The design of Memorial of Ukrainian Heroes in Khmelnytskyi integrates symbolic elements like the glowing stones representing the Milky Way, reflecting ancestral beliefs about stars as souls. How did you approach the challenge of conveying historical and cultural narratives while maintaining a modern architectural language?

VizDome Space: At first, we did not try to envision the memorial itself but rather the images that arise when you hear the word “soul.” We explored many different visual representations. What resonated with us the most was the idea of a human silhouette—an imprint of a person left in this world.

This led to the concept of creating glass steles featuring the silhouettes of real people—heroes who gave their lives for their country. Then we considered how, in our tradition, burial sites and often even memorial complexes are located outside of populated areas. And what people do not see, they tend to forget.

So we proposed a concept that goes beyond just monuments or an alley of memorials. We wanted to create installations that would convey both the fragility and ephemerality of human life while also emphasizing that each soul leaves a lasting imprint on this world.

Our goal was to create a place where people would want to come and spend time. Visually, we aimed for maximum simplicity—both in execution and in detail. Such an approach leaves room for an internal dialogue between visitors and the fallen. We wanted to show that a memorial does not have to be just a place of mourning. Perhaps it should not be a place of sorrow at all. It should be a place of remembrance—one that makes people want to be there, never forgetting the events from which these individuals saved us.

Our compatriots, to whom this memorial is dedicated.

Anyone can freely approach a stele, read the name of a fallen hero, and, thanks to modern technology, learn more about them. You can visit a dedicated website or view their memorial page on Facebook. When you pass by this place every day—in the very heart of the city—even unintentionally, you will read the names, become curious, and you will never forget.

The alley with the glowing pavement is a collective image of all those who heroically perished defending their country.

This memorial is not just an architectural statement but a living space of remembrance for a community deeply affected by recent history. How did the socio-political context of the Revolution of Dignity and the Russian-Ukrainian war shape your design process and influence key architectural decisions?

VizDome Space: During the Revolution of Dignity in Ukraine, the Russian government realized that Ukraine had no desire to remain within the orbit of Russian imperial narratives. Ukraine is a free country, entirely separate from Russia, whose people wish to follow their own path. Russia could not accept this and launched a war against Ukraine in 2014.

On February 24, 2022, the war reached its most intense phase, engulfing all of Ukraine. Every family has someone who serves, who defends our country—or who has already given their life for it. For example, in my family, my husband and colleague, Ihor Zhuravel, is currently fighting. My friends have died for our country.

That is why, in designing this memorial, we used visual elements that create the impression that our fallen loved ones are always among us. Because as long as we remember them, they live on.

This memorial is designed for active interaction, mirroring how one would engage with a friend or a family member. For example, in the quiet reflection area, there is what we call a common table—a place where people can gather as a large family. And by “family,” we mean not only relatives but, on a broader scale, the Ukrainian people as a whole—the family of the Ukrainian nation.

We did not want to create a memorial that people could only observe from a distance. Such places often feel lifeless, leaving a heavy impression that discourages visitors. Many of us have childhood memories of being forced to visit World War II memorials in school. The key word here is “forced.”

We should not force our children to honor the memory of our heroes. Instead, through all possible means—architectural, artistic, and compositional—we must create a context that ensures our future generations, as well as all of us, never forget the price we have paid to live in our own country and to be part of the Ukrainian nation.

We must always engage with this memory—the memory of the great people who gave us this chance. A chance to be ourselves. A chance not to become Russia’s mindless subjects, but to be who we truly are—a people with our own history, culture, and country.

Looking ahead, how do you envision the role of architecture in shaping not just physical spaces but also collective memories and cultural identities in an ever-evolving global landscape?

VizDome Space: Architecture shapes the human living environment. Through changes in styles, approaches, and architectural techniques, we can trace the evolution of society, historical events, and even the trends of the time in which a building or public space was created. I believe this is a constant.

Despite the dominance of international style worldwide, local architects still seek to incorporate elements of traditional architecture, ornamentation, sculpture, and other crafts into modern buildings. There is an ongoing rethinking of traditional building typologies.

I believe that this process—drawing inspiration from one’s own history and culture—is endless. Returning to one’s roots will always remain relevant. This means that traditional imagery, characteristic of a particular culture, as well as key historical events, will never fade from collective memory.