Why 280 days of wood drying instead of the standard 30-60 days?

280 days of chamber drying isn't marketing—it's a technological necessity. In the first stage, timber sawn into 'frize' strips and air-stacked in piles with spacers is conditioned in ventilated workshops. That way we reduce moisture by 25–30% from the initial value as gently as possible. The second stage takes place in a vacuum-convective chamber with thermo-humidity treatment developed by our in-house engineering team. It is essentially the same natural process, scaled to an industrial workflow. Frize strips on trolleys with spacers enter the drying chamber. Hot air is the drying medium. Wood temperature is raised to +55 °C, then vacuum is applied with internal pressure reduced to 0.8 atm. Together, these conditions bring sap to a boil for 10–15 minutes per cycle. The cycle runs 48 times per day and continues until the wood reaches 9±1% moisture.

How do you work with clients and confidentiality?

100% of projects under NDA—this isn't optional, it's standard. We don't publish addresses, client names, or floor plan details without written permission. Photography only with client consent, often prohibited entirely. Our team signs personal non-disclosure agreements. For clients from public spheres (politics, business, culture), we can operate through structured legal entities without revealing the ultimate beneficiary. Payment possible via escrow accounts with bank guarantees from top-10 institutions.

Is the 25-year warranty real or just marketing?

Real, but conditional. The warranty covers structural integrity when the temperature-humidity regime (18-24°C, 40-60% humidity) and operating conditions are met.

What's the point of a comprehensive solution: floor + walls + furniture from the same wood?

First, aesthetics: unified grain pattern, tone, and transition from floor to panels, panels to kitchen facades creates a sense of cohesive space, as if the interior is 'carved' from a single block. Second, technology: using one timber batch, we guarantee identical reaction to humidity and temperature—floor and panels 'breathe' synchronously, no deformations at joints. Third, logistics: one supplier, one installation cycle, unified warranty. For clients: one call, design project with all technical nodes, one contract, one responsibility.

Can you restore 19th-century parquet in cultural heritage sites?

Yes, it's one of our core competencies. We've worked in the Kremlin (Red Square), Vaganova Ballet Academy, dozens of estates and mansions. Process: complete documentation (photos, measurements, species analysis, identification of historical installation techniques), then dismantling damaged areas while preserving 80-90% of the original, restoring lost planks by matching timber species, grain, and grade. Finishing layer restoration with application of protective coating (lacquer or oil) to extend service life.

Artistic parquet: module geometry without error accumulation

Artistic parquet rarely fails from bad taste — more often from a millimetre missed on the module.

The real question is a pretty drawing on paper, or geometry with tolerance from CAD to laser on site.

Here’s error accumulation: why 1 mm on a medallion becomes centimetres of shift across a hall, how diagonals and CNC work, and how heritage differs from a private set.

Artistic parquet is not a pattern sticker. Historically medallions and borders were set by hand dry; today the same job uses survey, CAD and CNC — but the rule is unchanged: geometry beats décor.

It is craft geometry: module, angle, diagonal, tied to hall axes, doors and columns.

A 1 mm module error becomes centimetres of shift after many repeats and breaks junctions with architecture — even with the “right” species.

Below — the shop line: from drawing to CNC and install, without “as under the tsars” romance.

Why does 1 mm on a module become centimetres across a hall?

A module or medallion is a repeating cell. If a side or angle drifts by a millimetre, after ten–twenty repeats the shift is centimetres: the joint wanders, the border misses the door, the hall centre leaves the axis.

The eye sees it late — when the pattern is already in adhesive. So tolerance is caught in production, not “trimmed on site somehow”.

Module and panel diagonals are a fast check: unequal diagonals mean the rectangle is already gone, and the field will multiply it.

A millimetre on the module is centimetres on the hall.

Joint	What we control
Module / medallion	sides, angles, equal diagonals
Border	pitch and junction with opening axes
Field	laser layout, not by eye
Junctions	skirting, threshold, fitted furniture — in the design

How does the CAD → CNC → shop chain run?

The pattern first lives in CAD tied to survey: axes, columns, portals, niches. Without that, a “nice motif” is a picture — not a product for the hall.

CNC cuts from the same model: pieces and panels with angle control. Hand finishing remains — on verified geometry, not instead of it.

Species and finish come from the same batch as field parquet and related joinery. Otherwise the artistic centre ages on its own in tone and shrink.

Why laser layout on site?

Laser layout locks axes before the first module. “By eye from the wall” almost always accumulates the same millimetre error — only already in the room.

Adhesive bed, humidity and temperature follow protocol: geometry will not save a moving substrate or a batch that never acclimatised.

Sanding and finish come after the full pattern is assembled. Otherwise you flatten what neighbouring modules will still shift.

How does heritage differ from a private set?

On a private project the job is a precise modern set: stable build, one batch with the field, install by card. That is Cardinal Hall’s service track.

Listed buildings add archive, methods and approvals. Recreating a pattern is not “draw something similar” — it is a documented track. More in heritage restoration.

Eighteenth–nineteenth-century techniques evolved: kiln drying and CNC give precision hand dry-set never had. The principle remains — geometry over decoration — the tools are different.

Can you assemble an artistic set yourself?

In basic terms — a simple border or small module on a flat substrate: if you have a dimensioned drawing, diagonal checks and patience for fit-up.

In practice it is easy to accumulate drift, trim the wrong angle and get a joint that lacquer only emphasises. Complex medallions and diagonal layouts are where mistakes cost dearly.

If the hall is large, there are columns and portals, or tone must match doors in one batch — better a shop with CAD and laser layout on site.

How does a job run with us?

Survey and CAD → module production with diagonal control → site layout → install → sanding and finish → handover. Timelines depend on pattern area and finish cure.

After handover the floor lives on care: about 40–60 % RH, compatible products. Field without an artistic centre — in the parquet catalogue; install discipline — in the laying guides.

In brief

How is artistic parquet different from a decorative “sticker”?

Geometry with tolerance: CAD on hall axes, modules from one batch with the field, laser layout. A 1 mm module error becomes centimetres of shift after many repeats — a sticker does not count that.

Why do module diagonals matter?

Unequal diagonals mean the module is already not a rectangle. On repeats the drift grows; shop diagonal checks are cheaper than redoing a hall.

Can you recreate a historic pattern?

Yes — from archive and samples. Listed buildings need a separate approvals track; private homes use bespoke sets or panels with a modern stable construction.

Do you need one batch with field parquet?

Yes if centre and field must age as one tone. Different batches almost guarantee “two oaks” within a season or two.

Can you lay an artistic set yourself?

A simple module — with a drawing and diagonal control. Complex medallions and large halls are high-risk; the error often shows only after adhesive.

What does artistic parquet cost?

After survey and CAD: pattern area, module complexity, species and finish — in the estimate and contract.

Need a site diagnosis — describe the floor or joinery.

Request a quote