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.

Heritage restoration: approvals, archive and the residential sanding fork

On a listed building the argument is rarely about “nice lacquer” — more often about the right to touch a layer and the document without which work does not start.

The real question is residential sanding of a mansion, or a heritage track with archive and approvals.

Here’s the fork: KGIOP/DKN, documentation and methods versus private sanding — and why this must not be mixed with catalogue wood restoration.

Heritage (listed-building) restoration is not “the same sanding, only slower” and not the catalogue wood-restoration service track.

It is a legal and method track: building status, archive, project, samples, access windows, acts.

A private mansion without protected status lives on service logic: diagnosis, cycle, care.

Below — where the fork sits and what you cannot promise “as in a flat”.

Why status and archive before the machine?

Protected status sets what may be removed, what must be recreated and who approves. Without that, any “trial drum pass” risks the building and the contract.

Archive drawings, layer photography, species and finish samples are the project entry — not a pretty report add-on.

Working with conservation architects and access regimes (museum, theatre, temple) shape the calendar more than parquet square metres.

What do KGIOP and DKN do in this track?

Approving bodies (KGIOP / DKN logic and regional equivalents) review documentation, methods and fit to the protected subject — not whether the client likes the tone.

Timelines are measured in approval iterations: months, not residential sanding days. A calendar without those windows is fiction.

We put approval stages in the contract explicitly. Promising “we’ll do it like a residence, only quieter” on a listed object is not allowed.

How does the heritage track differ from residential wood restoration?

Catalogue wood restoration is sanding, finish refresh and local repair in residences and commercial spaces without listed status. There you decide lamella, oil/lacquer compatibility and the honest outcome cycle / finish / replace.

The heritage section is recreation and conservation in a legal field: lost fragments, historic patterns, boiserie, stairs and doors in listed buildings, long approvals.

Mixing these in one estimate and one marketing line is wrong: different briefs, timelines, liability and teams. We say the fork aloud at the first meeting.

Two tracks — two contracts.

Track	Guide
Residential wood restoration	residence / office without listed status
Heritage (listed)	protected status, archive, approvals
Timeline	days–weeks vs months with authority windows
Handover criterion	geometry and finish vs method + acts

CatalogWood restoration (residential)When there is no protected status — service cycle without the heritage track.Read more →

What does a typical listed-building cycle look like?

Survey and historic-archive search → restoration project → material and finish samples → approvals → element production → install in site access windows → records, acts, service card.

Parquet mosaics, boiserie, stairs, doors and panels account for museum and audience loads — not “as at home by the sofa”.

Pattern recreation meets craft set geometry — see also artistic parquet — without reducing it to “draw something similar without archive”.

Can you “just sand” a listed building yourself?

On a listed object DIY with a machine is almost always worse than waiting: you can remove a historic layer, break the method and face conservation claims.

Even “careful screening” without an agreed scope is a risk. Flat DIY logic does not transfer here.

If the building has no status — another conversation: service sanding and care. If status exists — project track only.

How do we run these projects?

A separate team and contract from the residential track. Status and archive first, then production and install in approved windows.

Geography: production in Russia, travel and author supervision by agreement, including outside Moscow. Time and cost — after survey and understanding the approval pack, not “from N ₽/m²” on a showcase.

In brief

How does listed restoration differ from sanding a mansion?

A mansion without status is the service track (residential wood restoration). Listed work needs archive, methods, KGIOP/DKN approvals and acts. Different contracts and calendars.

Where does a heritage project start?

With building status, survey and archive — not with switching on a machine. Without a right to intervene there is no honest estimate.

How long do listed works take?

Often months: approvals and access windows are longer than the joinery itself. Timeline is fixed after the document pack is clear.

Can you recreate a lost parquet pattern?

Yes — from archive and samples within the method. “Similar to an internet photo” without documentation is not the heritage track.

Do you work only in Moscow?

No. Production in Russia, travelling crews and author supervision — by agreement for regional and overseas sites.

What does listed restoration cost?

After survey: status, area, recreation scope, approvals and access regime — in the estimate and contract.

Need a site diagnosis — describe the floor or joinery.

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