Spaces are created by people of different professions
CHEHARDA is a distributed team of architects, landscape specialists, psychologists, working documentation architects, engineers, designers, manufacturers, installers, project managers, and specialists in procurement, documentation, communications, and marketing.
We work from different cities and gather around a specific task. That is why CHEHARDA is not a single office or a linear structure. It is a system of people and competencies that know how to carry a project from the first idea to a functioning space.
In working with play objects, we rely on applicable GOST standards, technical regulations, and certification requirements. For us, the architectural idea, play, safety, structure, material, production, and installation always exist within a single system.
We work from different cities and gather around a specific task. That is why CHEHARDA is not a single office or a linear structure. It is a system of people and competencies that know how to carry a project from the first idea to a functioning space.
In working with play objects, we rely on applicable GOST standards, technical regulations, and certification requirements. For us, the architectural idea, play, safety, structure, material, production, and installation always exist within a single system.
One project — many different languages
A play space starts with an idea but goes through a multitude of professional tasks.
It is necessary to understand the territory and future users. To invent play logic. To assemble an architectural form. To develop working documentation. To check the structure. To account for regulatory requirements. To select materials. To prepare documentation. To organize production, delivery, and installation. To keep deadlines, budget frameworks, procurement, agreements, and communication between all participants of the process.
None of these stages exists separately. The architectural solution affects the structure. Working documentation connects the idea with production. Material affects play, safety, and operation. Production affects the form. Installation affects how the object sits in the landscape. And project management helps all these solutions not to get lost between meetings, files, the site, and real deadlines.
That is why we assemble a team not according to a staffing chart, but around the task of a specific project.
It is necessary to understand the territory and future users. To invent play logic. To assemble an architectural form. To develop working documentation. To check the structure. To account for regulatory requirements. To select materials. To prepare documentation. To organize production, delivery, and installation. To keep deadlines, budget frameworks, procurement, agreements, and communication between all participants of the process.
None of these stages exists separately. The architectural solution affects the structure. Working documentation connects the idea with production. Material affects play, safety, and operation. Production affects the form. Installation affects how the object sits in the landscape. And project management helps all these solutions not to get lost between meetings, files, the site, and real deadlines.
That is why we assemble a team not according to a staffing chart, but around the task of a specific project.
Nine areas of work
Architecture and spatial logic
Architects assemble the overall structure of the space: scale, routes, connections between objects, relationship to the surrounding architecture, topography, plants, water, light, and existing context.
They work not only with individual objects but also with how a child, an adult, and a family will move through the territory, stop, meet, see each other, and return to the space again.
Architecture helps make the space holistic: so that play is not a separate island but becomes part of a courtyard, park, school, museum, embankment, or natural territory.
They work not only with individual objects but also with how a child, an adult, and a family will move through the territory, stop, meet, see each other, and return to the space again.
Architecture helps make the space holistic: so that play is not a separate island but becomes part of a courtyard, park, school, museum, embankment, or natural territory.
Play and children's environment
We think about how children will explore the space: where they will want to climb, hide, negotiate, observe, take risks within safe boundaries, repeat familiar actions, or invent new scenarios.
Play logic is not added to the project at the end. It influences routes, heights, distances, entrances, transitions, materials, the scale of objects, and connections between zones.
In working on projects, the team thinks about what helps a child explore the space, feel confident in it, interact with others, and invent their own play scenarios.
Play logic is not added to the project at the end. It influences routes, heights, distances, entrances, transitions, materials, the scale of objects, and connections between zones.
In working on projects, the team thinks about what helps a child explore the space, feel confident in it, interact with others, and invent their own play scenarios.
"We always think not only about how the object will look. It is important to us what a child will do in it: where they will climb, where they will hide, where they will meet others, how they will negotiate, and what they will eventually start playing on their own."
— CHEHARDA's Play and Architectural Team
Landscape, material, and connection to the place
A space is always located in a specific environment: in a courtyard, park, on an embankment, in a forest, at a school, in a museum, or on hotel grounds.
We work with topography, trees, plants, water, climate, seasonality, light, and the history of the place. We view material not only as a technical solution but also as part of the experience: wood invites touch, stone sets the scale, a net changes the way of movement, and the surface affects the sound and the feeling underfoot.
Thus, the playground becomes not an addition to the territory, but its continuation.
We work with topography, trees, plants, water, climate, seasonality, light, and the history of the place. We view material not only as a technical solution but also as part of the experience: wood invites touch, stone sets the scale, a net changes the way of movement, and the surface affects the sound and the feeling underfoot.
Thus, the playground becomes not an addition to the territory, but its continuation.
Working documentation
Working documentation architects translate the concept into precise solutions by which the object can be manufactured and assembled on-site.
They develop plans, sections, nodes, specifications, site bindings, materials, and other documents necessary for implementation. They align the architectural form with the structure, play scenarios, safety requirements, production technology, and installation conditions.
Working documentation is not a formal set of sheets after the concept is approved. It is the stage where the idea gains precision: it becomes clear how the object will stand, connect, withstand loads, and interact with the surface, topography, and other elements of the space.
They develop plans, sections, nodes, specifications, site bindings, materials, and other documents necessary for implementation. They align the architectural form with the structure, play scenarios, safety requirements, production technology, and installation conditions.
Working documentation is not a formal set of sheets after the concept is approved. It is the stage where the idea gains precision: it becomes clear how the object will stand, connect, withstand loads, and interact with the surface, topography, and other elements of the space.
Structures, engineering, safety, and certification
A complex form must be not only expressive but also feasible, stable, and safe.
Engineers and designers help translate the idea into real loads, connections, foundations, nodes, materials, and installation methods. Together with architects, they look for solutions that preserve the character of the object and allow it to function in the real climate, under daily loads, and within the given site conditions. When developing play objects, the team takes into account applicable GOST standards, technical regulations, and safety standards for children’s play equipment. We check structural solutions, materials, usage zones, and other parameters on which the safety of the future space depends. If necessary, we involve certification experts and accompany the preparation of the object for the prescribed conformity assessment procedures.
This allows us not to replace a complex concept with standard equipment, but to find an honest structural form for it — safe, feasible, and ready for operation.
Engineers and designers help translate the idea into real loads, connections, foundations, nodes, materials, and installation methods. Together with architects, they look for solutions that preserve the character of the object and allow it to function in the real climate, under daily loads, and within the given site conditions. When developing play objects, the team takes into account applicable GOST standards, technical regulations, and safety standards for children’s play equipment. We check structural solutions, materials, usage zones, and other parameters on which the safety of the future space depends. If necessary, we involve certification experts and accompany the preparation of the object for the prescribed conformity assessment procedures.
This allows us not to replace a complex concept with standard equipment, but to find an honest structural form for it — safe, feasible, and ready for operation.
"In play, you cannot first invent a beautiful form and then try to figure out if it is safe. Norms, structure, materials, and usage scenarios need to be brought together — then the object remains strong and becomes truly possible."
— CHEHARDA's Team of Architects, Engineers, and Designers
Production and Materials
The production team turns the project into an object: they refine details, check production logic, work with samples, materials, textures, connections, and assembly sequences.
For us, production is not separate from architecture. Material, technology, and installation methods begin to influence the project during the development stage — because they determine whether the form, tactility, and character of the space will be preserved in the final result.
At GES-2, a clay model of a flower was digitized in 3D and went into production almost without changes. This is an example of how a tool for artistic search becomes part of a real production process.
For us, production is not separate from architecture. Material, technology, and installation methods begin to influence the project during the development stage — because they determine whether the form, tactility, and character of the space will be preserved in the final result.
At GES-2, a clay model of a flower was digitized in 3D and went into production almost without changes. This is an example of how a tool for artistic search becomes part of a real production process.
"Material cannot be chosen simply because it is more convenient or cheaper. It must suit the place, withstand loads, be pleasant to the touch, and not destroy the very idea of the object."
— CHEHARDA’s Production Team
Installation and On-Site Implementation
On-site, the project meets reality: soil, weather, existing landscaping, machinery, schedules of related works, and actual territory dimensions.
The installation team assembles the object in the space, checking placement, connections, levels, work sequence, and connections between elements. Some solutions are inevitably refined on-site — but only with an understanding of what is important to preserve in the project.
Installation is not a final mechanical stage. It is the moment when separate elements become a place.
The installation team assembles the object in the space, checking placement, connections, levels, work sequence, and connections between elements. Some solutions are inevitably refined on-site — but only with an understanding of what is important to preserve in the project.
Installation is not a final mechanical stage. It is the moment when separate elements become a place.
"Something always appears on-site that isn’t visible on the drawing: soil, weather, existing elements, machinery, other contractors. Therefore, it is important not just to assemble the object, but to understand what cannot be lost in it."
— CHEHARDA’s Installation Team
Project Management, Procurement, and Operational Coordination
Behind every finished object lies a lot of invisible work. It is necessary to gather initial data, agree on deadlines and procedures, conduct procurement, organize deliveries, maintain budget frameworks, prepare documents, connect dozens of people, and not lose a single important decision.
The project management and operational coordination team holds this entire process together. It connects the client, concept authors, architects, engineers, production, installers, suppliers, related contractors, and operation teams.
This area includes project managers, managers, procurement specialists, documentation specialists, contract specialists, logistics specialists, and internal coordinators. This is not work around the project. It is part of what allows a complex project to go from the first idea to an open space.
The project management and operational coordination team holds this entire process together. It connects the client, concept authors, architects, engineers, production, installers, suppliers, related contractors, and operation teams.
This area includes project managers, managers, procurement specialists, documentation specialists, contract specialists, logistics specialists, and internal coordinators. This is not work around the project. It is part of what allows a complex project to go from the first idea to an open space.
"A good project is not just a strong idea and a beautiful picture. It is also deadlines, procurement, documents, logistics, agreements, and many people who need to move in one direction."
— CHEHARDA’s Project Management
Communications, Marketing, and International Development
Communication and marketing continue the bureau’s work externally: they tell about projects, prepare publications and case studies, run the website and social networks, and develop dialogue with the professional community, clients, partners, and colleagues.
The international direction helps CHEHARDA remain in professional dialogue outside of Russia: to follow the development of children’s environments, architecture, education, and public spaces, exchange experience, find new connections, and present Russian projects in an international context.
This work does not exist separately from practice. It helps to explain the bureau’s approach more precisely, find like-minded people, develop expertise, and make the conversation about children’s environments part of a broader professional field.
The international direction helps CHEHARDA remain in professional dialogue outside of Russia: to follow the development of children’s environments, architecture, education, and public spaces, exchange experience, find new connections, and present Russian projects in an international context.
This work does not exist separately from practice. It helps to explain the bureau’s approach more precisely, find like-minded people, develop expertise, and make the conversation about children’s environments part of a broader professional field.
Expertise and Development
CHEHARDA not only designs and builds spaces but also develops the conversation about childhood, the city, architecture, play, and education.
We participate in professional discussions, prepare publications, share project experience, work with media, conduct research, organize events, and explain why a children’s environment is a full-fledged part of urban and public infrastructure.
This work helps not just to show finished projects, but to explain how and why they are created: to clients, architects, educators, city teams, parents, and the professional community.
We participate in professional discussions, prepare publications, share project experience, work with media, conduct research, organize events, and explain why a children’s environment is a full-fledged part of urban and public infrastructure.
This work helps not just to show finished projects, but to explain how and why they are created: to clients, architects, educators, city teams, parents, and the professional community.
Founders of the Bureau
CHEHARDA grew out of the creative union of two architects — Darya Bychkova and Maria Pomelova. The bureau emerged around a shared idea: play, architecture, and nature can be not separate topics, but one way to create an environment for children and adults.
Darya Bychkova
Architect and co-founder of CHEHARDA bureau. She is responsible for the development of the bureau, work on key projects, partnerships, international connections, and international marketing.
Darya works at the intersection of architecture, children’s environments, education, and the implementation of complex spatial projects. Her task is to maintain the big picture: from a strong idea and dialogue with authors to the moment when the space becomes a real, functioning place.
Darya works at the intersection of architecture, children’s environments, education, and the implementation of complex spatial projects. Her task is to maintain the big picture: from a strong idea and dialogue with authors to the moment when the space becomes a real, functioning place.
Maria Pomelova
Architect, urban planner, and co-founder of CHEHARDA bureau. She develops the architectural and play logic of projects: how a child moves, masters scale, interacts with the space and other children.
Maria combines urban planning thinking, architectural development, and an understanding of the children’s environment. Her focus is not on a single object, but on the space as a whole: routes, scenarios, a child’s independence, and the ability to negotiate with others. Maria graduated from the Faculty of Urban Planning at MARHI (Moscow Architectural Institute) and is a co-founder of the bureau.
Maria combines urban planning thinking, architectural development, and an understanding of the children’s environment. Her focus is not on a single object, but on the space as a whole: routes, scenarios, a child’s independence, and the ability to negotiate with others. Maria graduated from the Faculty of Urban Planning at MARHI (Moscow Architectural Institute) and is a co-founder of the bureau.
The team gathers around the task
We do not assemble a project from fragmented services. We gather people, knowledge, materials, and solutions around a specific place.
That is why you can come to us with a site, a concept, renders, a complex object, existing foundations, or just a question: what could appear here?
Next, together we will determine what team and what next step the project needs.
That is why you can come to us with a site, a concept, renders, a complex object, existing foundations, or just a question: what could appear here?
Next, together we will determine what team and what next step the project needs.
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