Born in 1941 in Moscow region. Lives in Moscow. 1966 - graduated at Moscow Institute for Architecture. Since 1964 - intensive work as artist, scientist and inventor. Participated in more then 60 exhibitions and 10 personal exhibitions in Russia, USA, England, France, Chechoslovakia, Germany, Austria, India, China, Japan, Latvia, Estonia, Italy, Ireland. Wrote more then 30 scientific articles, made 8 inventions. 1970-77 Scientific work at the Central Institute for Theory and History of Architecture, Moscow. 1977-94 - The Head of scientific group at the State Institute for Technical Aesthetics. 1979 - The member of Russian Architectural Society. 1995 - The member of Russian Design Society. In 1998 started The Koleichuk Total Theatre with Anna Koleichuk.
- Artist Statement
In design practice one may distinguish two complementary approaches to generating form. The first assumes that the object being designed will be a member of some already familiar class of forms. The second concerns itself with modelling those invariant characteristics of real space and material which are capable of giving birth to whole new formal systems and series. From such research into the design of invariants, one may then derive the starting point of a new creative concept, a programme, a basic mode or method, a constructive system, a technology of form generation, or a new stylistic direction. The raw material of such programmes and concepts emerges from two interdependent fields. On the one hand there is the technocentric, the roots of which are in the modern scientific and technical revolutions, in the industries that produce the objects of design, and hence in automated design procedures, in synthetic geometries, and in strict symmetries. On the other there is that speculative field which is contiguous with the newest thinking in art - with the serial, the conceptual, computer art, structuralism, kineticism, and so on - and which is concerned with expanding the possibilities of combinatorial form generation and of systematic modes of constructing form. The infusion into artistic activity of methods that would seem to be purely scientific is the result of the ever-accelerating change from one set of form-making concepts to another, as simple productive methods are replaced by reproductive and massproductive ones. It is a result of the growing numbers of such concepts, and their frequently localised character. The very speed with which these concepts replace each other also results directly from the inherent nature of the rules (zakonomernosty) to which they give rise: from the patently circumscribed character of serial form. Thus one may detect in design a shift from processes of form-making that are evolutionary to ones that are revolutionary. At the same time the operational scope and applicability of most of the newest concepts are far from global, indeed they may be relatively limited.