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CONTENTS
04-18 /
20-26 /
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FILM NOIR COLLECTOR’S HOUSE /2016-17
02 THE SCHOOL OF FANTASTICAL ARCHITECTURE /2017
28-50 /
03 THE SCHOOL OF VISIONARY ARCHITECTURE /2018 53-54 /
04 LIFE DRAWINGS /2014-2018
55-56 /
05 ILLUSTRATIONS /2014-2018
57-58 /
06 PHOTOGRAPHY /2014-2018
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FILM NOIR COLLECTOR’S HOUSE /2016
The ZSTa Architecture BA (Hons) Breakthrough Award 2016/17
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about the project
‘Film collector’s house’ project aims to focus on the characteristic elements of film noir – how it can translate to the architectural world and create a space for a film collector who would live in his own directed house in Isle of Dogs, London. The project is based on light changes through the sun path. His habits depend on light changes spotting particular parts of his mysterious house. Every part of film noir is included in the project – the characteristic elements like stairs, blinds, irregular shapes which represent a complicated plot, his own personal office, the small holes in the house which can be ventilators (since he smokes a lot), a place where he keeps all his videos, a secret personal cinema with acoustic panels to have a better quality of the sound and the places which are not really obvious – the doors are hidden in the floors or walls. The project aims in analysing the historical and cultural parts of the place. Having two oldfashioned cranes on the site, the project was initially based on a mechanism and transportation. The design evaluated from utopian consideration about creating a performance arts centre including cranes and containers to more evocative and personal ship related project. The dock used to be a place of a ship trade, still having the remains of old and habitable boats by the water. Therefore the inspiration of the design were ship elements, details and shapes itself - particularly analysing the cruiser HMS Belfast. The project is mysterious with confusing ways to enter the room and to perceive the non obvious elements of the design.
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millwall outer dock/ isle of dogs
Millwall Dock lies near the centre of the Isle of Dogs, just south of the new developed Canary Whard commercial business area. The site itself is very industrial. Millwall got it’s name from the fact that along this stretch of the Thames embankment there used to be seven windmills. Millwall Dock was opened in 1868. Millwall Dock was best known for the gain trade. Other supplementary trades included timber, wine, liquor, fruit and vegetables. Nowadays cargo ships cannot trade anything because of the closed access to the Thames river. Despite improvements in cargo handling, the opening of the first container berth at Tilbury in 1968 signalled the end of the upstream docks. A large site on the north side of Outer Dock is occupied by the West Ferry Printing Works, the largest newspaper print works in Western Europe.
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millwall outer dock: industrialism
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light&shadow
The main aim was to focus on the light conditions and the relationship between brightness and shadows which describe film noir. Exploring the possibilities of the project, I focused on the sunpath which is the most important thing in the project. The character follows the path of the light as he makes his habits through it.
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the crane structure/ research
The main purpose of this model was to interpretate cranes as it is the focus point of the project. The skeleton is expressed through areas of steel framing, tension cables and possibilities with habitable spaces.
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the crane structure/ stage II
entrance
The idea of this sketch model came up from analysing the site. I combined the crane structure with containers, where Millwall Dock used to be a place full of trades and ships.
Expanding the area from a house for one person, I decided to combine a private and public place through creating the performance arts centre. The access to the house is still private.
box office
cafe&restaurants
film shop
rehearsal rooms
theatre
sketch model originally in scale 1:200
cinema
private zone
details of the model
south elevation
east elevation
north elevation
west elevation
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the crane+containers/ speculations
Analysing the conditions of the site, I speculated with the space and the elements which included cranes and containers - the main characteristics of Millwall Outer Dock.
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section/scale 1:50 legend
1. crane lifting the elevator 2. workshop 3. kitchen 4. lift 5. bathroom 6. secret library 7. secret entrance 8. bedroom 9. projector repository 10. where to go? 11. cinema 12. projector controller room 13. darkroom 14. secret library
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axonometric view/ scale 1:50
Focusing on light and shadow, the drawing is a representation of the project from the axonometric point of view. Having in mind to show the sources of natural light, darkness of the underground and secret spaces, I wanted to embrace the main ship elements and show the structure.
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THE SCHOOL OF FANTASTICAL ARCHITECTURE /2017
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about the project
The project is about establish the School of Fantastical Architecture. It is based on creativity and storytelling, as well as experiments within lots of different fields to be as much inventive as it is possible. In looking at our thinking more closely, we understand that we have thoughts, ideas, opinions, judgments and feelings which impact our lives on a daily basis-sometimes moment to moment. These, in turn, influence our cognitive development and creativity, for to create something or be innovative, one needs to think consciously; or even sometimes, thinking occurs unconsciously. Facilities include a library, studios and spaces for larger installations, and reprographics areas and workshops; also places like sleeping room and crying room in order to improve students’ mental health. You take 4 modules where maximum is to gain 100 credits: Fantastical Design (40credits), Fantastical Technologies (20 credits), Fantastical Practices (20 credits), Fantastical Humanities (20 credits). Architecture is explored individually through cultivating ideas, exploring imagination and nurturing curiosity. Students explore, describe and communicate their ideas through a range of two- and three- dimensional techniques. The aim is to be serious, passionate and ruthlessly experimental - always pushing the boundaries of possible realities.
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course programme
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storytelling and architecture
Storytelling plays a crucial role in the School of Fantastical Architecture. The design is based on fantasy stories and a narrative in projects. Every good film needs a big plot - therefore the aim of designing in the school is to get a sense of wonder and understanding the twisted peripeties. Every student needs to read a lot of literature and poetry, especially fantasy. There is no book about architecture in the library. Fantastical films are also one of the main sources of designing. Fantasy can be a great inspiration to create something abstract and hypothetical, something utopian that it has no place in a real world. It can be twisted, unexpected, ironic - everything from this genre is a great soure for fantastical architects. Analysing the film ‘Inception’, where the dream is within a dream, the main characters always imagined new places. The architecture was impossible, it created paradoxes, our own stories/worlds/dreams, there was no boundary.
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library
design studio
design studio archive
coffee shop meeting place
toilet lift
library
coffee pipes
crying room
lecture room
laboratory
library
The model is a collage of the shapes which are developed as a language of a design. It indicates the first steps of experiments and takes its inspiration from the visionary theme of architecture.
design studio
design process
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model/scale 1:50
The model represents the project’s response to spacial requirements of the programme and experimenting with its configuration.
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section 1:50
reality
reality
legend design studio laboratory lecture room cafe sleeping room meeting room archive recharging capsule laboratory materials storage laboratory of design archive projects in process
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THE SCHOOL OF VISIONARY ARCHITECTURE /2018 RIBA South East Student Award RIBA Bronze Medal Nomination
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about the project
The project is about establishing the School of Visionary Architecture for Part 2 and Part 3 students. The design project interrogates and speculates what visionary architecture could become in the future. As the current British system of education is outdated and architects have become too close to the commercial world, we should instead be proposing visionary ideas for the future and learn from past movements including the modernists, metabolisms and deconstructionists, as these movements were capable of influencing society. It should be more open to stimulate our creativity, make it more flexible and to make us to think outside of the box. The project is a controversial manifesto as it is (literally) attached to the conservative Georgian buildings such as Carlton HouseTerrace - to show the relationship between the education of the old system and what the proposal is; and the Trafalgar Square’s Nelson’s Column - to integrate with society. The proposal is very high-tech as the programme delivers a futuristic approach with innovative devices, allowing the students to create a new, virtual world of architecture. Integrating technology into the building will allow a connection between the physical aspect of our digital life. The project aims not only to speculate future architecture, but to be a catalyst for society becoming more and more connected to our direct built environment.
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visionary architecture
Visionary architecture has always been a field of misunderstandings and controversy, often giving a misleading impression of something ‘out of this world’. Innovations in architecture are undeniable, as such work for is created for many reasons - some to inject noise into the system (to quote Archigram), some for political ends, some to pursue their own idiosyncratic architectural languages and some with pedagogical aims. Another reason is the constant development, which enables us thinking ahead of the future. The future where architecture is driven by technological innovations, as it is evolving rapidly.
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the analysis of part2&3 in the british system of architecture education
Part 2 will provide you with enhanced architectural knowledge and project complexity. It is usually completed in the form of a two year full time university degree. The name varies from school to school e.g. BArch, Diploma, MArch. At this time you will still be regarded as undergraduates in the architectural education process, but should seek clarification on the fee status at your respective/prospective schools. Students may choose to return to the school where they completed Part 1, or apply to study for Part 2 at another school. There will be opportunities for students to carry out specialist study and research, possibly abroad. This course allows students to develop a position of deep understanding about what architecture is and what it could be. Students strengthen their core skills in design, technology, history and theory and professional studies, working closely with world-class tutors, academics and practitioners. Half of the programme is delivered through design modules or groups, known as Units, which run throughout both years. Although distinct from one another, Units deliver a common set of principles with the support of a dedicated practice-based tutor. The ADPPA (Part 3) stage of architectural education in the UK is concerned with assessing applied knowledge and skill in relation to professional conduct and competence to practice as an architect. ADDPA is aimed at those wishing to achieve status as a fully qualified architect in the UK. However, before you can take the examination there are certain eligibility requirements one must meet, see below. Through our dedicated website we offer monthly downloadable self study packs, which include content such as sample practice problems, which will support you in preparing for your examination. In addition to the distance learning element you would be required to attend two intensive four day residential seminar weekends, usually held at the beginning of April and July in Chester.
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the timeline and criticism of architecture education in britain
Architecture have become too close to the commercial world and should instead be proposing visionary ideas for the future. The profession needs to learn from the past movements and form new ones capable of influencing society. It should be more open to stimulate our creativity andmore flexible. The system should be more aware of the changes we have introduced, especially the technology, which could help us to design better.
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the site: westminster/northbank LONDON
Connection between creative spaces within Westminster/Northbank/Southbank area in central London
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A: carlton house terrace B: trafalgar square
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A: carlton house terrace
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B: trafalgar square
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parasite sketch models
The experiment’s intention was to explore the possible tectonics and structure of a parasite building.
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the experiment
The experiment is based on the sketch models made before: the tectonics, structural features, materiality and elements which are relevant for the programme.
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visionaries look up the sky
When thinking, people tend to look up because they are visualizing something. Why? Eye movement is often correlated to how the mind processes information. Visionaries also want to extend our horizons and search for the unknown and something that is beyond our groud. Because of the curiosity and science development, we were able to invent something then visionary: a flying machine. From reaching the sky being on a top of the Babylon tower to the prototypes of the ‘human wings’, then planes and rockets. Looking up the sky was never easy. Even the ground is identified with defining a new level of infrastructure of a modern city. Newly erected skyscrapers are constantly getting taller and taller, which resembles a science fiction world, so familiar with what we know from the sci-fi films or comics. Science fiction is interdisciplinary by nature, aggregates the past and present, and evaluates both lay opinions and professional strategies in an attempt to develop foresight and to map possible futures.
experimenting with the jet engine parts
As one of the main aspects of design is analysing flying machines, such as the engine. I experimented with its parts to create a possible form of architecture.
elevation
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plan
axonometric view
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final model/scale 1:100 site A: carlton house terrace
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final model/scale 1:100 site B: trafalgar square
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movement diagram/ circulation in the building
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speculation:/ reality vs. fantasy
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final section/scale 1:50 43 45
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final plan/scale 1:50
The plan shows the 2nd floor of the construction, revealing the circulation between the units and the spaces needed for the School. The left side is the construction for Part 3, middle part is devoted for both Part 2 and 3; the right side is used by Part 2 students.
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section/scale 1:20
This section is a cut through one of my unit spaces, as it demonstrates the steel frame which is constructed from I-beams and steel prefabricated insulated wall panels.
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perspective view
The representation of all the units, drones transporting coffee or VR helmets, students “trapped� in bubble or pigeons sending USB sticks.
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04x05x06 LIFE DRAWING ILLUSTRATIONS PHOTOGRAPHY
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ARCHITECTURE LIFE DRAWING DRAWINGS Life drawing Drawing Observation as is anataught very architecture important me totool skill think iswithin very important,and architecture. spatially therefore Life to drawing think I likeabout to taught master how memy to skills think to relate spatially and technique drawings and todrawing think to real-world. about either how from to imagination relate What Idrawings learned or to is to not analyse real-world just applying thespatiality. existing architecture to my early conceptual as much as andI spatial can: from the perspective What ideas about I learned projects construction is but not also justtoto apply later details to of a early my details facade. and on conceptual Itsiteenables problemme and solving. to spatial learn a bit translation ideas The more abouthow projects oftocomplex observe but forms and also find to something later (a human detailsthat and body most on site inpeople problem a particular cannot solving. see. form) and its translation into a two This kind of code dimensional drawing is ais critical about thinking, skill. imagining and translating. Architects who sketch well tend to be creative not just with spaces but with details and construction because they do not rely on drawings as just a means of representing what already exists or is already done. The computer can’t do this and it isn’t about that kind of thought.
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ILLUSTRATIONS Apart from my architecture degree, I enjoy drawing illustrations mainly about utopian spaces, speculations, relations between the existing and imaginery world as well as bizarre, unexpected objects. It helps me to investigate my own architectural language and my approach with imagination.
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PHOTOGRAPHY I have a deep interest in photography - I think it is a very important part of the architectural education. It allows to investigate the surrounding, deeply analyse it, be creative and expect the unexpected. I am mainly interested in analog way of taking pictures as for me it has a soul and there is something genuine about it.
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thank you!