ANNA VOLKOVA 160011306 STAGE 2 PORTFOLIO
AV
CONTENT
SEMESTER 1 2.1 A DAY IN THE LIFE OF YOU 2.3.1 STUDY TYPE 2.3.2 LEITH 2030 2.3.3 DWELLING PLUS 2.3.4 INHABIT SEMESTER 2 2.4 ENGINEERING EXPERIENCE 2.5 EXPLORING EXPERIENCE CRAFTING ARCHITECTURE NON DESIGN WORK ARC2009: ARCHITECTURAL TECHNOLOGY ARC2010: ENVIRONMENTAL DESIGN ARC2020: DISSERTATION STUDIES AND RESEARCH METHODS ARC2024: ABOUT ARCHITECTURE
AT HOME
IN THE CITY
APOLOGIA
8
IN OUR STUDY TYPE PROJECT WE WERE ASKED TO COLLECT INFORMATION ABOUT R50 COMMUNAL HOUSING IN BERLIN AT DIFFERENT SCALES FROM 1:1250 TO 1:5 WHICH LATER TAUGHT US HOW TO ANALYSE NEIGHBORHOODS AND LATER DEVELOP A MASTERPLAN PROPOSAL FOR LEITH 2030. FOR OUR SYMPHOSIUM WE WENT ON A SITE VISIT TO LEITH WHERE WE COLLECTED AL THE INFORMATION WHICH HELPED US TO IDENTIFY THE MAIN FORM AND HIERARCHY OF OUR SITE MASTERPLAN PROPOSAL. WE COLLECTED PHYSICAL, HISTORICAL, SOCIAL AND ECONOMICAL DATA AND RHYTHMS OF THE NEIGHBORHOOD OF LEITH DURING OUR SITE VISIT AND IDENTIFIES THAT LEITH WAS LACKING THE SENCE OF CUMMITY AND AVAILABILITY OS SOCIABLE SPACES AND ALONGSIDE WITH OUR STUDIO BRIED OUR GROUP DEVELOPED A MASTERPLAN THE INCLUDED STUDENT AND RESIDENTIAL ACCOMODATION, RESTAURANT AND BARS, RETAIL, OFFICE SPACES, LIVE EVENT SPACE AND ACTVITY CENTER. I WAS INSPIRED BY ARCHITECTURE OF LEITH, WHICH IS MOSTLY VICTORIAN BRICK WAREHOUSES AND REFLECTED IT IN MY DESIGN BY REPLICATING THE BUILDING FORM AND CONSTRUCTION TYPE. STUDIOS BRIEF WAS ASKING US TO CHOOSE DIFFERENT TYPES OF DWELLINGS, SO FOR MY ACCOMMODATION I DECIDED TO COMBINE STUDENT ACCOMMODATION AND COMMUNAL LIVING WITH YOUNG PROFESSIONALS (UNIVERSITY GRADUATES). I WANTED MY DESIGN TO PROVIDE A GOOD QUALITY OF LIVING FOR BOTH OF THE GROUPS AND MAINTAIN THE IDEA OF A YOUNG AND LIVELY NEIGHBORHOOD. FROM THIS PROJECT I HAVE LEARNT HOW TO ANALYSE ARCHITECTURE AT DIFFERENT LEVELS. IT WAS INTERESTING TO RESEARCH AND VISITING COMMUNAL AND STUDENT HOUSING AROUND NEWCASTLE AND EDINBURGH TO UNDERSTAND WHAT DIFFERENT TYPE OF RESIDENT NEED AND WANT FROM THE PLACE THEY LIVE, THE ECONOMICS OF THE BUILDING, AND ITS RESPOND TO THE TYPOLOGY AND CONTEXT OF THE SITE AT AN URBAN SCALE. MY KNOWLEDGE AND EXPERIENCE AS S STUDENT LIVING IN ACCOMODATIONS HELPED ME TO CREATE THE TYPE OF LIVING THAT I SEE AS BETTER STUDENT LIVING AND CREATE SPACES THAT WOULD ENCOURAGE PEOPLE TO COMMUNICATE.
9
10
A DAY IN THE LIFE OF YOU
11
MY DAY IN LIFE IS SIMILAR TO EVERY DAY OF ANY STUDENT. IF IT IS A WEEK DAY I WOULD TRY TO WAKE UP EARLY TO GO TO THE LECTURES, STUDIO OR TOWN FOR ANY CHORES I NEED TO DO THAT DAY. I USE METRO EVERY DAY SO MY DAY IS DEVIDED INTO PARTS BY TRANSPORT. I LEAVE MY HOUSE AND TAKE THE METRO, GO TO TOWN TO DO MY WORK AND GET METRO BACK TO HOME. OFCOURSE MY LIFE IS NOT AS PLANE AS IT SEEMS AS I GO MEET WITH MY FRIENDS, GO OUT AND DO VARIOUS DIFERENT ACTIVITIES, BUT IF I HAVE TO REPRESENT MY DAY IN SIMPLE DIAGRAM THAT WHAT IT WOULD LOOK LIKE.
I WAS THINKING HOW WOULD I SHOW MY DAY IN THE SKETCH FORM , AND I DECIDED TO EXPRESS IT BY SHOWING THE OBJECTS THAT I TOUCH AND USE EVERY DAY AND TRY TO SHOW IT IN THE COMIC FORM.
12
MORNING
13
DAY
14
EVENING
15
MORNING
MORNING FOR ME IS THE SLOWEST PART OF THE DAY. CAN NOT SAY I WAKE UP READY FOR THE DAY PHYSICALLY AND EMOTIONALLY. I WOULD TRY TO STAY IN MY COMFORTABLE BED AS LONG AS POSSIBLE, THAN WHEN I HEAR MY HOUSE MATE DOING COFFEE IN THE KITCHEN I DRAG MYSELF OUT. FIRST THING IN THE MORNING I CHECK MY PHONE, AS EVERY PERSON IN 2017. THA I HAVE A ROUTINE OF GETTING READY, HAVE BREAKFAST AND RUN OUT TO CATCH THE METRO. PUBLIC TRANSPORT IS AN INTERESTING PLACE FOR ME, IT IS SORT FACINATES ME. I LIKE OBSERVING PEOPLE , NOT IN A CREEPY WAY, BUT I LIKE TO SEE HOW THE INTERACT IN THE SPACE. I LIKE TRAVELLING ANYWHERE ALONE, SO HEADPHONE SAVE ME FROM ANY SOCIAL INTERACTION.
16
17
DAY
FIRST THING I GET OFF THE METRO MY DAY OFICIALLY STARTS, I MEET UP WITH MY FRIENDS AND USUALLY WE HAVE A CIGAREETE WITH THEM. WE GRAB A COFFE AND GO TO THE STUDIO FOR WORK. LECTURES/ SELF RESEARCH/ STUDIO. I HAVE LUNCH IN TOWN, WHICH MOSTLY MEANS IN TOWN WHICH MOSTLY MEANS A TRIP TO OVERCROWDED WITH STUDENTS TESCO, OR IF I FEEL EXTRA RICH THAT DAY - PRET A MANGER. WORK/ CIG/ WORK/ CIG....- METRO.
18
19
EVENING
IF I DON’T HAVE ANYTHING PLANNED FOR THE EVENING IT USUANNLY GOES QUITE CHILLED. I HAVE DINNER WITH MY HOUSE AND OUR MASSIVE TABLE IN THE DINING ROOM. HAVE A BATH AND STAY IN MY ROOM TO WATCH NETFLIX.
20
21
STUDY TYPE
22
R50 HOUSING Architects: IfauundJeskoFezer,HEIDE&VONBECKERATH Location: RitterstraÃ&#x;e 50, 10969 Berlin, Germany Area: 2037.0 sqm Project Year: 2013 IN THIS PROJECT WE HAD TO ANALYSE BUILDING AT 5 DIFFERENT SCALES.
23
24
1- LA PICCOLA (RESTAURANT) 2- SOZIALTHERAPEUTISCHES HILFSWEK (CLUB) 3- BERLINISCHE GALERIE 4- THEATER 5- GETRANKE HOFFMANN (SUPERMARKET) 6- EDEKA RITTERSTRABE (SUPERMARKET) 7- UMZUGSFIRMA BERLIN (FURNITURE STORE) 8- WALDECK PARK 9- SPORTSCAFE 10- BFC SUDRING (F) A- RITTERSTRABE B- ALTE JAKOBSTRABE C- ORANIENSTRABE D- ALEXANDRINENSTRABE THE MODEL WAS MADE AT A SCALE OF 1:500 TO DEMONSTRATE THE RELATIONSHIP BETWEEN THE BUILDING AND THE SURROUNDING NEUGHBOURHOOD. IT WHOWS HOW THE BUILDING MASSES OCCUPY THE SPACE IN RELATION TO THE ROAD. R50 IS SITUATED WITHIN A 1960’S RESIDENTIAL NEIGHBOURHOOD, WHICH INCORPORATES SOCIAL HOUSING BLOCKS, PARKS,MUSEUMS, GALLERIES, THEATRES, SCHOOLS, SPRTS GROUNDS AND A VARIETY OF OTHER FACILITIES. RUNNING THROUGH THE AREA IS A BUSY ROAD THAT SERVES A LOT OF THE FACILITIES IN THE IMMEDIATE SURROUNDING AREA, SUCH AS THE SUPERMARKET OR THEATRE.
25
BASED ON THE STRUCTURAL FRAMEWORK OF THE BUILDING, THE SIZES OF APARTMENTS COULD BE DETERMINED, MEANING INDIVIDUAL REQUIREMENTS COULD BE ACCOMODATED IN THE PLANS. THE PLAN ABOVE SHOWS THE FLOOR WHICH INCLUDES 2 APARTMENTS AND THE STUDIO APARTMENT, ILLUSTRATED BY THE KEY. THE PLAN OF THE UNITS CONSIST OF LARGE, OPEN LIVING SPACES, WITH THE BEDROOM LEADING OFF FROM THEM. THE WALKWAY SURROUNDS THE WHOLE PERIMETER OF THE PLAN AND LINKS ALL THE ROOMS TOGETHER. THESE WRAP AROUND BALCONIES NOT ONLY PROVIDE A SHARED OUTDOOR SPACE, BUT ACT AS A SECONDARY EXTERIOR CIRCULATION ROUTE BETWEEN APARTMENTS. THE R50 BUILDING OMPROMISES OF SIX STORIES, PLUS AN ATTIC AND A BASEMENT. THERE ARE 19 INDIVIDUAL APARTMENTS, ONE STUDIO AND VARIOUS SHARED SPACES. UNDERNEATH IS A FLEXIBLE, DOUBLE HIGHT COMMUNITY AREA WHICH CONNECTS THE BUILDING’S MAIN ACCESS WITH THE PUBLIC STREET. IT’S BASED ON A CONCRETE SKELETON WITH ONE ACCESS AND TWO SERVICE CORES, AND HAS AN INDEPENDANT TIMBER FACADE WITH SUSPENDED STEEL CONSTRUCTION FOR THE WRAP-AROUND BALCONIES.
26
27
LEITH 2030
28
29
30
LEITH 2030
THIS PROJECT WAS SITUATED IN LEITH- A PORT DISTRICT PART OF EDINBURGH. IT USED TO BE BUZZING WITH SHIPS PORT BUILT IN THE TIMES OF INDUSTRIAL REVOLUTION, BUT NOW IT TRANSFERED TO BE AN ARTSY AREA FULL OF BISTROS, COFFEE SHOPS AND BOUTICS. THE SITE WE WERE GIVEN IS FLAT UNDUSTRIAL AREA WHICH IS NOW MOSTLY USED BY STORAGE COMPANIES WITH OLD HALF-RUINED INDUSTRIAL BUILDINGS. THE SITE IS SURROUNDED WITH RESIDENTIAL BUILDINGS WITH LOUND TRAFIC ROAD. WE HAD TO COME UP WITH THE PROPOSAL THAT WOULD CREATE A NEW AREA FOR LOCALS OF LEITH AND EDINBURGH TO ENJOY AND SPEND TIME.
31
SITE ANALYSIS
IT WAS REALLY IMPORTANT FOR US TO COLLECT ENOUGHT DATA AND ANALYSIS TO IDENTIFY THE MAIN FORM AND HIERARCHY OF OUR SITE MASTERPLAN PROPOSAL. WE COLLECTED PHYSICAL, HISTORICAL, SOCIAL AND ECONOMICAL DATA AND RHYTHMS OF THE NEIGHBORHOOD OF LEITH DURING OUR SITE VISIT.
32
DECLINE OF PRODUCTION 1910-1980
33
34
35
36
37
MASTERPLAN PROPOSAL FOR THE SITE PROPOSAL WE WORKED AS A GROUP WITH OUR STUDIO. WE GETHERED TOGETHER AND DISCUSSED WHAT DO WE WNT TO PUT IN THIS SITE AND WHAT ARE THEY KEY FITURES THAT WE ALL SHOULD FOLLOW. WE SAT DOWN A SKETCHED WHAT WE SEE COULD BE A GOOD PROPOSAL, THAN AFTER WE DISCUSSED THE SIMILARITIES IN OUT IDEAS AND DONE THE SITE ANALYSIS TO DECIDE ON THE POSITIONING OF THE ROADS, BUILDINGS AND ITS STORES. OUR STUDIOS KEY IDEA WAS TO CREATE A STUDENT ACCOMODATION FOR STUDENTS OF EDINBURGH UNIVERIST, AND NOT ONLY. SO THE MAJORITY OF RESIDENTIAL BUILDINGS ARE ALOCATED FOR STUDENTS. OUR MASTERPLAN CONSISTS OF RESIDENTIAL BLOCKS, RESTAURANTS, OFFICES, STORES, STUDENT HOUSING AND ACTIVITY CENTER. AT THE SOUTH SIDE OF THE SITE THERE IS A BUSY AND LOUD SALAMANDER STR, SO TO ISOLATE THE RESIDENTIAL AREA FROM THE NOISE WE HAVE DECIDED TO PUT ART AND ENTERTAINMENT CENTER WHICH WILL BE LOCATED AT THE REFURBISHED BARN. AT THE DOCK WE HAVE DESIGNED A WATERFRONT WITH THE ACCESS TO WATER AS A PROMNADE AREA FOR PEOPLE TO ENJOY. WE HAVE ALSO MADE AN ACTIVITY CENTER AT THE WATERFRONT WERE PEOPEL COULD RENT KAYAKS AND BOATS. WE HAVE 5 MAIN ENTRANCES CREATING PATHWAYS FOR (SOME OF IT) CARS, BOKES AND PEDESTRIANS. WE ALSO HAVE A RESIDENTIAL AREA FOR FAMILIES.
38
39
FRONT SECTION 1:500
EAST SECTION 1:500
REAR ELEVATION 1:500
40
MASTERPLAN PROPOSAL GROUP MODEL
41
42
RENDERS
43
44
45
DWELLING PLUS
46
47
48
49
50
FOR MY SECOND IDEA I HAVE DECIDED TO GO BACK TO THE SITE ANALYSIS AND THINK AGAIN WHAT WOULD BETTER FIR THE TYPOLOGY OF LEITH. AS LEITH ARCHITECTURE CONSISTS OF THE MAJORITY OF THE INDUSTRIAL WAREHOUSES AND VICTORIAN BUILDING I HAVE DECIDED TO BUILD A WAREHOUSE CONSTRUCTION MYSELF WITH THE MODERN REFURBIRSHMENT. MY IDEA WAS TO CREATE THE BUILDING THAT WILL LOOK LIKE A WAREHOUSE ON THE OUSIDE WITH SPACIOUS INTERIOUR. AFTER MAKING A TRY MODEL I HAVE RECONSIDERED MY CIRCULATION BY MAKING THE ENTRANCE TO THE BUILDING IN THE SUBSTRUCTURE IN BETWEEN THE BUILDINGS. MOVING ON TO MY FINAL IDEA. I HAVE DEVIDED TWO BUILDING INTO TWO TYPES OF RESIDENTS: STUDENT AND YOUNG PROFESSIONALS. ONE OF THE BUILDING IS GOING TO BE STUDENT FLATS WITH 6 UN-SUIT ROOMS ON EACH FLOOR AND RESIDENTIAL BUILDING WITH 3-5 FLATS ON EACH FLOOR. MY IDEA IS TO MIX THIS TWO GROUPS TOGETHER BY CREATING A SPACIOUS COMMUNAL AREA IN THE SUBSTRUCTURE IN BETWEEN THE BUILDINGS. THE GROUND FLOORS WOULD BE USED FOR SMALL SHOPS AND CAFES TO ATTRACT ALL THE VISITORS OF THE SITE. WITH THIS DESIGN I WANTED TO CREATE A CEREY SOCIAL AND WELCOMING SPACE FOR EVERYBODY TO ENJOY.
51
52
53
CIRCULATION DIAGRAM
PRIVATE CIRCULATION PUBLIC CIRCULATION
54
ACCOMODATION DIAGRAM
STUDENT ACCOMODATION PUBLIC SPACES RETAIL SPACES RENTED ACCOMODATION COMMUNAL SPACE FOR RESIDENTS
55
GROUND FLOOR PLAN
56
FIRST FLOOR PLAN
57
SECOND FLOOR PLAN
58
THIRD FLOOR PLAN
59
FRONT ELEVATION 1:200
BACK ELEVATION 1:200
60
1:100 MODEL
61
1:100 MODEL
62
1:100 MODEL
63
64
INHABIT
65
66
67
ROOM PLAN 1:50
68
69
ENGINEERIN
NG EXPERIENCE
72
MOVIE AND IDEAS OUR GROUP WAS ALLOCATED THE MOVIE CALLED NOSTALGIA BY ANDREI TARKOVSKY. THE PLOT TELL US A STORY ABOUT RUSSIAN WRITER WHO CAME TO ITSLY IN ORDER TO INVESTIGATE LIFE OF A COMPOSER PAVEL SOSNOVSKY. NOSTALGIA HAS A VARIETY OF HIDEN MESSAGES THAT TARKOVSKY WANTED TO REPRESENT IN THE MOVIE. OUR GROUP WAS GIVEN A BATHING SCENE FULL OF STEAM AND ELEMENTS OF WATER IN THE MOVIE WHERE THE MAIN CHARACTER MEETS A DOOMSAYING MYSTIC CALLED DOMINICO AND THE LAST SCENE IN THE MOVIE WHERE THE RUSSIAN WRITER IS CROSSING THE EMPTIED BATH WITH THE CANDLE, WHICH THE MAN (DOMINICO) OUR TASK WAS TO ANALISE THESE TWO SCENES AND REPRESENT IT IN THE SHORT 5 MINUTE FILM AND INSTALLATION. IN OUR GROUP WE HAVE DECIDED THAT THE SCENES ARE FULL OF FEELING OF LONLINESS, HOMELESNESS AND ISOLATION, WHICH WE DECIDED TO EXPLORE.
73
DEVELOPMENT: SKETCHES IN ORDER TO REPREST THE SCENES OF ISOLATION WE WANTED TO CREATE SOMETHING A STRUCTURE THAT WOULD INVOLVE A PERSON WEARING IT. SOMETHING THAT WOULD BE UNCOMFORTABLE TO MANIPULATE AND WOULD SERVE AS A BARRIER BETWEEN THIS PERSON AND THE PUBLIC. SO WE HAVE DECIDED TO CREATE A SPACE WHICH WOULD REPLICATE THE SHAPE OF THE HOUSE WITH THE POINTED TOP. IN OUR MOVIE WE WANTER TO REPREST THE EXPERIENCE OF ISOLATION BY WALKING THROUGH THE SPACE WHICH IS USED BY THE PUBLIC CONSTANTLY IN THE HOUSE CONSTRUCTION. FOR OUR FINAL SCENE WE WANTED TO CREATE THE SAME ATMOSPHERE AS IN THE MOVIE WITH WATER AND SOUND AND REPRESENT THE RITUAL AS IN THE MOVIE WHEN DOMINICO PASSES ON HIS DUTY OF CROSSING THE BATH TO THE MAIN CHARACTER.
74
75
76
DEVELOPMENT: STORYLINE
IN ORDER TO START BUILDING OUR INSTALLATION WE HAD TO DECIDE OUR FINAL STORY LINE. THE VIDEO STARTS WITH A PERSON ENTERING THE BUILDING AND GOING THROUGH THE GROUND FLOOR OF THE ARCHITECTURE BUILDING, PASSING THE KOFI BAR INTO THE ELEVATOR AND GOING THROUGHT THE FIRST FLOOR STUDIOS. WE CHOSE TO FILM AT THE WEEKDAY DUTING THE DAY TIME IN ORDER TO HAVE THE MAXIMUM AMOUNT OF PEOPLE IN THE BUILDING. WE WANTED TO SHOW A PERSON BEINF IGNORED AND FEELINF LONELY, ISLOATED AND INVISIBLE AROUND PEOPLE. THE KEY PART OF THE VIDEO IS THE FINAL SCENE, WHERE THE RITUAL IS REPRESENTED. THE PERSON WEARING THE CONSTRUCTION IS ENTERING THE SPACE WHERE HE PASSES IT ON TO ANOTHER PERSON WHO CONTINUES THE JOURNEY.
77
DEVELOPMENT: INSTALLATION WE BUILT THE CONSTRUCTION OUT OF TIMBER STRIPS IN THE WORKSHOP AND ONCE IT WAS DONE WE HAVE WRAPPED IT WITH THE CLING FILM TO CREATE THE VISUAL EFFECT OF SEMI-TRANSPARENCY. FOR THE INSTALLATION FOR THE FINAL SCENE WE CUT OUT THE GEOMETRIC FORMS OUT OF CARD AND PAINTED THEM BLUE AND SILVER. TO SUSPEND IT AT THE CEILING WE TIED THE FORMS WITH THE STRING AND ATTACHED THEM TO THE CHICKEN WIRE. FOR FILMING THE FINAL SCENE WE PROJECTED THE THE SCENE FROM THE MOVIE ON TO THE INSTALLATION TO MAXIMIZE THE VISUAL EXPERIENCE.
78
DEVELOPMENT: FILMING
79
REFLECTION I FOUND THIS PROJECT GENUINE INTERESTING AND EXPANDING THE KNOWLEDGE AND APPROPRIATION OF ARCHITECTURE. ANALYZING AND TRYING TO INTERPRET FILM WAS TRULY AWESOME AND MADE ME PAY MORE ATTENTION ON THE WAY IT WAS FILMED AND THE VALUE OF THE SPACE IN THE MOVIES. “NOSTALGIA” BY ANDREY TARKOVSKY IS A COMPLICATED TO UNDERSTAND AND NOT AN EASY WATCH FOR THE MAJORITY OF PUBLIC. THIS FILM IS MELANCHOLY AND, IN FACT, A MIRROR OF TARKOVSKY’S OWN DESTINY - A SPIRITUAL AND ARTISTIC MASTERPIECE. THE PROTAGONIST, VOLUNTARILY SEPARATED FROM HIS NATIVE SOIL, FINDS HIMSELF IN CAPTIVITY OF UNSPEAKABLE ANGUISH. FOR OUR GROUP IT WAS AN INTERESTING TASK TO REPRESENT THE FEELING AND ATMOSPHERE OF THE SCENE ABSTRACTLY IN OUR VIDEO. BUT WE INTERPRETED IT NOT THROUGH THE PHYSICAL ASPECT OF THE MOVIE, BUT THROUGH THE ABSTRACT UNDERSTANDING OF EMOTIONS. WE WANTED TO SHOW A STORY OF A PERSON, LIVING IN THE MODERN DAYS, WHO IS EXPERIENCING THE SAME EMOTIONS AS THE CHARACTER AND REFLECTING IT THROUGH PICTURE AND SOUND. WORKING AS A GROUP FOR THE ENGINEERING EXPERIENCE WAS DIFFERENT THAN WORKING ON THE DESIGN PROJECT. EVERYONE HAS THEIR OWN VISIONS AND INTERPRETATION OF THE MOVIE, SO WE HAD TO COLLABORATE ALL THE IDEAS TOGETHER IN ORDER TO CREATE THE FINAL MATERIAL, WHICH EVERYONE WOULD BE SATISFIED WITH. WE WORKED CLOSELY ON THIS MOVIE AND WANTED IT NOT ONLY EXPLAIN THE “NOSTALGIA” MOVIE, BUT ALSO HAVE OUR PERSON INPUT IN IT.
80
81
EXPLORING
EXPERIENCE
APOLOGIA
84
DURING THE CITE VISIT TO DURHAM I WAS INTRIGUES BY SITE 7 WHICH IS A SLOPING SITE AND I WANTED TO WORK WITH IT AS I DID NOT HAVE AN EXPERIENCE OF A COMPLEX TERRAIN. I FOUND THE MODERNIST ARCHITECTURE OF CONCRETE BUILDINGS ON THE RIVER BANK, SUCH AS DURHAN STUDENT UNION BUILDING, INTERESTING TYPOLOGY TO MATCH AND AS OUR STUDIO MATERIAL WAS CONCRETE, I WANTED TO PRODUCE SOMETHING VOLUMETRIC AND PLAY AROUND WITH THE CONCRETE QUALITIES. THE BRIEF ASKED US TO DEVELOP A FESTIVAL FOR THE CITY OF DURHAM AND INTRODUCE OUR BUILDING AS A PART OF THE FESTIVAL. FOR MY FESTIVAL THEME I HAVE DECIDED TO CREATE AN INTERNATIONAL CULTURE FESTIVAL ORGANISED BY STUDENTS OF DURHAM UNIVERISTY TO CREATE A COMMUNICATION BETWEEN THE LOCALS AND STUDENTS. THE ROUTE WOULD INVOLVE VARIOUS ACTIVITIES SUCH AS CULTURAL FOOD, FILM, MUSIC AND ART ACTIVITIES ALONGSIDE WITH AVERENESS LECTURES FROM INTERNATIONAL STUDENTS FROM UNIVERSITIES TO BREAK UP THE STEREOTYPES OF THEIR CULTURES, MY BUILDING IS PROVIDING WORKSHOP SPACES FOR PEOPLE TO TRY NEW CRAFTS IN A FUN AND FREE MANNER. THE FIRST INITIAL IDEA I HAD IS TO REPLACE THE EXISITING STAIRS ON THE SIDE WITH THE KINGSGATE BRIDGE WITH MY BUILDING, SO AS CREATE NEW STAIRS WITH MY DESIGN. FROM THE BEGINNING I KNEW THAT MY DEISGN WOULD REPLICATE STEPPING DOWN STAIRS AND I WORKED FROM THAT. WHAT WAS CHALLENGING TO ME IS DECIDING HOW THE STAITS WOULD WORK AND LOOK ASTHETICALLY WHICH INVOLVED A LOT OF REMODELLING AND SKETCHING. AS MY BUILDING WAS CONTROLLED BY CIRCULATION I FIGURED OUT A STRICT HIERARCHY WITH THE MAIN ENTRANCE OF THE BUILDING AT THE MEDIUM LEVEL OF THE CONSTRUCTION, SO TO ENTER THE BUILDING PEOPLE WOULD HAVE TO USE THE EXTERNAL STAIRS. ANOTHER CHALLENGE WAS TO DEVELOP A DESIGN,, THAT WOULD ALLOW MAXIMUM SUN ACCES TO THE SPACES, AS THE SITE IS SURROUNDED BY THE TREES AND GENERALLY DOESN’T HAVE THAT MUCH DIRECT SUNLIGHT. IT WAS CONTRADICTING WITH MY VOLUMETRIC AND BRUTALIST DESIGN OF THE FAÇADE, SO TO ALLOW SUNLGHT TO PRPOGATE INTERNALLLY I HAVE PLAYED WITH THE MATERIALS AND LOOKED INTO THE PRECEDNTS AND AT THE END I HAVE DECIDED TO HAVE A VERY SMOOTH MATERIAL (PLASTER) THAT WILL NOT DISTORT THE RARE SUNLIGHT COMING INTO THE BUILDING. I AM VERY HAPPY HOW MY DESIGN TURNED OUT TO BE WITH A VERY STRONG AND BRUTAL IMAGE ON THE OUSIDE, AND VERY SMOOTH, COLORFUL AND BRIGHT ATMOSPHERE INTERNALLY. FROM THIS PROJECT I HAVE LEARNT A LOT REGARDIN THE REGULATIONS AND APPROVED DOCUMENTS, LOCAL LIFESTYLE AND POPULATION OF DURHAM AND CASTING CONCRETE AND PLASTER.
85
I WAS ERALLY FOUND OF THE CITE THAT I HAVE CHOSEN BECAUSE THERE ARE A LOT OF ACTIVITY AROUND IT. THE KINGSGATE BRIDGE THAT LEADS TO THE DURHAM STUDENT UNION AND STAIRS THAT LEAD DOWN TO THE RIVER BANK. AS I SAID IN MY APOLOGIA, I WAS REALLY INTERESTED IN REPLACING THE EXISTING STAIRS WITH MY BUILDING, BUT ALSO TRY AND FIR IT WITH THE TYPOLOGY OF THE SITE. IN MY PROJECT COLOR PLAYS A BIG ROLE. AFTER VISITING DURHAM AND TAKING SOME PICTURES I DECIDED TO MAKE SOME COLLAGES ON PHOTOSHOP, PARTLY FROM BOREDOM, PARTLY TO SEE HOW MATERIALS WOULD LOOK WOTH DIFFERENT GRADIENTS ON IT, WHICH LATER CAME OUT TO BE THE MAIN ASPECT OF MY DESIGN.
86
87
SITE 7
88
FESTIVAL ROUTE FOR MY FESTIVAL I CAME UP WITH THE IDEA OF INTERNATIONAL CULTURE FESTIVAL WHICH WOULD BY ORGANISED AND RUN BY DURHAM UNVERSITY STUDENTS TO COMMUNICATE LOCALS AND THE NEW INTERNATIONAL COMERS TO THE CITY. I HAVE THREE MAIN SITES FOR THE ROUTE: MAKET SQUARE, DURHAM CATHEDRAL QUADRANGLE AND STUDENT UNION. I WANT TO HAVE THE FOOD FESTIVAL AT THE MARKET PLACE, INDEPENDENT MOVIE FESTIVAL DURING THE NIGHT AND MUSICAL PERFORMANCES DURING THE DAY FOR THE DURHAM CATHEDRAL AND LECTURES AND WORKSHOPS AT THE STUDENT UNION. MY BUILDING WILL BE ALSO INCLUDED IN THE ROUTE AND INCLUDE ART AND CRAFTING WORKSHOPS FOR THE FESTIVAL.
89
BECAUSE I WANTED THE TOP FLOOR OF MY BUILDING TO START FROM THE SAME PLACE AS THE EXISTING STAIRS, IT MEANT THE THE MAJORITY OF MY BUILDING WOULD BE HIDDEN IN THE LANDSCAPE OF THE SITE, WHICH MEANT THAT I COULD NOT HAVE THE FACADE OPENINGS, EXCEPTH THE ONE THAT WERE FACING THE RIVER. IT MEANT THAT SOME PARTS WOULD BE MUCH COLDER AND DARKER THAN OTHERS, SO I WAS POSITIONING ROOMS IN ORDER TO ALLOW PUBLIC AREAS TO BE IN THE LIGHT AND UTILITIES IN THE DARKER AND LESS WARM PLACES.
90
91
92
93
MIDTERM REVIEW
94
95
AFTER THE MIDTER REVEW I NEEDED TO FIGUREOUT THE INTERNAL QUALITIES OF MY DEISGN AND FINILISE THE DESIGN OF THE STAIRS. I HAVE LOOKED INT THE LUIS BARRAGANS WORK. SPECIFICALLY AT CASSA GILARDI. LUIS BARRAGAN WAS A REMARKABLE MEXICAN ARCHITECT WHO REALLY APRECCIATED THE NATURAL LIGHT IN HIS DESIGNS. TO IMPROVE THE LIGHT CONDITIONS WITH THE SMALL AMOUNT OF OPENINGS I HAVE, I DECIDED TO REPLICATE THE INTERNAL QUALITITES OF CASA GILARDI INTO MY DEISGN. TO DO SO I DECIDED TO PLAY WITH THE SMOOTH TEXTURES SUCH AS PLASTER. FOR MY EXTERNAL STAIRS IT TOOK QUITE A LONG TIME TO FIGURE OUT. BUT BECAUSE I WANTED MY BUILDING TO BE ON SOLID CONSTRUCTION WITH OUT ANY SEONDART STRUCTURE, I HAVE DECIDED TO INTEGRATE STAIRS INTO THE ROOF BY BENDING IT(SEE NEXT SPREAD).
96
97
PROCESS
98
99
EXTERNAL MATERIAL
MATERIAL EXPERIMENTATION
I HAD A LOT OF FUN EXPERIMENTING WITH CONCRETE. FOR MY FIRST SACT I HAVE PUT LEAVES AND STICKS INTO THE CAST TO CREATE NATURAL PATTERN. AND FOR THE SECOND CAST I HAVE ADDED SOME PLASTER MIX TO MAKE IT LIGHTER. SO FOR MY EXTERNAL MATERIAL I AM GOING TO HAVE A VERY ROUGHT TEXTURE (UNTREATED). AND FOR MY INTERNAL MATERIAL I AM GOING TO HAE COLOROS PLASTER, WHICH SMOOTH TEXTURE WILL ALLOW LIGHT TO PROPOGATE.
100
INTERNAL MATERIAL
101
102
103
MODEL
104
1:20 DETAIL
connection of the wall with the ground floor
105
T O P
PLANS
F L O O R T H I R D F L O O R
PLAN IN CONTEXT
106
S E C O N D F L O O R
F I R S T F L O O R
G R O U N D F L O O R
107
ELEVATION 1:200
108
109
VIEW OF THE WORKSHOP SPACE
110
VIEW OF THE GALLERY SPACE
111
VIEW OF THE MAIN ENTRANCE
112
VIEW FROM THE TOP LEVEL
113
CRAFTING ARC 114
CHITECTURE 115
SITE READING WORKSHOP OUTPUT
AT THE SITE READING WORKSHOP WE WERE DEVELOPING THE SITE PROPOSAL THROUGH THE DATA REGARDING THE SITE ANALYSIS WE COLLECTED AND WHAT WE FELT LIKE WAS IMPORTANT TO BRING INTO THE NEIGHBORHOOD OF LEITH. THIS WORKSHOP HELPED US NOT ONLY EXPRESS ANALYSIS IN DIAGRAMATIC FORM, BUT ALSO TAUGHT US HOW TO WORK IN THE TEAM AND CONSIDER EVERYONES OPINIONS REGARDING THE PROJECT.
116
117
DIAGRAMMING WORKSHOP OUTPUT
IN THIS WORKSHOP I REALLY ENJOYED LOOKING AT THE DIAGRAMS THAT ARCHITECTS PRODUCE IN ORDER TO EXPLAIN THEIR PROJECTS TO THE CLIENTS. IT WAS INSPIRING, HOWEVER THE OUTPUT OF THE WORKSHOP WAS NOT BIG AND DID NOT REALLY MADE IT CLEAR IN WHAT WAY CAN I IMPROVE THE DIAGRAMATIC DRAWING SKILLS.
118
119
DETAILLING WORKSHOP
DETAILLING WORKSHOP WAS MORE OF AN INTRODUCTORY WORKSHOP FOR CASTING CONCRETE, WHICH EXPANDED MY UNDERSTANDING OF VARIOUS TYPES OF TEXTURES, AGGREGATES AND COLORS OF CONCRETE. THE OUTPUT OF THIS WORKSHOP WAS ONLY ONE CAST (WITH HOLES) WHICH TAUGHT ME THE RIGHT PROPORTION OF MIXING CONCRETE IN ORDER TO GET THE DESIRABLE RESULT. USING THE SKILLS FROM THIS WORKSHOP I WAS ABLE TO CONTINUE THE CASTING INDEPENDETLY AND LATER LEARNT HOW TO ALSO CAST PLASTER INVOLVING COLOR.
120
WHILE CASTING PLASTER I HAVE PROPERLY LEARNT THE PROPORTIONS OF PIGMENT PER PLASTER MIX IN ORDER TO GET THE DESIRABLE SHADES OF CASTINGS. INTERESTINGLY FOR ME, THE PLASTER CASTS THAT HAD MORE PERCENTAGE OF WATER IN IT TURNED OUT TO HAVE A VERY SMOOTH TEXTURE, HOWEVER WITH TIME IT STARTED TO OXIDE AND CHANGE COLOR.
121
STRUCTURES WORKSHOP STRUCTURE WORKSHOP TURNED OUT TO BE VERY USEFUL IN TERMS OF UNDERSTANDING HOW MY BUILDING WILL BE BUILT IN THE CONTEXT.
122
123
NON-DESIGN
124
N MODULE 125
ARCHITECTURAL TECHNOLOGY
126
127
ENVIRONMENTAL DESIGN
128
129
DISSERTATION STUDIES AND RESEARCH METHODS Student name: Anna Volkova Tutor name: Kati Blom Dissertation proposal. “Advanced technologies can improve our urban infrastructure, but the heart of any city lies within its inhabitants.” - Anne Harris. In my dissertation I want to talk about cities from the perspective of urban and architectural planning and figure out what makes them habitable. As a person who grew up in the city, I am concerned about the global urban crisis which can be currently seen in the majority of developed and undeveloped countries. By 2050 about 67.2% of global population of 8.9 billion people will be living in the cities. (Flanagan, 2010) Not only it is a big challenge to find the way to accommodate all the new incomers, but make cities work logistically and make peoples lifes there enjoyable. (Lynch, 1984) Towns and cities, as people, have their own individual character which springs from the slow moulding of the tradition way of life of its inhabitants which itself depends on the setting which it is built. (Logie, 1954) I strongly believe that Humans are animal-like in their behaviour and it is important to understand in order to create cities that will accommodate their needs and not dictate their behaviour. It is much more harder to say what is urban design, rather than what it is not, but there should be a relationship between people and spaces they inhabit for it to be an inspiring and enjoyable process and not limit people in their capability. In order to develop this relationship various factors should be considered such as politics, sociology, economics, geographical location and many other aspects that make up our every day life. Peter Baofu in his book called the future of post-human urban planning a preface to a new theory of density, void and sustainability he talk about the history of urban planning and develops a various thesis of future development. He talk about how cities development was by technology, political and sociological changes, which was normally responding to the advances in warfare, so cities were reshaping and growing in order to safe the citizens living in their borders. What interests me the most is the transition from modernist to post modernist era as it was involved in the most innovating and densely developed technological time that people living back than did not seen before. Le Corbusier was one of the major influencer of modernist movement and “international style” which “stood for the elimination of disorder, congestion and the small scale, replacing them instead with preplanned and widely spaced free ways and tower blocks set within gardens” (Baofu, 2009) which was supposed to fix the urban environment of post-Second World War: slums, overcrowding, deteriorated infrastructure, pollution and disease However, in practice it resulted in increased crime rates and social problems i.e. Brazilia (Capital of Brazil). Post-modernist urban planning rejected the rule of the “right way” which was strongly cultivated by modernist movement and allow diversity into design as the public opinion was disregarded in modernism. Post-modern urban planning is focused on the individualization while capitalistic economy is leading us to the “the ignorance of the social equity and prevailing economic forces”.(Velibeyoglu, 1999) Urbanism is the art of man as a social being and in only rare periods of the past has society for a brief space of time achieved that state of awareness when men begin to act less as individuals and more as parts of larger whole. (Logie, 1954)
130
In general, post-modern movement started looking at design more holistically with the careful consideration and communication with the public. But in my opinion, the solution should be found to cultivate the society to turn their individualistic lifestyle in the direction of the community within urban design and planning. Because with the population growth merged into technological revolution there have to be ways to create a relationship between the future people and future infrastructure. Planners, designers and engineers have a role to play in seeking to find ways to maximise the use of existing resources – whether these are space or infrastructure. Planners need to direct development and activity to locations where it can be readily accessed and easily powered, watered, and maintained. Designers need to consider how the planned patterns of activity can be provided with infrastructure or how existing infrastructure can be used to its full potential. Engineers need to seek ways to enhance the existing infrastructure and improve the way we maintain and conserve the resources that are already in place. For the dissertation my main research method would be using archived materials such as existing books, articles, case studies etc. Also, as such topic requires collecting up to date data, I am also thinking of interviewing people from citites with different urban structure and historical development with distinctive backgrounds to find out their opinions on their city public life and services such as public spaces, transportation, traffic problem and other important to them aspects hense compare the experiences of those interviewed to create a schematic pattern of the city life. During the summer break I will be working at the place that will allow me to communicate with people from different countries and background which will be in Russia for the whole period of June, in order to collect different data that has different geographical qualities the research will be conducted in Italy, where I will be staying for 2 weeks with the local focus on city of Rome. I am planning to have the information collected by the end of summer and concentrate on studying related theories later in the academic year. Want I want to achieve while researching and collecting data from the process of studying is how can we improve the quality of life in the current situation, and what is more important is how to design the cities in the future for people that will come learning from bad and good past experiences with my research to find out whether it will be or will not be possible identify the set of rules and patterns that can be implied within urban planning and design. (Flanagan, 2010) Bibliography: Flanagan, W. (2010). Urban sociology : Images and structure(5th ed.). Lanham: Rowman & Littlefield. Blundell Jones, P. (2016). Architecture and ritual : How buildings shape society. Alexander, C., Ishikawa, S., & Silverstein, M. (1977). A pattern language : Towns, buildings, construction. New York: Oxford University Press. Heath, T., Oc, T., & Tiesdell, S. (2010). Public Places - Urban Spaces (2nd ed.). Hoboken: Taylor and Francis. Lynch, K. (1972). What time is this place? Cambridge: MIT Press. Logie, G. (1954). The urban scene. London: Faber and Faber. Lynch, K. (1984). Good city form (1st paperback ed.). Cambridge, Mass.: MIT Press. Lynch, K. (1960). The image of the city. (Publications of the Joint Center for Urban Studies). Cambridge [Mass.: Technology Press. Velibeyoglu, K. (1999) Urban design in Postmodern context. Izmire Institute of Technology.
131
ABOUT ARCHITECTURE
132
133