ani (ivanova) petrov sample portfolio
175 Spencer Street ∙ Apartment 2D ∙ Brooklyn, NY 11205 ∙ 609.216.4575 ∙ aivanova@princeton.edu
project title: HARMONOGRAPH date and location: spring 2012, Princeton University course: ARC 204 Architectural Foundations 2
instructor: Michael Meredith
design and production: Ani Petrov, Katherine Ortmeyer, Michael Glassman
task: In groups of 2-4 students, design an equilibrium structure. The structure should be comprised of multiple self-similar or the same modules to be joined together, and can be assembled/ disassembled at the time of testing. Each component and joint of the construction should be designed and fabricated to express its function and structural behavior.
In general, the design of joints and connections will be critical in this exercise.
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The harmonograph by itself can be thought of as a representation of one of the most fundamental principles in nature, the principle of superposition. It manifests itself in the fact that if you have two possible outcomes, then the sum of these two outcomes is also possible. Namely, consider the simple case of a swing, which can go in any direction on a two dimensional surface. One can swing in a linear manner, namely going back and forth in any desirable direction. In particular labeling two perpendicular directions
x and y, there is a possibility to swing in the direction of either axis. What the principle of superposition tells us is that the sum of the two motions is also a possibility. One can thus achieve a rectilinear oscillation in any desirable direction and even go around in a circle with the necessary initial conditions. In particular, circular motion can be achieved by starting the oscillation of the x direction for example at maximum displacement, while the one in the y direction is at 0 displacement, but maximum velocity.
The harmonograph represents a slightly more complicated set up, in which the frequency of oscillation in the two perpendicular directions can be varied, y varying the mass of the pendulum. Further the actual universe from the point of view of the observer on the “swing� is rotating, due to a big rotary pendulum connected to the effective ground. In this sense the pen is an exact representation of such motion with the added effect of friction. Due to the frictional force of the pen with the sheet of paper each oscillation
is dampened, which leads to the convergence observed in the figures. In fact one can make certain claims about the general form of the graph based on the relative frequency, just as one was able to predict the possibility of circular motion for the swing. Indeed consider two perpendicular oscillations with non-equal frequencies. In the undampened case one observes what is usually referred to as Lissajou figures, which simply represent a parametric plot of functions of time of the following form:
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In the case of dampened oscillations one modifies the functions with a time dependent amplitude, which for the purposes of visualization can be represented by the equation:
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The latter case accounts for the figures the harmonograph produces. PLAY: The drawings on pages 6-7 are results from careful studies of the output of the harmonograph depending on the weights of each pendulum. The images above, however, are achieved after multiple restarts of some/all of the pendulums while the
pen is drawing on the same sheet of paper thus they become diagrams of play. Further development of the project could explore this - increasing the size of the harmonograph could allow for more interaction with the pendulums.
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project title: STOREFRONT TETRIS, 40 LPI LENTICULAR PRINT 18” x 24”
design: EFGH and Ani Petrov
date and location: summer 2013, New York City
a drawing submitted for the Storefront for Art and Architecture POP: Protocols, Obsessions, Positions exhibition
office: EFGH, principles Hayley Eber and Frank Gesualdi
production: Ani Petrov
link
POP: Protocols, Obsessions, Positions investigated what constitutes a position in architecture today and how that might be generated through the architect’s drawing. This exhibition presented 30 original drawings of the Storefront gallery space at 97 Kenmare Street by an international group of architects asked to go “from protocols, to obsessions, to positions.” As an image based on codes and systems of representation that establish a space of
legibility between inherited and new forms, the architectural drawing tends to operate either as a technical tool of communication based on protocols and codes or in a diametrically opposed spectrum as an artistic device completely detached from the constraints of architectural practice. While one end of the spectrum is overcharged by the need to communicate, the complex or mysterious beauty of illegibility haunts the other. While protocols engage with a disciplinary temporality and obsessions are usually atemporal, positions address timely, current issues beyond those typically addressed in the discipline of architecture or an architect’s body of work. POP presented thirty drawings by thirty architects that addressed both ends of the architectural drawing spectrum, understanding its codes and protocols and deploying the personal obsession of each architect in the articulation of a position now.
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STOREFRONT TETRIS The 12 doors of the Storefront faรงade form the building blocks for an 8-bit Tetris game. Printed on lenticular film, the medium holds one second of gaming action. The viewer interacts through limited movement, watching the doors fall and construct a new cityscape below. Storefront is game.
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project title: PRINCETON ARTS AND TRANSIT PAVILION date and location: spring 2013, Princeton University course: Junior Independent Work 14
instructor: Hayley Eber
design and production: Ani Petrov
Throughout history, pavilions have acted as paradigms of innovative design. Often without a program or the necessary regulations of a conventional building, the pavilion has yielded some of the most adventurous and influential works of modern architecture. It is precisely because pavilions do not need to subscribe to conventional architectural rules
and regulations- be weather tight, enduring or pragmatic- that they are able to become experimental investigations of the built environment and embody an event or place. Their scale, mobility and comparatively short lifespan allow them to exist as temporary, unfinished laboratories. The studio will examine how these light-weight and temporary projects are
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Initial steps in the form-finiding process: a transparent box was assembled from pierced acrylic sheets. This allowed for the testing of the “behavior” of different materials for the membranes and the forms and type of environments they constructed.
intrinsically linked to our current state of continuous crisis, both economically and environmentally, while at the same time allow architects to test ideas in increasingly contemplative ways: by researching fundamental ideas of time, movement, structure and program. 16
proposal: The proposed pavilion is con-
structed of fine flexible nets suspended in the air above one of the main roads on the Princeton Campus in an immediate vicinity of the site of construction of the Princeton University Arts and Transit Neighborhood. The project plays with the idea of “an arts and transit pavilion” by proposing a structure that physically connects the current transportation hub
A large scale site-model was then constructed on the same principles. Thus site-specific conditions were accounted for. This also allowed for the study of different interactions with the structure.
(the train station and the bus stop) and the existent theaters across the street. As such it spatially redefines the public space, creating a new experiential dimension. The installation spans above the road, affixing itself to already existent architecture. Thus, it serves as a framing engage, inform and confuse notions of scale, materiality, (in)stability and interi-
or-exterior. The supple structure could be occupied, serving as both an “overpass� and an ephemeral, yet immersive interior environment. The pavilion seamlessly morphs from sculpture/installation into a piece of infrastructure and finally into architecture.
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theater complex
SITE PLAN top view
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train station
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date and location: fall 2013, Princeton University and FAU USP, S達o Paulo, Brazil course: Junior Independent Work instructor: Mario Gandelsonas design and production: Ani Petrov, Katherine Ortmeyer
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ECOFICTIONS
LIQUID LANDSCAPES The 2013 Senior Joint Studio was developed in conjunction with the Faculty of Architecture, University of Sao Paulo. The site for the studio is San Miguel Paulista, one of the Eco-ports of the Hidroanel Metropolitano, a major urban infrastructural project, a 170 km. water ring in Sao Paulo. The program for the first part of the studio was the “reading” of the work of the Brazilian landscape designer Roberto Burle Marx within
the context of five hundred years of Western and non-Western garden design and the program for the second part will the design of a water park as a new cultural and entertainment node for the Sao Paulo metropolitan region. The second part of the studio challenged the students to imagina fluvial infrastructure in urban and suburban areas of São Paulo.
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location
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environment
ECOFICTIONS reevaluates and reverses the traditional relationship between land and water in a water park. This is achieved in two steps: first, under the title of the studio, Water Landscapes, a new reading of the water park – a park on the water – was assumed; second, this reading was used to establish the water as the new datum. The project further engages with the issue of cultural coherency in Brazil through a series of dialectics including water-land, objectenvironment, and reality-mythology.
water/land section
pavilion
We began by situating the project within the current discourse of the studio, beginning with Burle Marx’s collections of contrasting varieties of plants and flowers in discrete beds. Using these as a base, we then reversed the relationship between land and water, making the park completely aquatic with land masses interspersed as islands or objects. Each island, or pod, represents an ecosystem of Brazil, but rather than attempting to replicate the ecosystem, we sought to present
personification the studied environments as abstracted and distilled concepts, using the whimsical aesthetic of Tarsila do Amaral’s art naïve paintings. We found that incorporating mythology provided a bridge between fantasy and reality that allowed us to create diverse experiences through the pods rather than simply mimicking the specific ecosystem. Each ecosystem was assigned an appropriate Brazilian mythological character and we used their stories to generate personalities and narratives for the individual pods focused around their relationships
to land and water. These imagined experiences were documented in a travel log and provided the basis for the final forms of the pods. Another important aspect of the project was the object-environment dialectic; each pod represented an immersive environment when the user was inside, but we needed a way to also present them as discrete objects. The entrance ramp, therefore, houses program on the interior but also acts as an observation platform on the exterior, allowing people to see the pods from
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circulation
program
structure
observation
axon
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above and understand them as a collection of objects. As displayed in the imagined drawn narrative, the user of the park is thus able to kayak around, experiencing the different pods individually, and then witness the park as a whole from above, transitioning between being part of the larger urban fabric and being completely immersed in the constructed environments of the pods.
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