Timothée Pignoux - ZONE - A journey to self-discovery and healing by Amsterdam Academy of Architecture

PREFACE

CHAOS AND CLARITY :

- MARIUPOL

- AZOVSTAL

IN SEARCH OF LIGHT :

- 1 - THE CALLING

- 2 - THE CRAFTSMAN

- 3 - THE SCIENTIST

- 4 - THE ARTIST

- 5 - THE CONNECTION

- 6 - THE STARRY SKY

- 7 - DISILLUSION

- 8 - AXIS MUNDI

- 9 - THE PLAN

- 10 - BUILDING HOPE

- 11 - DISSONANT TIME

- 12 - ANOTHER PERSPECTIVE

THOUGHTS THE ZONE

ECHOES

FACES OF RENAISSANCE ARCHIVES REFERENCES THE END

Welcome in the ZONE.

but.. what is a zone ... ?

Zone. Guillaume Apollinaire. 1913

In this poem, the term ‘zone’ is used symbolically to evoke modernity and the social, cultural and technological transformations taking place at the time. The ‘zone’ is presented as a space of transition between the past and the future, where old traditions meet modern innovations.

The Twilight Zone. Rod Sterling. 1959

In this science fiction and horror television series, each episode takes place in a “twilight zone” where reality is altered and the protagonists are confronted with strange and frightening situations. The “twilight zone” is a symbol of the unknown, the unexplainable and the frightening.

Stalker - “Zone”. Andreï Tarkorvski. 1979

In this film, the ‘zone’ is a mysterious and dangerous place, presented as a kind of post-apocalyptic exclusion zone. It is described as a forbidden and highly radioactive zone, in which strange and inexplicable events have taken place. The ‘zone’ represents the limits and boundaries of human experience, as well as the dangers and risks that accompany the exploration of unknown areas of consciousness and existence.

The Dead Zone. Stephen King. 1979

In this Stephen King novel, the “Dead Zone” is an area of forest where the main character acquires psychic powers after an accident. The Dead Zone is a symbol of consciousness and the mind, a place where the character can see the past and the future.

La Zone du Dehors (the outside zone). Alain Damasio. 1999

In this science fiction novel, the “Outside Zone” is an area outside the city where rebels seek to overthrow the authoritarian regime. The ‘Zone Outside’ is a symbol of freedom, resistance and the fight against oppression.

La Zone. Didier Domercy. 1999

Chaotic, yet essentially sedimentary, allowing multiple fragments and wefts of the past to appear for a while. Beginnings and scraps, materials and substances, stories and evocations, fading traces of life and stopped gestures that coexist and intertwine in layers. A physical and mental multiplicity that the city, a space of saturated power, often covers with its univocal and official History and that the countryside, a defeated and nostalgic space, fears or disavows.

Annihilation. Jeff VanderMeer. 2014 (book) - Annihilation. Alex Garland. 2018 (movie) - “Zone/Area X”

In the book, ‘Zone X’ is described as an unstable place, where the laws of nature are altered and the ecology is radically different from that of the outside world. Spatial and temporal anomalies are common, as are biological mutations.

In multiple works, the Zone is often considered as an enigmatic area where no one really know what happens there. It is a subject of contemplation mixed with history and mysteries. It is a symbol of freedom and at the same time of enigma. Few people want to adventure themselves in such a territory by the fear of the unknown and the various physical and psychological characteristics. The Zone is at the same time, a delimited area but an infinite one that is either physical or mental. The Zone is a complex being where no one really know what would and could happen. It is a mystery, an area where revelations and wonders become one.

The first Zone you are about to enter is my mind. The mind of a young designer, graduating in architecture. The mind of a curious being looking for a purpose. But this, is still unknown. Zone is an introspective artwork relating the quest of a part of my life.

This project was and is the most important one I have ever worked on. Why ? Because it started with a personal connection to end with an even more intimate perspective. But in order for you to understand, I will guide you through this book.

First of all, my name is Timothée Pignoux. I graduated from a design school years ago in France where I am originally from, and decided to move abroad to have experience and continue my studies in the field of architecture. After four years, working and studying at the same time, I reached the stage where I have to graduate in order to get my architect title.

But what to do ? That was my biggest problem at the time. Compared to French architecture schools where topics are given to the students, we have to create our own from A to Z. Which is a difficult task as we are all intrigued and inspired by many things in life and you need to make the right choice. But on the other hand, giving you the freedom to start something personal.

As you know, on the 24th of February 2022, Russia started to invade Ukraine. At this time, I was connected to this country, I therefore lived the invasion and the coming war through a different perspective. People I knew were still living there, It was a matter of time before their city was reached by the invaders. It was a difficult time not knowing how they would escape their entire lives and country. How to cross the entire state knowing that the flights are cancelled, the trains and stations are saturated with people running for their lives. Hopefully, they succeeded to flee by car and brought to the Polish border to finally reach France.

Knowing that my graduation project was coming soon, I had to decide about a location, and it was obvious that Ukraine needed more interests than my home country. During the war, I was really triggered by what was happening in Mariupol and especially in Azovstal. This metallurgical plant became a symbol of resistance after 4 months of repelling the enemy. I therefore picked the steel mill as the location for my graduation project.

Through the process of this project, I have been through different stages, literally and figuratively.

As a student at the Academie Van Bouwkunst, you learn through your work experience. It creates in you a certain conditioning on the reality you are and you will experience. However it turns out that this project was too special to be applied with the standardization of architectural codes. Therefore, It was time for me and only myself to find the solution to my problem. But this has been found through a lot of time and reflection. This book is an extension of my project, it is where I leave my thoughts, my work, my failures, and my successes.

You will discover the different stages of my process, going in various directions, looking for the perfect solution. But what if there is no solution at all ? What if there is no need of an architectural intervention in the end ?

Through this book, you have the possibility of entering a topic that now became a normality, that almost no one is talking about as it became part of our daily life unfortunately.

Come, a Zone shouldn’t be longer an area where you do not dare to venture. Take the plunge and discover this enigmatic journey which is mine... but can also be yours...

Area :

166 km² - 244 km² including the suburbs

Population :

431.859 (pre-war) - > 100.000 inhabitants (war)

Activity : center of trade, manufacturing, development of higher education, Black Sea coast resort, metallurgy, heavy engineering

Climate :

Humid Continental ClimateDFA

THE STORY OF MARIUPOL

Mariupol was built in a former Cossack encampment known as Kalmius and granted city right in 1778.

The Cossacks were a semi-nomadic and semi-militarized people mainly East Slavic Orthodox Christian that originating from Ukraine and Russia.

They used to live near rivers such as the Dnieper, Don, Terek and in the case of Mariupol, Kalmius.

A place of conflict :

In the time-line, Mariupol has suffered of several wars and conflicts.

Back in the days, in between the 12th and 16th centuries, the Crimean Tatars, the Nogai Horde, The Grand Duchy of Lithuania and Muscovy were fighting for territories.

In the 18th century, the Cossacks joined their forces with Sweden against Russia that finally took over the lands.

However from 1768 to 1774, the Russians and the Turkish were fighting again to defend and get the territory of Mariupol.

So, from 1778 to 1917, the city was under the Russian Empire’s control.

1917-1918 : Ukrainian People’s Republic

1918 : Ukrainian State

1918-1920 : Ukrainian People’s Republic

1920-1941 : Ukrainian Soviet Socialist Republic

1941-1944 : Reichkommissariat Ukraine

1944-1991 : Ukrainian Soviet Socialist Republic

1991-2022 : Ukraine

2022-today : Donetsk People Republic

A polluted city :

Mariupol has historically led Ukraine in the volume of emissions of harmful substances by industrial companies.

Due to the large industrial enterprises, the city constantly experiences environmental problems. About 98% of the pollution was made from metallurgical companies.

However, the city’s leading companies have begun to address these ecological problems, so over the last fifteen years, industrial emissions have fallen to nearly half of their previous levels.

With fertile conditions :

The city of Mariupol is mainly built on solonetzic (sodium enriched) and chernozem with a significant amount of underground subsoil water that leads frequently to landslides.

The solonetzic soil is a Reference Soil Group of the World Reference Base for Soil Resources (WRB). It has, within the upper 100cm of the soil profile, a so called “natric horizon” (natrium is the Latin term for sodium). There is a subsurface horizon (subsoil), higher in clay content than the upper horizon that has more than 15% exchangeable sodium.

The chernozem, also called black soil is a black coloured soil containing a high percentage of humus* (4% to 16%) and high percentages of phosphorus* and ammonia* compounds). Chernozem is a very fertile soil and can produce high agricultural yields with its high moisture storage capacity.

Thanks to its DFA (warm summers, cold winters) climate and an average annual precipitations of 511mm, those agroclimatic conditions allow the cultivation of warmth-loving agricultural crops with long vegetative periods (sunflowers, melons, grapes, ...). However, water resources in the region are insufficient.

Phosphorous : is a chemical element. It brings nutrients and help plants to develop.

Ammonia : is an inorganic compound of nitrogen and hydrogen with the formula NH3. It contributes significantly to the nutritional needs of terrestrial organisms by serving as precursor of 45% of the world’s food and fertilizers. Around 78% of ammonia is used to make fertilizers

Humus : is the dark organic matter in soil that is formed by the decomposition of plant and animal matters. It is a kind of soil organic matter, rich in nutrients and retains moisture in the soil.

BEFORE THE WAR

Mariupol was an industrial city for many years. However, with environmental issues, the city decided to change and improve the living conditions for its inhabitants. In recent years, Mariupol shows major improvements by developing green spaces and improving the quality of life for the working-class community.

The effort of the city to counter balance the polluted air and water emitted by the metallurgical plants thanks to purifying plants that has been destroyed in two months once the war started.

However, Mariupol became a new city in several year, It attracted many people from the country and the world. Mariupol was not and industrial city anymore but a city with cultural development and with history.

Maryna Holovnova, a former Mariupol city guide says that “One of my favourite places, which was weird as locals wouldn’t understand me … was an observation point from where you could see the whole Azovstal factory and you could see how big it was, how huge it was, how great it was. For locals it was nothing special because we get used to it but all the foreigners, people from other cities, they were amazed by the view.”

Mariupol was a city that was engaged and aware about its development by tackling environmental issues. Its development proved that like many European cities, Ukraine and its major cities try to answers the issues of nowadays’ world. Mariupol had many plans for the future to make its city better for its inhabitants, to attract people from all over the world by using its location and its characteristics. But unfortunately, the efforts that implemented the Ukrainian city are now ashes... swallowed by the violence.

THE WAR

The 24th of February, Russia invaded Ukraine. The war that is still going on today devastated the country. The next day, Mariupol is under attack. Because of its harbour, the city became a strategic point for Putin to take over.

Nowadays, around 100.000 people remain in the city while it used to be inhabited by more than 400.000 citizens.

Mariupol has been ravaged by all the Russian missiles. Today the city is 90% destroyed, including houses, hospitals, theatres and the Azovstal plant.

The metallurgical factory was the most difficult area to take over by the Russians invaders.

Azovstal became the last pocket of the resistance. This area has been really difficult for the Russian invaded to take control off because of its underground network where the Ukrainian soldier were hiding and fighting. Despite citizens hiding in the plant, Russia intensified fire on the steel mill with mortars, artillery, truck-mounted rocket systems, aerial bombardment and shelling from the sea. This intensification made the evacuation of the citizens even more difficult than it was.

The Siege of Mariupol ended on May, the 17th.

On March the 3rd, the city of Mariupol was awarded the title of “Hero City of Ukraine”.

President Volodymyr Zelenskyy stated of April 14th, that “Mariupol is completely destroyed”.

Smoking ruins of an Azovstal’s building after a Russian missile

MARIUPOL’S URBAN TISSUE

Located next to the Sea of Azov, Mariupol has a good infrastructure network that allows the city to be well connected with the main cities of the region.

However, the location of the central station seems to be outdated. Indeed, its location was really important in the past due to the two metallurgical plants Illich and Azovstal. The railway network was connecting the two mills in order to have a better connection for the importations and exportations from both plants.

Because of the war and the global warming, these connections are no longer needed. Indeed, in a positive future, Azovstal will not be reconstructed and renovated, neither Illich. But this connection from Donetsk through the port of Mariupol could be re-think. Indeed, this network splits the city into two areas. On the west side is situated Illich, the city centre of Mariupol and residential areas while on the Eastern part is Azovstal and other residential areas belonging to the employees of these plants.

Infrastructure network of Mariupol

Mariupol is fragmented into different areas. The city centre and the metallurgical plants. Moreover, the railway network of Mariupol splits the city into two parts and break the connection with the Sea of Azov.

For its future reconstruction, Mariupol would need to change its infrastructure network in order to create a homogeneous city that could be well connected naturally and physically.

The city centre could then expand towards another direction and become a more attractive city that could really used its climate and location as a key for its economy.

FROM FISHERY TO METALLURGY

Neighbours regions next to Mariupol and their economies

Till the 1870’s, the fishing industry was the main economy of the city of Mariupol but several years later thanks to progress, Mariupol started to build metallurgical plants. The marine landscape and connection started to get replaced by smoking chimneys, blast furnaces and mountains of slag. Even if this drastic change rebuilt Mariupol in a different way, it helped a lot of families and gave opportunities to Ukrainian to come to the city in order to work at those metallurgical plants. Because of this sudden growth, the new citizens of Mariupol and Craftsmans of the plants were given homes located near those areas. Moreover, inhabitants of the city quite like this industrial landscape and are used to it.

Illich and Azovstal represent a major part of the city. Today, the world is changing as well as our habits. Because of its general pollution, metallurgical plants tends to disappear and reduce their yields.

Thanks to its location, Mariupol has always wanted to become a tourist place and attract people from all over the world as well as Ukrainians.

After few years of development, the tourism in Mariupol became an important part of the economy for the citizens. The city had designed several places for people to meet and enjoy the landscape. However, in 2014, Ukraine lost Crimea, one of its most important tourism and wellness area.

The aim of Renaissance is to create a new place in Azovstal that could answer the various problematic and the challenges of the city of Mariupol. The city will not rely on metallurgy anymore and has to find new development goals as they already planned in the past with the growth of their tourist economy. Its climate and various characteristics makes Mariupol a city with big attractive points.

Renaissance will create a new connection between the city centre, the Kalmius River, Azovstal and the Sea of Azov.

The region where Mariupol is located, the Donetsk Oblast is mostly relying its economy on industries and agriculture. The neighbour regions such as Dnipropetrovsk Oblast, Luhansk Oblast, Kharkiv Oblast, Zaporizhia Oblast and others rely on industries too. In fact, Ukraine has a lot of importance in this sector which represent 28,6% of the country’s economy while only 12,2% is dedicated to agriculture (the 60% remaining are Services).

Five industrial enterprises of different forms of ownership operate in Mariupol. The city industry is diversified with a predominance of heavy industry.

MARIUPOL’S LAYERS

Water connections within Mariupol

Programs in Mariupol

Green connections in Mariupol

Possible re-development and new natural connection through Mariupol with Azovstal as a connector

THE CREATION OF AZOVSTAL

Mariupol was the shortest distance by sea to the Kamysh-Burun deposit on the Kerch Peninsula, where the iron ore was delivered. The railway infrastructure provided coal from the mines of the Donetsk coal basin.

The construction site was chosen on the shore of the Azov Sea, at the mouth of the Kalmius River. A port was built to receive iron ore which was delivered by the sea.

Azovstal was established in 1930 in Mariupol, Ukraine SSR. It was claimed by the Soviet Union officials that the mill was one of the most modern plants in the country, with structures built for both workers and their families outside of the factory.

Indeed, on the left bank of the Kalmius River, near the old Cossacks villages, residential areas for workers were laid - the village of Pershotravneve and the social city of Azovstal.

According to the plan, the construction of Azovstal was supposed to solve the problem of “labour unemployment”. People came to Mariupol from everywhere in order to begin a new life by working at the plant.

The creation of Azovstal was really impactful. Then, hospitals, schools with kindergartens, recreation areas appeared.

On November 7th 1930, the foundation of the first blast furnace was laid and in December, there were already two of them. The enterprise grew : a metalwork and a steam and air power stations were built.

In 1932, the construction of the Azovstal blast furnaces was entrusted to a woman : “Domenbud” was headed by Любов Яблонська (Lyubov Yablonskaya). She was the first female blast furnaces builder in the world.

Before starting at Azovstal, Yablonskaya worked as design engineer at Kerch Iron and Steel Works where three blast furnaces were built under her leadership. She worked at Mariupol’s metallurgical plant until 1939.

The plant was built largely by hand. The builders brought concrete to the pits in “grabarkas”- carts drawn by horses. There was almost no machinery - cars and excavators - at the construction site.

To bring construction material, equipments and units, a railway bridge was built across the Kalmius river. In 1933, a tram line was built from the right bank to the centre of Kalmius.

In the same year, after a 2-3 years construction, the Azovstal plant delivered its first batch of pig-iron.

10 years later, in 1943, the Nazis of Adolf Hitler destroyed partly Azovstal before rebuilding it and making the blast furnace work in 1945. Before the invasion, the plant was counting more than 12.000 workers homes, schools, movie theatres, maternity clinics and two parks. During the Second World War, Azovstal was used by the Nazis to produce ammunitions.

In the 60’s, the Institute undertook a large scale project for those times : the design of Plate Mill 3600. The chief engineers were Ісаак Гольдштейн and Яков Якобсон (Isaac Goldstein and Jacob Jacobson) later they were joined by Юрій Ніколаєв (Yuriy Nikolayev).

In 1973 the heavy plate rolling mill “3600” was put into operation (3600 is the largest width of the sheet produced by the mill in millimetres). To make it clear: that mill is a kind of “small” shop, a couple of kilometres long and more than 500 meters wide. On the surface there is the mill itself, a huge path along which a huge piece of steel rolls, gradually turning into a sheet. On the sides - a lot of auxiliary equipment, in particular - furnaces, where the piece is preheated to red colour. And underground there are many basements and tunnels where lubricants are stored, pipelines and cables run.

In 1991, after the independence of Ukraine, the plant became a property of the Ukrainian state. In 1996, the state started its privatization. The plant became owned my Metinvest, a metallurgical company.

the first female blast furnace designer of the world On August 12, 1933 - at 6:19AM Blast Furnace No.1 put out its first iron

View of the construction of blast furnace No. 1 at Azovstal, 1933

Azovstal’s new blast furnace, 1940

Martenovka shop of Azovstal Iron & Steel Works, 1937

Construction of a cooling tower at the rebuilt Mariupol coke plant, 1945

Renovated high-capacity coke oven battery No. 4 at the Mariupol Coke and Chemical Plant, 1945

Construction of Azovstal, 1931

Martenovka shop. The riveting brigade of Mr. T. Dolzhenko, 1932

1938. Azovstal plant in the works of Soviet photojournalist Boris Ignatovich (1899 - 1976)

Azovstal, BF 4, 1946

Rail-beam shop of Azovstal plant 1951

Steam locomotive with cast-iron ladles, Azovstal, Mariupol. Mid 50s.

Installation of the foundry yard, 1958

Blast Furnace Shop of Azovstal Iron & Steel Works, 1958 Photo: Nikolay Sitnikov

General view of the construction of blast furnace No. 6 at Azovstal, 1959.

Blast Furnace Shop, 1962. Photo: Mikhail Ozersky

Craftsmans of Azovstal plant during delivery of the millionth tonne of rolled steel, 1974. Azovstal in 1978

Azovstal Iron & Steel Works, 1971 - Photo: Valery Shustov

In 2011, Azovstal became the country’s third largest steel producer, accounting 15% of the entire steel output and known as a large exporter of steel slabs and billets.

On the 4th of November 2012, more than 13.000 citizens protested in the streets of Mariupol because the inhabitants could not breath anymore because of Azovstal’s emissions.

The plant of Mariupol was mainly about coke production, a sinter plant, six blast furnaces and a steel-making complex.

Coke : is a grey, hand and porous coal-based fuel with a high carbon content and few impurities, made by heating coal or oil in the absence of air - a destructive distillation process.

Sinter plant : agglomerate iron ore fines (dust) with other fine materials at high temperature, to create a product than can be used in a blast furnace. The final product, a sinter, is a small, irregular nodule of iron mixed with small amounts of minerals.

Blast furnace : is a type of metallurgical furnace used for smelting to produce industrial metals, generally pig-iron but also others such as lead and copper.

Steel-making complex : In steel-making, impurities such as nitrogen, silicon, phosphorous, sulfur and excess of carbon are removed from the sourced iron and alloying elements such as manganese, nickel, chromium, carbon and vanadium are added to produce different grade of steel.

Pig-iron : is an intermediate product from the iron industry in the production of steel which is obtained by smelting iron ore in a blast furnace.

Smelting : is a process of applying heat to ore, to extract a base metal.

Ore : is a natural rock or sediment that contains one or more valuable minerals typically containing metals, that can be mined, treated and sold at a profit.

RAW MATERIALS AND MINOR METALS IN STEEL

molybdenum

Main steelmaking raw materials :

Iron ore and coking coal are the two main inputs in the integrated steelmaking process

In all or most steels : manganese, silicon

In some steels :nickel, chromium, zinc and tin

Minor alloying elements : molybdenum, vanadium and tungsten

Properties of minor metals in steel :

• Manganese : Desulpherising (sulphur causes steel to crack) and as alloying element for strength and toughness

• Silicon : Used to de-oxidise steel

• Nickel : Anti-corrosion (nickel content in high quality stainless steel 8-10% )

• Chromium : Resistance to corrosion, temperature and wear (used in stainless steel (average content 18%)

• Zinc : Used to galvanise steel (enhances corrosion resistance)

• Tin : Brings protective coating to steel (used in food and drink cans)

• Molybdenum : Resistance to heat, corrosion(high-end steel). Brings weldability to steel (construction steel)

• Vanadium : Brings extreme hardness to steel (high-strength steel)

• Tungsten : Brings extreme hardness to steel (high-speed steel)

tungsten

coke coal

iron ore

AZOVSTAL’S ELEMENTS

Birth of Steel Earth Globe

Azovstal Craftsmans

Casting bucket

Tank

iron slab

big nuts

Azovstal Craftsman

iron slabs

steel beams

cable machine

iron slabs metal sheets

Monument to soldiers

INITIAL CONCEPT

In the middle of the devastation, out of leftovers steel and iron, workers, infrastructure and monuments of the past, Azovstal is given a role to rise from its ashes. Represented by a woman in fire, she is reborn by being pull by the Ukrainian people and their bravery metaphorically represented by the strong machines of Azovstal, that maintain her memories of the past

A PHYGITAL PROJECT ?

My only possibilities to “visit” Azovstal and get all the information I can, are happening through the Internet. There is no chance right now for me to visit the location and imprint myself with the site and its emotions. This area which is really powerful and I would love to discover it while knowing what happened there for years and recently. My aim is not to ignore the history of this location but trying by all the possible ways to understand and feel the essence of Azovstal.

By having a reduced amount of senses that I can use, which are basically two, sight and audition, my understanding is just fully digitalized.

However, the aim of my project is to work with local materials, debris, pre-war steel production, that are really tangible. But in my case, I need to trust my only two senses and getting closer from the reality by creating an in-between. A world between the physical and the digital one. A phygital world where the connection between the two worlds can happen. A world doted with sounds, boundaries, textures that can express feelings to people discovering it.

The aim of Renaissance (previous name of the project) is not to be an utopia that would be displayed digitally. This is what every single architectural project at school looks like. But this project is far beyond those topics, It has a power of enlarging awareness, of making people to have a better understanding and a better grip on the situation. A project that I believed, can help Ukrainians to remember, even though it is phygital. Renaissance would be a helping hand with far more potential I hope than other standard school projects. A project that could impact the real.

Nowadays, Ukraine needs help, Ukrainians need help. Thanks to the knowledge I have acquired all these years, I want to make use of it for the good cause. And if this project can help people on various scales, it would be a good example that as thinkers and designers we can do better.

Stuck in this digital world behind my screen looking for information, analysing the area, attending meeting with Ukrainian contacts and my team, I am constantly imagining the situation there.

Even though I think that I could never truly imagine it. But trying to find solutions, concepts, ideas to help Ukrainians motivate me..

The idea of creating a phygital architecture and concept seems to me to be a good analogy of my work and our actual world. The physicality through digitalization can help people to experience architecture, artworks or any other concepts in a specific way. By having the opportunity to share my work that could be displayed on screens or visible through virtual goggles could reach a larger audience. By creating various ways of communicating my work, physical, digital and phygital, more people could be reached. And if more people are reached then the aim of expanding the global awareness on this topic is more important.

How I see my work for now is that It would be divided in sequences, in sections.

The first section would be the physical one, where people could touch, feel, see, hear my work through physical models or movies that could be displayed in schools, galleries, exhibitions, ... The second sequence, would be a virtual world / architecture where people could visit it through a screen or vr goggles. And the third one, would be an extension of my project, fully digital made out of physical items that could be sold as NFTs in order to support the war where all the benefits will go to Ukraine. I think that NFTs could create a new way of supporting Ukraine. Even though the market is still unclear for a majority of people, It offers an interesting potential that can touch people and allows them to support Ukraine by being owner of a digital item. It is a new way, more playful to send money and support a good cause.

People are generally making NFTs in order to make money or to create un-feasible projects but as far as I know, no one ever created NFTs to raise funds and collect donations for any charity or country that are in need.

NFTs can become a new source of fund-raising by becoming more playful for the users and to have “something in return” that is actually also valuable.

thoughts on the 25.10.2022

However, in order to offer people the opportunity to give money, a scale should be created. As Azovstal is related to metal by being a metallurgical plant, the idea could be to create different level of donation depending on how much people would like to give to Ukraine.

Azovstal starts its process by collecting raw materials such as : - iron ore - coal - limestone - coke

These could be the several level of donation, in between 10 to 30 Euros.

In the steelmaking process, some additional metals are added in order to give specific characteristics to the future steel as we have seen before such as :

- manganese

- silicon - nickel - chromium - zinc - tin - molybdenum - vanadium - tungsten

These metals could offer the possibility to people to give from 50 to 100 Euros depending on the rarity of the metal and how big it would be. NFTs could vary depending on their own characteristics. For example, if the same stone is released in 100 copies but 5 of them possess a specificity, they could be rarer than the others and therefore more expensive.

Then, once the steelmaking process is halfway done people could raise funds by buying Blooms, Billets or slabs for 200 Euros.

And if people would like to give more than 200 Euros, they could get Rods, Bars, Sections, Welded Tubes or Decking with they name or whatever they would like to “engrave” in it. Making the NFT unique.

RENAISSANCE_PROJECT

0.001 ETH

RENAISSANCE_PROJECT

0.12

AZOVSTAL’S SOIL POLLUTION

The distribution and forms of heavy metals in soils and environmental components near the ferrous metallurgy plants of Mariupol. It is established that the long-term activity of the plants (MK “Azovstal” - 78 years, “Ilyich Iron and Steel Works” - 114 years) led to contamination of soils, vegetation, bottom sediments with heavy metals. The gross content of heavy metals in soils and bottom sediments near ferrous metallurgy enterprises metallurgy enterprises is higher than the background values.

The forms of heavy metals in contaminated and background soils near “Azovstal” and “Ilyich Iron and Steel Works”. A high concentration of heavy metals in mobile form, which is typical for contaminated soils.

The regularities of biological absorption of heavy metals by herbaceous vegetation from the solid phase of the soil. Ecological and geochemical mapping was carried out and the spatial structure of pollution was established.

spatial structure of pollution. The level of soil contamination in the vicinity of Azovstal was assessed as average, “Ilyich Iron and Steel Works” - as high. The studies have shown that the components of the environment where pollutants are subject to significant technogenic pressure.

The soil cover is dominated by ordinary chernozems on loams, the average thickness of which is 70-80 cm, pH - 7.0. The humus content in unpolluted soils is 2.0-4.5 %. Loams have a bright brown color, their thickness reaches 2 m.

Soils of urban landscapes are anthropogenic formation. The mineral composition of these soils are dominated by quartz, feldspar, fragments of rocks (crystalline and sedimentary), minerals of the mica group, among which biotite is often observed. Clay minerals are represented mainly by kaolinite and hydromica. In soil sediments (sampling depth 0-5 cm) near the industrial area of the plants, there is a significant content of slag fragments and ash spherical formations, which are part of aerosol emissions.

An important element of processing lithogeological and geochemical information processing in the course of ecological and geochemical studies is reliable determination of background concentrations of heavy metals in soils and bottom sediments.

The following maximum values of heavy metals concentration coefficients were established in relation to the background contentes in soils :

“Azovstal” - Sn - 40, Pb - 22, Mo - 15, Cu - 12, Cd and V - 10, Zn - 7;

“Ilyich Iron and Steel” - Zn - 25, Cd - 20, V - 17, Cr and Cu - 12, Sn - 10 [9].

The priority range of heavy metals, according to spectral analysis, for both spectral analysis, for both combinations is as follows combinations is as follows: Pb > Zn > Cd > V > Sn.

Assessment of soil condition by the total pollution index allowed to characterize this level for Azovstal and Ilyich.

Cumulative rate of pollution for “Azovstal Iron and Steel Works” is 31, for “Ilyich Iron and Steel Works of Mariupol” - 39. The level of soil pollution near “Azovstal Iron and Steel Works” is estimated as the average (moderately dangerous); near “Ilyich Iron and Steel Works of Mariupol” - high (dangerous).

It has been stated that lead content exceeds back ground values 20 times for sea bottom deposits and 3-6 times for river bottom deposits. Gross content of zinc in sea bottom deposits exceeds the background one 8-10 times, and in bottom deposits of the Calmius river, near “Azovstal plant, it reaches 2000 mg/kg, which exceeds the background value 28 times and in dicates anthropogenic character of pollution connected with activity of the plants. The highest concentrations of Ni, Cr, Mo, Cu were stated in bottom deposits of the Calmius river, near “Azovstal Iron and Steel Works” plant; they exceed background values 10 times, concentrations of V and Co exceed background values 5 times.

We have stated regular occurrences in biological absorption of heavy metals by plants Elytrigia repens from the solid phase of the soil. The most intensively absor bed elements are Mo, Cu and Sn; Ni, Co, Pb and Zn are absorbed less intensively; Cr and V are absorbed poorly.

The studies of anthropogenic dust selected from the prevailing wind direction have shown that depositing media are subject to significant anthropogenic pressure.

Polluted areas by different heavy metals

LOCAL FAUNA AND FLORA CAPABLE OF DE-POLLUTING THE

BY THE PHYTOREMEDIATION AND BIOREMEDIATION PROCESSES

Overall plan of Azovstal with its different polluted areas and their approximative de-pollution time.

Regenerative pavilions would be placed and amplified the phytoremediation and bioremediation processes in each areas.

MY VISION OF AZOVSTAL

Despite the fact that Azovstal generated a really industrial landscape where cranes were transporting heavy materials and the chimneys of the plant were smoking during days and nights, Mariupol has its charm and was beloved by its population.

During the Russian invasion of Mariupol, Putin’s men took over the two metallurgical plants of the city. However, the smallest one Azovstal, was chosen as the site for the Ukrainian fighters’ final stand because of the importants bomb shelters built beneath it.

The underground network of the plant helped the Ukrainian soldiers to keep their position thanks to the complexity of the system. That is why Azovstal was a real fortress to take over.

Azovstal became a powerful symbol of the suffering inflecting by Russia and the stalwart of Ukrainian defenders. The steel plant went all over the media across the world.

Azovstal became a field of ruins. The smokes of the bombardments replaced the steel production’s ones. Azovstal turned into a steel cemetery, where iron is deformed because of the high temperature of the explosions. The war reversed the main purpose and process of the steel mill. From celebrating the birth and the creation of steel and new products, Azovstal became an area of destruction and annihilation. From an inhabited city within the city, the metallurgical plant became a vast desert of debris. The movements and life that Azovstal used to know through the action of the cranes, the blast furnaces, the other equipments and its workers, has been now extinct. The steel mill is paralysed in a desert of ashes and debris.

As the Battle of Azovstal has been over since months now and is under Russian control, the information about the state of the steel mill are rare if not unavailable to get. The precision of the data is not really reliable. Indeed, few agencies such as Maxar and Masae used their high quality satellites to estimate the visible damages on the different buildings of Azovstal. By overlapping these data, we can estimate the destruction level of the steel mill (cf : next page).

However, in order to know what the building status is, it is impossible. I am afraid that the approximation and limitation of my researches start here. The only way possible to find out the true status of these infrastructures is to go on site or to have an update through satellite pictures but as the battle of Azovstal is over and Mariupol is under Russian control, no news are given by the media as other bombardments and battles are going on in the country.

United24 :

Is a fundraising platform that launched the project “Azovstal : Symbol of Fortitude” in order to raise funds to support Ukraine during the war.

The first par of the initiative is charity production of bracelets made from the last pre-war batch of metal from Azovstal.

“Today, this steel has become something more than just a metal from which these remarkable structure were made (New bridge of Genoa, The Shard in London,...). It has become a symbol of Ukrainian tenacity.” - Yuriy Ryzhenkov, general director of Metinvest group.

“They need our help badly. We need to get them out”Serhii Kuzmenko (Ukrainian citizen who succeeded to flee his bunker)

“These are our heroes, and we are doing our best to save them”- Hanna Malyar (Ukrainian Deputy Defense Minister)

“We hope that we will be able to save the lives of ours guys. I want to emphasize that Ukraine needs Ukrainian heroes alive.” - Volodymyr Zelensky (Ukraine President)

Sector No. 1 Coal warehouse. Sea transportation section of CE UZDt. End pier. Сектор No 1

Sector number 2 ENRC. CVS, CHL. CRMP (KKTs-Martenovsky)

Сектор No 2 ЭНРЦ. ЦВС, ЦХЛ. ЦРМП (ККЦ-Мартеновский)

Sector No. 3 PEVS. Domain, instrumentation and automation, TLC OVOM LC. CRMO and C, ABK Foundry

Сектор No 3 ПЭВС. Доменный,

Sector No. 4 Oxygen. Blast furnace - (department of Agglomeration), CHPP No 4 Кислородный. Доменный- (отдел Агломерации), ТЭЦ

Sector No. 5 Coke (coal preparation area), capture and desulphurization, desulphurization, Boiler KHP), PTO KHP, Electric Shop of KHP

Сектор No 5 Коксовый(уч. Углеподготовки), улавливания и сероочистки, Сероочистка, Котельный КХП), ПТО КХП, Электроцех КХП

Sector No. 6 UPL Kkts

Сектор No 6 УПЛ Ккц

Sector No. 7 CCC (copra) OPR, IOC. CSP

Сектор No 7 ККЦ(копровый)ОПР, ИОЦ. ЦСп

Sector No. 8 TsRPS Uzhdt

Сектор No 8

уждт

Sector No. 9 OCH-DC Iron desulfurization department).

Сектор No 9 ОДЧ-ДЦ Отделение десульфурации чугуна).

Sector No. 10 Sheet-rolling station CZ uzhd

Сектор No 10 станция Листопрокатная ЦЗ ужд

Sector No. 11 TLC (ABKI 1).

Сектор No 11 ТЛЦ (АБКИ 1).

Sector No. 12 Crimping, RBC, CPC. TSC, RMC-6 (TsRMO-2). ENRC.

Сектор No 12 Обжимной, рБЦ, КПЦ. ТСЦ, РМЦ-6(ЦРМО-2). ЭНРЦ.

Sector No. 13 RCU dry cleaning), RCU.

Сектор No 13 РХУ химчистка), РХУ.

Sector number 14 kkts (TSDP). KKTs(ABK-1), TSUZHSH

Сектор No 14 ккц(ЦДП). ККЦ(АБК-1), ЦУЖШ

Sector No. 15 TsPMSH, Avtovesy No. 2 (TsPMSH), Plot TsPMSHAMKOM)

Сектор No 15

Автовесы No2(ЦПМШ), Участок

Sector No. 16 CRS UZHDT CE UNDT. Сектор No 16

Sector No. 17 Plot RHO UBT. Eastern gates.

Сектор No 17

Sector No. 18 station Sortirovochnaya CZ U DT No 18

Sector No. 19 USH Warehouses. Сектор No 19

УСХ. RMTs-5 (RMTs-2), USKh (Forest warehouse), USKh (special warehouse). USH (Furniture-equipment warehouse closed. USH, Central

Sector No. 20 warehouse). Сектор No 20 склад).

Sector No. 21 IOTS

No 21

AN OPEN MUSEUM

One of the first idea that came to my mind was re-using the old structures of Azovstal and create an outdoor museum where people can wander freely.

Indeed, Azovstal possesses many layers. You can walk through Azovstal’s underground, on the floor but also above it. This last layer triggered my curiosity and therefore decided to sketch over the pictures I have found of Azovstal.

The aim was to create an open museum where people can admire the vestiges of Azovstal through a different perspective. Being part of the company Metinvest, Azovstal is a private area that only 12 000 workers used to go to everyday. However, Azovstal was just an industrial landscape, an object of wonder for the rest of the Mariupol and its nearly 500 000 inhabitants.

In this idea, Azovstal would have been given back with a new public layer where structures are elevated to monument status and people can visit and experience what they always saw from a distance.

Moreover, the area would have been rethought by tackling the actual issues. The soil pollution, being one of the biggest problem on the site would have been reduced thanks to the vegetation growing and overtaking the site.

THE MOUNTAIN

For over a century, the slag mountains of Mariupol have stood as enduring sentinels, closely tied to the very metallurgical plants that gave rise to them. This coastal city now proudly boasts two monumental heaps, one nestled in the Kalmius district near the Ilyich Iron and Steel Works, and the other overlooking the city’s expanse in the Levoberezhny District. These massive slag mounds bear witness to the byproduct of decades of metallurgical production, their heights soaring to nearly 30 meters. What’s striking is how seamlessly these imposing formations have blended with Mariupol’s coastal landscape, so much so that even visitors can be forgiven for mistaking them as natural landforms. To Mariupol’s resilient residents, these artificial embankments have evolved into an integral part of their identity and heritage, and they harbor no desire to see them disappear, treasuring these slag mountains as iconic landmarks of their beloved city.

Azovstal, on the other hand, has played a pivotal role in Mariupol’s story, leaving both positive and negative marks on the city’s narrative. While the steelworks created new opportunities for the Ukrainian people, they also exposed citizens to pollution, triggering a wave of complaints and demands for Azovstal to curtail its emissions. At one point, Mariupol’s air turned toxic, leading to health issues among its residents. Yet, through a concerted effort marked by reforms, public protests, and the implementation of pilot programs, pollution levels have witnessed remarkable reductions.

Mariupol, with its unique fusion of industrial prowess and the tranquil beauty of the Sea, stands as an enduring testament to resilience and adaptation. The city’s landscape has undergone centuries of transformation, fundamentally reshaping the very contours of Mariupol’s coastline. Once a modest hill, now transformed into a colossal mountain at the Sea of Azov’s edge, it’s a metamorphosis driven by Azovstal’s steel production, which generated by-products in need of storage. As steel production escalated, so did the size of this once-modest slag heap. Consequently, this site became a focal point for concentrated metal pollution, etching a distinctive mark on Mariupol’s landscape, while fortifying the city’s unyielding connection to its industrial heritage.

Over time, the once-toxic slag heap has undergone a transformation, gradually becoming less hazardous due to a series of natural processes. Weathering, driven by the elements, has initiated the physical breakdown and erosion of the surface layers of slag. Rainwater, partaking in the process of leaching, has seeped through the heap, carrying contaminants downward and diluting their concentrations at the surface. Beneath the surface, microbial communities have quietly worked to break down or immobilize toxic substances. Chemical reactions within the heap have altered the forms of contaminants, making them less mobile or hazardous.

Moreover, in the future, the introduction of vegetation will stabilize the surface, preventing further erosion and providing a home to plant species that can help bind more contaminants within the soil.

Although the construction industry often discards slag, it holds untapped potential for uses like treating acid soils or managing acid mine drainage. Over time, the slag heap has transformed into an enduring part of Mariupol’s landscape, a testament to the remarkable processes of natural remediation. Despite its reduced toxicity, this towering artificial mountain has become a cherished landmark for Mariupol’s citizens. They have come to regard it not merely as a relic of industrial history but as a symbol of resilience and identity, an integral feature of their city that they are determined to preserve, illustrating that some things, once transformed by time and nature, become too precious to simply let go.

CO2 CAPTURE

Slag heaps, often created from industrial waste materials generated by processes such as metallurgy, possess an intriguing and often overlooked environmental benefit: the capacity to capture carbon dioxide (CO2) from the atmosphere through a phenomenon known as mineral carbonation. This fascinating process unfolds gradually over time as the slag is exposed to the elements. When rainwater or atmospheric moisture permeates the porous surface of the slag, it initiates a chain of chemical reactions. First, carbon dioxide present in the air dissolves in the water, forming carbonic acid. This mild acid then acts as a catalyst, facilitating interactions with the mineral components of the slag, particularly calcium and magnesium silicates. The ensuing reactions result in the conversion of the gaseous CO2 into stable solid carbonate minerals, primarily calcium carbonate (CaCO3) and magnesium carbonate (MgCO3). These newly formed carbonates effectively trap and sequester CO2 in a solid state, where it remains indefinitely. In essence, slag heaps function as inadvertent carbon sinks, actively drawing CO2 from the atmosphere and effectively locking it away as integral components of the slag material. This natural carbonation process not only contributes to carbon sequestration efforts but also underscores the potential of reimagining industrial waste materials as valuable tools in the fight against climate change.

VEGETATION GROWTH

One of the most striking transformations observed in slag heaps over time is the establishment and growth of vegetation. What was once a barren landscape of industrial waste gradually becomes adorned with greenery. Grasses, wildflowers, shrubs, and even trees take root, covering the slag’s surface with a tapestry of life. The growth of vegetation plays a crucial role in stabilizing the slag heap, reducing erosion caused by wind and water. Over the years, these plants adapt to the harsh conditions of the slag, demonstrating nature’s remarkable ability to reclaim even the most challenging environments.

The sight of vibrant plant life on what was once a desolate heap of industrial byproducts serves as a testament to nature’s resilience. As roots penetrate the slag, they help bind the loose particles together, contributing to the heap’s structural stability. In addition to their practical role in erosion control, these plants contribute to local biodiversity, providing habitat and sustenance for insects, birds, and small mammals. This unexpected oasis amid an industrial backdrop is a reminder of nature’s ability to thrive and adapt, even in the face of seemingly insurmountable challenges.

NATURAL RECOLONIZATION

Beyond the flourishing plant life, slag heaps often become the stage for a process of natural recolonization. Over time, microorganisms, fungi, and even small animals establish themselves within the slag’s crevices and cavities. While these humble organisms may go unnoticed by casual observers, their presence plays a vital role in transforming the slag heap. Microbes, for instance, can engage in biogeochemical processes that alter the chemical composition of the slag, potentially reducing its toxicity over time.

As slag heaps become host to a diverse range of life forms, they can evolve into dynamic ecosystems, complete with their own intricacies and interactions. In some cases, the colonization of slag heaps by specialized plant species, adapted to the unique conditions of these sites, can further accelerate the process of reclamation. These modest organisms quietly contribute to the ongoing metamorphosis of the slag heap, turning what was once a symbol of industrial waste into a living laboratory for ecological resilience and adaptation.

Ostrava slag heaps (Czech Republic)

A POTENTIAL ECOLOGICAL DISASTER

When I was still trying to find a potential design and ideas, I zoomed in on Azvostal (on Google Maps) and saw this intriguing fluorescent water... What was that ? Why didn’t I spotted earlier ? Probably because I was focused on different topics...

I made some quick researches and here it was. A potential ecological disaster only retained by a dam that could be gone in the coming days with the Russian’s bombings.. How bad would be the situation ? Pretty serious considering some experts. It could actually extinct all forms of lives in the Azov Sea and have repercussions on the Black and Mediteranean Seas. What was attracting my eyes by its beautiful and intriguing colours was in fact hydrogen sulphide. You probably wonder what it is, like I did...

Hydrogen sulphide is a colourless chalcogen-hybride gas. It is poisonous, corrosive and flammable. And in addition to that, It smells like rotten-eggs.

I then looked for potential solutions on how to avoid the catastrophe and then found out that this liquid could actually be converted into a solid form which is less toxic : sulphur. My aim was then to convert the entire liquid stored in Azovstal and to make potential landmarks or elevating existing structure of Azovstal. Because yes, it is apparently possible to mould sulphur and giving it some shapes. Also, despite its physical characteristics, I wanted to make use of all its properties. Despite the fact that sulphur is of low toxicity for humans, it still remains flammable.

My four ideas for using this hydrogen sulphide converted in sulphur were the followings :

- Re-using on-site materials and transforming them.

- Protecting the landmarks and specific areas.

- Protecting the site, Ukraine but also the world (by avoiding the leak and causing many damages worldwide).

- Defending in case of another conflict (by using its flammable characteristic).

So it was time for some design thinking. Exploring this eleven square kilometres area, finding the right spots and creating a route for future visitors. As the city of Mariupol was transitioning toward a tourist economy, maybe it would be great to discover the vestiges of Azovstal through a specific experience ?

After analysing various faces or Mariupol as well as Azovstal, I did not know which direction to follow. I had many ways to go but therefore realised that it was not personal anymore. It became a standard project that could be beneficial for any polluted areas. So what is the goal to do that on Azovstal ? If I picked this location, it was because it matters to me. I had to take some time and reflect. Also in the meanwhile, I was worrying about my project. I was working on since few months already and what was the outcome ? Nothing... just data, analysis, knowledge...

My first idea when I started this project was to work with the debris of the area because they are charged with emotions, with history. They could not be dumped somewhere as usual ones. But as you saw previously, I quite shifted direction. I do not know why. I was looking for THE solution. The one that would make me more motivated than ever. So I tried to dig and dig all the information I could gather and could be potentially interesting to work with. Instead of that, I lost myself even more in a never ending process. I could have gone for months with researches... I started to analyse how a metallurgical plant was working, the process of iron, Ukrainian booklets about soil pollution. I was going to all the Ukrainian websites of the companies, of the city, in order to find something that could trigger me. And I have found a lot of things, but probably too much. Because the future architect in me was triggered but my inner self was not. After months of researches, translations and analysis, I felt that I was still at the same stage. Running in circles. And of course, when you feel that way, you start reconsidering everything.. Why did I pick such a complex project ? Why in a country affected by the war, where it is impossible to visit ? Why a metallurgical plant ? Why picking something in a country where I don’t understand the language ? Why, literally everything. Everything made this project, my project, more and more complex than what I would have imagined.

So, yes, I did not feel great about it. But also my biggest wonder at the time was that I did not feel legitimate to work on a project / area in such conditions. I am just a French guy trying to find solutions for people getting killed in a middle of an endless political chaos. What am I doing here literally ? It is not my country, my people,... but I feel for them. I care about them. I do not want to pretend that I am gonna change their lives with a new plan or whatever, this would be to arrogant. I don’t want that.

After saying and thinking all these, It was time for me to take some distance from the project and reflect. At this time of the year, I was reconsidering everything. My project but also my life. What kind of architect and designer I wanna be ? Nothing was going well, nor in my professional life but also personal one. I had too much in my plate. I therefore decided to stop and come back to France where I grew up.

I spent a month without working on the project, but of course reality catches up. Wonders, fears, stress came back. I can’t and could not escape it. I remember, we had this storm at home and we had a power outage. In the middle of French country side, nothing could be done. I was just sitting in the dark with my parents. All consuming the last percent of battery left in our phones. But then, I decided to drop mine and pick up my notebook. Why not use this time effectively and for your own self, I wondered. I grabbed a pen and started to write my thoughts in there. It was like destiny gave me time to finally think about myself, about my work, what I wanted to achieve. My pen was running on the paper, I could not stop it. I had things to tell and expiate. I was writing, in the dark, with few candles illuminating my notebook while I could barely see a thing as long as the night was starting to show.

CHAPTER 1 : THE CALLING

In the city of Mariupol, a shadowed zone known as Azovstal sprawls, a haunting testament to the war’s devastation. This postapocalyptic area, once animated by the hum of over 10,000 workers, now stands as a vast and mysterious desert. The buildings, remnants of a bygone era, threaten to collapse, and the dike guarding against toxic spills into the Sea of Azov teeters on the brink. Nature, relentless in its resurgence, claims the ruins, with flora thriving amidst the wreckage, and resilient animal species seeking refuge within the sprawling metallurgical plant.

Andreï, a former soldier who bore witness to the horrors of war, finds himself enmeshed in the enigma of Azovstal. The sprawling 11 square kilometers, once an impenetrable fortress during the conflict, now holds the weight of desolation. Andreï, having narrowly escaped capture during the war, sought refuge in the city of Dnipro, biding his time as the conflict unfolded.

As the echoes of war faded, Andreï yearned for rest, plagued by insomnia and the haunting memories of conflict. However, tranquility eluded him when a mystic voice, soft and feminine, interrupted his respite.

- “... Andreï… wake up…

- Huh.. What … ?

- …come back…

… I … need you…”.

The soft cadence of the feminine voice penetrated the veil of Andreï’s dreams, gently pulling him from the realm of slumber. His eyes fluttered open, greeted not by the familiar surroundings of his refuge in Dnipro but by an ethereal call that seemed to echo through the very fabric of his being.

The room, dimly lit, held the lingering stillness of early morning. Andreï, grappling with the disorienting transition from sleep to wakefulness, found solace in the mysterious voice that seemed to beckon him from beyond.

The voice, a soothing melody amidst the silence, was both unfamiliar and strangely comforting. As the words resonated through the quietude, Andreï felt an inexplicable sense of security, as if the voice held a promise of something beyond the boundaries of his waking reality.

His military-trained instincts stirred him to alertness, and as he sat up in bed, the room revealed fragments of the life he had left behind. A backpack, a relic of wartime preparedness, lay nearby, and the muted light filtering through the curtains hinted at a world awaiting outside.

The voice, its femininity draped in layers of enigma, seemed to weave through the very air, penetrating the cocoon of Andreï’s solitude. There was no denying the surreal nature of the moment, yet a subtle assurance accompanied the call, compelling him to heed its summons.

With each passing moment, the voice gained clarity, forming a beckoning thread that led Andreï towards an unknown destiny. As he dressed in the familiar uniform that bore the weight of memories, there was a tacit acknowledgment that this awakening held the promise of a transformative journey.

The room, a transient sanctuary suspended between dreams and wakefulness, witnessed Andreï’s acceptance of the mystic call. His movements, though laden with the residue of sleep, carried an urgency fueled by the inexplicable compulsion to follow the voice.

The city of Dnipro, once a haven amidst the chaos of war, faded into the background as Andreï, guided solely by the mysterious beckoning, prepared to step into the unknown. The pick-up, a loyal companion from his wartime odyssey, awaited his command, its engine humming to life as if responding to the silent call of destiny.

As he stepped into the pre-dawn stillness, the world outside seemed to hold its breath, anticipating the unfolding of an extraordinary chapter. The voice, now a constant murmur within his consciousness, served as both guide and confidant, transforming the mundane act of leaving an apartment into the commencement of an otherworldly quest.

The road, though familiar, took on a new significance as Andreï’s pick-up navigated through the silent city streets. The mystical voice, intertwined with the hum of the engine, whispered cryptic assurances, urging him forward.

Through the undulating landscapes of Ukraine, Andreï’s journey unfolded. The mystical voice, a silent companion through the miles, seemed to echo the resilience of the country itself. Villages, once disfigured by conflict, emerged as testaments to the enduring spirit of the Ukrainian people.

As he drove, the voice remained a constant presence, its words becoming threads woven into the fabric of his thoughts. The landscapes shifted, each kilometer unraveling a tapestry of memories and unexplored territories.

After few hours driving, Andreï reached the border of the Dnipropetrovsk region and in front of him stood an immense wall. The Walls of Unity, as they came to be known, stood as silent sentinels, stretching across the diverse landscapes of Ukraine, weaving a tapestry of both physical and symbolic fortification. Erected by the Ukrainian government in the wake of conflict, these imposing barriers served the dual purpose of slowing down invasion forces and meticulously controlling the ebb and flow of movement across regions.

Strategically positioned checkpoints and watchtowers punctuated the length of the walls, manned by vigilant personnel whose duty was to ensure the integrity of the nation’s boundaries. The checkpoints, equipped with advanced surveillance technology, became symbols of resilience and surveillance, embodying the nation’s commitment to safeguarding its people and land.

Artistic murals adorned certain sections of the walls, capturing the spirit of a nation reclaiming its sovereignty. Vibrant colors and powerful imagery depicted scenes of unity, resilience, and the indomitable Ukrainian spirit. These murals, though on the surface a celebration of art, carried a deeper message : a testament to the unwavering resolve of a people who had faced the ravages of war.

As Andreï approached the border between the Dnipropetrovsk and Zaporizhzhia Oblasts, he encountered the formidable structure of the Wall of Unity that stood as a sentinel between regions. The concrete expanse rose with a stark verticality, a testament to the determination of a nation to reclaim its sovereignty. The air crackled with an almost tangible energy as he neared the checkpoint, the symbolism of the wall casting a shadow over the landscape.

His military uniform caught the attention of the vigilant sentinels at the checkpoint, but a brief exchange and a display of documents allowed him to pass through the gate. Beyond the checkpoint, he found himself in the vast countryside of the Zaporizhzhia Oblast. The landscape unfolded before him, marked by the scars of war, yet touched by the resilient beauty of nature reclaiming its space amid the remnants of conflict. The voice continued to guide him, urging him to traverse this unfamiliar terrain toward an unknown destination.

The road between Dnipro to Mariupol passing by Zaporizhzhia is about 5 hours without traffic in normal conditions. Here in a post-war landscape, the wreckages, the bombs craters make the route more difficult to cross.

THE WALLS O F UNITY

The three different cities which were usually invisibly divided are now physically separated by walls making the division between the regions also named as “Oblasts”, in order to protect Ukraine from a quick invasion.

Constructed with both practicality and resilience in mind, the Walls of Unity were a formidable defence mechanism, spanning vast stretches of varied terrain. These structures, formidable in their scale, stretched across plains, forests, and hilly terrains, presenting an unyielding front against potential invaders.

The landscapes shifted as he continued, each mile a testament to the enduring spirit of the Ukrainian people. The mystical voice guided him through villages and countrysides, whispering cryptic assurances of an impending revelation.

As Andreï drove, the ever-present voice became a constant companion, its low whispers weaving through the air like an unseen thread connecting past and present. Each passing kilometer carried him closer to an unknown destination, and Andreï, though filled with uncertainty, found solace in the ethereal guidance.

In this journey, Andreï confronted not only the physical remnants of war but also the emotional scars etched into the fabric of his being. The voice, though enigmatic, provided a beacon of hope, a promise of something beyond the ruins and desolation.

Guided solely by this mystical force, Andreï pressed on, the road unfolding like a story yet to be written. The landscape became a canvas, painted with hues of resilience and survival. As he crossed through villages where life stubbornly clung to the remnants of normalcy, Andreï felt a strange kinship with the land and its people.

The mystic voice, ever-present and soothing, became intertwined with the landscapes he passed. It was as if the very essence of Ukraine whispered through the wind, guiding Andreï toward a destiny he was yet to comprehend. It then lead Andreï to a second wall of Unity, this one separating the Zaporizhzhia Oblast from the Donetsk’ one. Andreï stopped at the checkpoint and continued his unknown itinerary. However, by crossing this border and entering this region, Andreï felt more and more anxious as this area inhabits the city of his trauma : Mariupol. Is this going to be his next destination ? If so, how is he going to deal with his doubts and trauma ? Many questions started to arise in Andreï’s mind.

The mystical voice, now a constant hum in his consciousness, guided Andreï through the labyrinth of memories and emotions. Each kilometer brought him closer to an elusive truth, and with every passing moment, the landscapes seemed to shift in tandem with the cadence of the voice.

In this odyssey, Andreï not only traversed physical terrain but delved into the recesses of his own soul. The voice, a melodic echo of guidance, became a companion through the corridors of memory and the unexplored territories of his own psyche.

The road stretched before him, winding through the undulating landscapes of Ukraine. Villages passed like fleeting dreams, each carrying a piece of the country’s resilience. The voice, intertwined with the very fabric of his being, provided a steady reassurance in the face of the unknown.

As he drove, the sight of a damaged panel bearing the name “Mariupol” stirred a whirlwind of emotions within him. Anxiety tightened its grip, and memories of the devastating impact on his hometown flooded his mind. The voice, now a steady presence, seemed to resonate with the very essence of the place. Andreï felt a mixture of trepidation and determination, compelled to confront the ghosts of his past. The once-vibrant Mariupol had transformed into a haunting tapestry of destruction and resilience

Guided by the ethereal voice, Andreï navigated the battered streets of Mariupol. The city bore the scars of conflict, a testament to the relentless passage of war. The voice persisted, its whispers weaving through the wreckage and guiding him beyond the familiar urban landscape. Although he was already within the boundaries of Mariupol, the voice urged him forward, deeper into the heart of the haunting past.

As he drove, the voice’s guidance became more pronounced. The city’s echoes resonated with memories, each street corner a silent witness to the trauma that had unfolded. Andreï’s hands tightened around the steering wheel, the tension in the air mirroring the conflict within him. The voice’s presence offered both solace and challenge, beckoning him to confront the shadows that lingered in the recesses of his consciousness.

Approaching the outskirts of Azovstal, the voice’s guidance led Andreï through a landscape transformed by the ravages of war. The skeletal remains of industrial structures loomed like silent sentinels, bearing witness to the toll of conflict.

OLD SCARS

Stopping his pickup at the main entrance of the Zone, Andreï turned off the engine and stepped out onto the desolate terrain, the crunch of gravel beneath his boots echoing through the desolate landscape. The air was thick with an eerie quiet, punctuated only by the distant whispers of the wind. The boundaries of Azovstal seemed to stretch endlessly, and the remnants of a city once teeming with life lay frozen in time.

The voice, having fulfilled its mysterious purpose, lingered in the air like a lingering echo. Standing amidst the ruins, Andreï’s gaze swept over Azovstal, the silent witness to a history etched in both agony and endurance.

The desolation of Azovstal was palpable, a silent testament to the battles that had unfolded within its boundaries. No one roamed its forsaken streets except Andreï, a solitary figure surrounded by the haunting remains of a city that had weathered the storm of war. The symphony of collapsing buildings intertwined with the melodic chirping of birds, signaling the reclamation of freedom in Ukraine.

Entering the Zone felt like stepping into a surreal sanctuary. Azovstal, now devoid of the chaos that once consumed it, embraced him with a peculiar warmth. It was an eerie feeling, this sense of home in a place that had been marred by conflict. Andreï, however, accepted it as his destiny : a purpose that beckoned him, though its contours remained elusive.

As Andreï traversed the debris-laden landscape, the war-torn panorama revealed itself in a new light. Moving from sector 3 to the 4th, he encountered the colossal iron soldier, a dormant sentinel bearing the scars of Mariupol’s siege. Its metallic exterior, battered by bullets and explosions, told a story of resilience : a symbol that still stood tall, overseeing the remnants of what once was Mariupol.

Continuing his exploration, Andreï reached the sector 4, where the monumental blast furnace loomed against the skyline. This towering edifice, despite its battle scars, symbolized strength and defiance, a testament to the spirit of Azovstal. While he stood in awe of this enduring monument, metallic noises resonated nearby, prompting him to investigate.

As he walked through the remnants of Azovstal, Andreï’s senses heightened. The eerie quietude stirred something within him, a curiosity that urged him to explore further. The crunching gravel beneath his boots was accompanied by the distant echo of metallic noises. Intrigued, he followed the sounds, navigating the war-torn labyrinth in search of their source.

- “Is there anyone here?” Andreï’s voice cut through the silence, reverberating off the dilapidated walls.

The Craftsman’s voice, a response to his inquiry, emerged from the shadows.

- Hey ! I am The Craftsman ! I’ve been tinkering in Azovstal for 13 years. What happened here is crazy, isn’t it ?, The Craftsman’s voice, a blend of joy and childlike enthusiasm, resonated through the silent corridors.

- Euh... yes... It was... Where were you during the siege of Azovstal ?, Andreï inquired, a sense of doubt clouding his words.

- I was here ! I’ve always been here, Andreï !. The Craftsman’s words carried a weight of history, a testimony to the endurance of Azovstal.

- You know my name ? Who are you ?, Andreï questioned, the shadows playing tricks on his uncertainty.

- I told you, I am The Craftsman! Follow me. I am gonna show you the beautiful Azovstal !

- A...Alright...”, Andreï agreed, a touch uncomfortable, yet compelled to unravel the mysteries that lay hidden within the ruins. The Craftsman, a joyful and childlike custodian of Azovstal’s secrets, led Andreï through the labyrinthine network, offering a glimpse into the city’s past and the echoes that lingered within its skeletal remains.

SECT O RS

Azovstal, in its intricate complexity, is divided into 21 sectors, each delineating a specific zone within the expansive industrial landscape. These sectors serve not only as organizational divisions but also as markers of the multifaceted functions that once thrived within the steel-producing giant. The division into sectors reflects a meticulous planning and zoning approach, designed to optimize production processes, logistics, and various operational aspects.

Each sector is a microcosm of the larger whole, housing different units, facilities, and functions integral to the overall operation of Azovstal. The strategic division allows for efficient management, maintenance, and oversight of various components, ensuring a streamlined and organized workflow during the plant’s operational zenith.

As the sun dipped below the horizon, casting a warm glow over the desolate landscape, Andreï and The Craftsman found themselves at the beach of Azovstal. The Sea of Azov stretched before them, a canvas painted with the hues of the setting sun. Birds gracefully danced in the sky, their silhouettes creating a mesmerizing spectacle against the orange and blue backdrop.

In the tranquil twilight, peculiar shapes emerged in the Sea of Azov. The silhouettes, indistinct and submerged in the interplay of water and sky, gave an otherworldly appearance. Like ethereal dancers, they seemed to be part of the sea itself, their blurry forms resembling northern lights that played with the colors of the evening. The moment hung suspended in time, as if nature itself had orchestrated a symphony of beauty and stillness.

With the moon taking its place in the celestial theatre, Andreï and The Craftsman reclined on the sandy shore. The constellations above painted stories across the night sky, a tapestry of cosmic wonders. The Craftsman, usually effervescent and talkative, found himself rendered speechless by the grandeur of the celestial display.

The two men, humbled by the vastness of the universe and the tranquility that enveloped Azovstal, closed their eyes. The rhythmic symphony of waves and the distant hum of the wind whispered lullabies, taking them into a serene slumber on the sands. The juxtaposition of decayed industry and the undisturbed beauty of the night sky painted a poignant picture, a testament to the resilience of life in the face of desolation.

LIVING

CHAPTER 3 : THE SCIENTIST

Awoken by the echoes of crumbling structures, Andreï and The Craftsman resolved to continue their exploration, their footsteps accompanied by the haunting sounds of decay. Strolling alongside the water treatment lakes, they ventured into Sector 9, where an old warehouse beckoned. The Craftsman, purposeful in his stride, led the way, his enthusiasm infectious.

- “Do you hear that, Andreï ?

The Craftsman excitement resonated in his question.

- I do. Let’s follow the sound,” replied Andreï, driven by curiosity.

Their search within the warehouse proved futile. Strange noises persisted, elusive and confounding. Doubt crept into Andreï’ mind.

- “You hear it as well, right ? he asked, grappling with uncertainty.

- Of course, I do ! I might know where it’s from. Follow me, Andreï!”

Approaching a wall with a massive ventilation grid, the two men pressed their ears against it. Metallic noises and distant roars emanated from below.

- “Come on, Andreï, use your muscles to remove it !”, commanded The Craftsman

Andreï swiftly removed the ventilation grid, revealing a dark shaft.

- “You ready, Andreï ?

- Wait...

- Follow me !”

The Craftsman leaped into the shaft like a playful child, and Andreï had no choice but to follow. Standing alone in the warehouse, Andreï hesitated for a moment before descending into the unknown.

The descent led them to a damp, concrete room, the humidity clinging to the air. Unsettling memories of war surfaced in Andreï’s mind as the darkness surrounded him. The Craftsman sensed Andreï’ unease.

- “It will be fine, Andreï. I am here, okay ?”, reassured The Craftsman.

- Yeah... thanks,” mumbled Andreï, his past traumas resurfacing.

Navigating through dimly lit corridors with flickering spotlights, The Craftsman guided Andreï through the labyrinth. The echoes of their footsteps reverberated in the shadowy passages. As stress gripped Andreï, The Craftsman offered words of comfort.

After a few minutes, they entered a vast room with a colossal machine. Adjacent to the machine, a woman, focused on her task, remained oblivious to their arrival.

“Hey there! How are you ? I am The Craftsman, and this is my friend Andreï ! greeted The Craftsman.

- Oh, hello. I am The Scientist. I was expecting you. , responded the woman, undisturbed.

- What... how come you were expecting us ?, Andreï perplexed

- Now that we are together, we can finally work on it, she replied. You guys will help me save the Sea of Azov.

- Save the Sea ? What do you mean ?”, asked him with doubt and confusion clouding Andreï’ mind.

As The Scientist explained the dire situation, Andreï grappled with the enormity of the task. Despite his reservations, he found himself committed to the cause. The trio emerged through another air duct, arriving in a sprawling corridor with multiple paths.

- “Don’t worry, Andreï. You know me now. I know Azovstal like the back of my hand !, reassured The Craftsman.

- Where do we go then? Right? Left? Straight ?, questioned Andreï.

- I am sure you can guess the right path, Andreï. Let’s go right.”

As they traversed the dark tunnels, Andreï pondered whether he had chosen the correct path or simply followed The Craftsman’s intuition.

The gradual emergence into sunlight brought relief, but the memories of war and the confined spaces still haunted Andreï. Walking alongside The Craftsman, he felt the weight of stress and difficult memories.

THE C O NVERTER

The Converter, designed by The Scientist, is a machine created to address the issue of hydrogen sulphide in the Sea of Azov. The primary goal of The Converter is to convert the toxic liquid, hydrogen sulphide, into elemental sulphur. Hydrogen sulphide is a hazardous substance that, if released into the sea, could threaten marine life and ecosystems.

The Converter likely employs a biochemical process to transform hydrogen sulphide into elemental sulphur, which is a more stable and less harmful substance. The specifics of the conversion process would depend on the technical details and design choices made by The Scientist. The ultimate aim is environmental remediation, intending to prevent the release of the toxic compound and mitigate its potential negative impact on the Sea of Azov.

The journey led them to a vast staircase strewn with tin cans and ammunition, relics from the siege. A metallic trapdoor, adorned with bullet holes, stood as a testament to the struggles of the past. Attempting to open it revealed a sealed entrance, and frustration set in.

- “Shit... how are we gonna do ?, exclaimed Andreï.

- Mmhh yeah pretty sucks.., affirmed The Craftsman.

- Wait.. don’t you have a key in this keychain that might be able to open it ?, asked Andreï.

- Ahaha I totally forgot, of course I have all the keys of Azovstal let me check !

- You did not think about that before I fucked up my shoulder on this trapdoor Craftsman ?

- Actually it was pretty funny to see your devotion aha. But well, step aside I will open it.

- God.. really ..?, says Andreï annoyed by the situation.

- Dont worry Andreï, it’s fine, step aside.”

The Craftsman, using a key from his chain, successfully unlocked the door. Sunlight poured in, momentarily blinding them after hours spent underground.

- “Look, Andreï ! This is the mountain she was talking about ! It’s pretty high !, exclaimed The Craftsman

- Yeah, indeed. It looked smaller in my memories.

- Aha, Azovstal is impressive !

- Wait !, interrupted Andreï. Shhhh... and look at the top !

- Oh !

- Yes, it’s moving. It looks like someone! Let’s get up there! Quick !”

The Craftsman’s excitement about the mountain they were about to climb was contagious, and Andreï, despite his unease, couldn’t help but share a moment of awe.

CHAPTER

4 : THE ARTIST

The distant silhouette atop the mountain of slag spurred Andreï and The Craftsman into a brisk climb. As they ascended, the wind whispered secrets, and the uneven terrain challenged their every step. The landscape below unfolded with the golden beaches of Mariupol juxtaposed against the endless expanse of the Sea of Azov. The climb, initially invigorating, became a test of endurance under the relentless sun, burning their backs.

Arriving at the base of the mountain, the two men set off on their ascent through the unpredictable labyrinth of compacted slag. These stony remnants, born of smelting, crunched underfoot as they hiked, each step an echo of their journey. The climb stretched on, offering panoramic views that momentarily distracted from their fatigue.

Approaching the summit, the silhouette remained motionless, an enigmatic figure against the setting sun. The men’s anticipation grew as they navigated the last, unstable layers of slag. The silhouette, once distant and indistinct, revealed itself as a man - a man who seemed to know them.

Andreï’s companion greeted :

- “Hey there ! I am The Craftsman, and this is Andreï.

- I know, interrupted the mysterious man, his profile still obscured by the glare reflecting off his glasses.

- And who are you ? Andreï questioned, suspicion tainting his voice.

- I am the Artist. I was waiting for you”, declared the man with an air of certainty.

The revelation elicited frustration from Andreï, who struggled to comprehend the situation.

- “Guys, come on. Is this a joke ? Everyone is waiting for us, and we don’t even know who you are !

- Don’t worry, Andreï. I am here to help you, assured The Artist, his calm demeanor doing little to assuage Andreï’s growing frustration.And how can you help me ?, Andreï probed, eyes narrowing.

- I heard that you had some issues with the Converter, am I right ?, responded The Artist, catching Andreï off guard.

- How does he know that ?, Andreï turned to The Craftsman, searching for answers.

- I don’t know, Andreï. I have no idea, replied The Craftsman.

- Did The Scientist send you here as well ?, Andreï’s skepticism lingered as he scrutinized The Artist.

- The Scientist... okay, yeah. She sent me here as well, confirmed The Artist, further entwining himself in the mystery.

- What’s your goal, Artist ?, Andreï demanded clarity.

- Look down there, Andreï. Do you see this wonderful green fluorescent water ? This is called “hydrogen sulphide”, and this beauty could endanger our Sea and the others. We have to take care of it, explained The Artist with his gaze fixed on the distant landscape.

- Yes, I know. The girl in the basement told us that already. Don’t you have more information by any chance ?, Andreï pressed, attempting to pierce The Artist’s veil of secrecy.

- Stay calm, Andreï. I am here to help you, remember ?, The Artist’s response only fueled Andreï’s growing impatience.

- Hurry up, then, because I don’t think the dam has much time, Andreï’s urgency hung in the air.

- Don’t worry. It is gonna be alright. You have one man extra now with a different vision than you two. Together we are completing each other, it should not be a problem. What I know, is that we should get to that big warehouse down there. There might be some pipe clogged because of the slag. We just have to reconnect them in order to lead the hydrogren sulphide back into The Converter.

- We should get going then, suggested Andreï, his skepticism giving way to reluctant acceptance.

- Yes, you’re right, Andreï, agreed The Artist, his demeanor unfazed by Andreï’s lingering doubts.

- Let’s go, guys ! I will guide you through the buildings, screams The Craftsman, happy with this new built trio.

- The sun is going down, and we won’t be able to see anything”, directed The Artist, leading the way as the trio descended the mountain of slag.

As the sun dipped below the horizon, the landscape transformed into a canvas painted with the golden hues of twilight. The new citizens of Azovstal cast long shadows, while the ruins of the metallurgical plant took on an ethereal glow. The stars emerged, punctuating the shadows cast by the broken chimneys and debris left in the wake of war. In this moment, it seemed as if time stood still, and the only life within the plant was this group of men.

THE SLAG

Slag is a byproduct of the smelting process in metallurgical industries. It is composed of impurities and non-metallic materials that are separated from the metal during the melting and refining of ores. The exact composition of slag can vary based on the types of ores processed and the specific metallurgical process employed.

In the context of the mountain in Azovstal, the slag could be a mixture of various substances like silica, alumina, calcium oxide, and other components that were originally present in the raw ore. Once the metal is extracted, these impurities combine to form a stony waste material, known as slag. Over time, exposure to the elements, such as wind and rain, can cause the slag to weather and erode, creating a landscape of small, rocky particles. The mountain of slag in the story is likely a result of accumulated slag from the industrial processes conducted at Azovstal.

Reaching Sector 14 of Azovstal, The Craftsman pointed to an empty water tower.

- “We should go up there for the night.

- Are you sure about that ?, questioned Andreï, his wariness still lingering.

- Of course ! The water tower has been emptied during the war. Look, the structure is still intact. We can spend the night there; we will be safe, assured The Craftsman, emphasizing the safety of their refuge.

- He is right, Andreï. The structure is still pretty solid. Our weights will not endanger the construction, confirmed The Artist, exuding confidence.

- Alright, I trust you guys, agreed Andreï, a subtle acknowledgment of the bond forming amidst the uncertainty.

- Of course you do, Andreï. We are the same !, stated The Craftsman, emphasizing their shared purpose.

- Mmm... I would not say that, though. We are pretty different, remarked Andreï, reflecting on the evolving dynamics.

- If you say so, Andreï, acknowledged The Artist, sensing the nuances of the group dynamics.

Climbing the ladder one by one, they reached the water tower’s reservoir. As they settled in, The Craftsman expressed his excitement.

- So nice to be with you guys ! I missed these moments !, exclaimed The Craftsman, breaking the tension with genuine enthusiasm.

- We should get to sleep quickly. We have a long day tomorrow. We’ll have to be efficient,” the Artist stated with a cold and serious voice, steering the conversation back to their imminent challenges.

- He’s right. Good night, guys, said Andreï, bidding his companions a restful night.

- Good night, guys ! Sweet dreams ! See you tomorrow! ” wished The Craftsman, injecting a note of optimism into the quiet night. The tower, once a relic of conflict, now served as a haven for these men bound by fate and purpose. The night unfolded, and the stars painted the sky with promises of a new day.

THE BEDROOM

SECT O R N. 15

Sector 15, once a bustling hub of industrial activity within Azovstal, was designated for the disposal of slag—a byproduct of the metallurgical processes. Over time, the continuous dumping of slag in this sector gave rise to an imposing mountain of debris, its slopes composed of compacted remnants of smelted ores and used metals. The landscape of Sector 15 was characterized by a rugged expanse of slag heaps, forming an artificial mountain that dominated the skyline.

CHAPTER 5 : THE CONNECTION

As the morning sun dispersed the remnants of their dreams, the trio awoke in the water tower’s reservoir, their night’s rest a brief interlude in the grand narrative of Azovstal’s revival. Descending the ladder, they ventured toward the waiting warehouse, its massive doors creaking open in reluctant welcome.

Inside, shadows danced amidst the skeletal remains of industrial giants. The Artist’s keen eyes scanned the surroundings, revealing the concealed entrance to the underground network. A rusted hatch beckoned them downward, into the labyrinth where the fate of the pipes and, perhaps, Azovstal itself awaited discovery.

The trio embarked on their journey into the ominous depths of the underground tunnel. The Artist and The Craftsman, seasoned in their roles, strode forward with unwavering determination. The tunnel’s suffocating gloom had no sway over their unflinching resolve. They were on a mission – one that required unwavering focus and composure.

Dimly lit by a sporadic scattering of overhead bulbs, the tunnel’s desolate ambiance cast long and disconcerting shadows that danced hypnotically on the rough, aged walls. The Artist, an authoritative figure guiding the expedition, assumed a grave comportment, fully aware of the significance of their task. With bundles of pipes clutched in their hands, they were determined to complete the mission, protect the Sea of Azov, and safeguard their beloved homeland.

The Craftsman, known for their enthusiasm and a loyal sense of purpose, moved forward with a steadfast stride, remaining undeterred by the subterranean environment. In the hushed tunnel, the trio’s whispers and footsteps resonated loudly, underscoring their solidarity and the enormity of the task ahead.

However, it was Andreï who bore the brunt of the psychological descent into the abyss. With each step, his unease grew more palpable.

The tunnel’s walls seemed to tighten around him, and his heartbeat reverberated through his chest, each thump echoing the building anxiety within. His breaths grew shallow, and a sensation of suffocation began to take hold.

In this oppressive darkness, the interplay of light and shadow appeared to conspire against Andreï, as if the tunnel itself was whispering enigmatic secrets directly to his subconscious. His psyche struggled to cope with the encroaching subterranean world, an environment both foreign and foreboding.

As the descent continued, Andreï’s internal turmoil reached its zenith. The enormity of the task, the oppressive confines of the tunnel, and the uncertain future began to overwhelm him. His heart raced, its beats like a war drum reverberating in the hollows of his mind. Panic, an insistent spectre, clawed at his consciousness, and for a brief moment, he felt utterly alone, adrift in the vast, unforgiving ocean of darkness.

As the trio delved deeper into the dimly lit tunnel, the oppressive darkness seemed to close in around them. The air grew heavy, laden with dust and uncertainty. The Artist led the way, his face an inscrutable mask of determination. Beside him, The Craftsman, always exuberant, followed with unswerving dedication.

The weight of the underground world bore down heavily on Andreï. The oppressive atmosphere seemed to thicken with every step he took. His heart raced, a relentless drumbeat echoing the mounting tension within him. His breaths grew shallow, and his palms began to sweat. In this alien subterranean domain, he felt like a stranger adrift in the shadows.

The intermittent, flickering light bulbs overhead cast eerie and elongated shadows that danced like phantoms upon the rough, weathered walls. The Artist and The Craftsman moved forward without hesitation, their silhouettes stark and unwavering. The tunnel’s ominous silence, broken only by the trio’s footsteps and whispered exchanges, filled Andreï with a growing sense of isolation.

UNDERGR O UND

The Azovstal underground network is an infinite maze that few know the directions. This labyrinthe helped the Ukrainian people and the Azovstal’s defenders to resist the invasion at the beginning of the war. It became a refuge for many people. Nowadays, souvenirs cover the walls and the floors of Azovstal. No plans were made of Azovstal’s underground network. It remains secret for obvious reasons. However, based of testimonies and sources, the architecture of the bunkers count 6 floors underground with various types of corridors and rooms making it really difficult to circulate for most of the people.

- ”Are you all right, Andreï ?, The Artist’s voice broke the oppressive stillness.

- I... I’m not sure. This place, it’s... it’s getting to me, replied Andreï with his voice trembling.

- “Come on, Andreï ! We’re a team, remember? We’ll get through this together !”, chimed in, The Craftsman, ever the optimist.

The trio continued, the air growing thicker with each step. But while The Artist and The Craftsman remained steadfast and unemotional in the face of the darkness, Andreï’s unease intensified.

The tunnel’s darkness was beginning to play tricks on his mind. Whispers, faint and elusive, seemed to brush against his consciousness. They were like ghostly voices, urging him on, luring him further into the unknown. His anxiety swelled, and he couldn’t help but question his own sanity.

The Artist turned to him, concern etched across his face, - “Andreï, we’re almost there. Just a little further. Stay with us.”

Andreï nodded, though the tormenting whispers persisted. He couldn’t quite make out the words, but their presence weighed heavily on his psyche. His descent into the abyss continued, the weight of the underground world pressing down upon him, testing the limits of his resolve.

The Artist’s unwavering resolve was unshaken. The Craftsman’s everpresent optimism remained a beacon of light, contrasting with the shadows that enveloped them. Both continued on their path with a purpose that defied the overwhelming obscurity.

Andreï’s heart continued its frantic cadence. He wiped his sweaty palms on his trousers, attempting to find a sense of calm. The unsettling feeling of isolation bore down on him, a weight that seemed increasingly unbearable.

Whispers, though barely discernible, caressed his consciousness like ethereal fingers. They remained cryptic, just beyond the grasp of understanding. The Artist, sensing Andreï’s mounting distress, turned to him, - “We’re getting closer, Andreï. Stay focused. You can do this.”

The Craftsman, perpetually brimming with positivity, encouraged him as well, - “Come on, friend ! We’re here for you. We’ll conquer this darkness together !”

With their reassurances, Andreï found the strength to continue, though the voices played tricks on his psyche. The tunnel’s shadows deepened, and the whispers grew more insistent, as if beckoning him toward an unseen destination.

As they proceeded, the whispers became more tangible, forming an otherworldly chorus. The Artist and The Craftsman pressed forward, their resolve unwavering, while Andreï grappled with the mounting tension.

Andreï’s breaths became shallow and rapid, and his senses tingled with heightened awareness. The trio navigated further into the heart of the tunnel, the walls closing in around them. The labyrinthine path seemed to bend and twist in ways that defied the natural world.

- “Listen, Andreï,” The Artist said, his voice steady, “we’ve come too far to turn back now. We’re on the right path. Just a bit more, and we’ll reach our destination.”

The Craftsman, always the ray of sunshine, added, - “And when we do, we’ll have a story to tell, won’t we ?”

In the midst of the foreboding darkness, a moment of determination blossomed within Andreï. The whispers that had haunted him became a source of inspiration. He steeled himself and pushed onward, deep into the unknown.

The trio’s journey through this mysterious path took them further into the enigmatic depths of Azovstal. Each step was a testament to their collective strength, a testament to their shared resolve to uncover the truth within the abyss.

Their journey into the depths of Azovstal continued unabated, each step taking them further away from the known world and deeper into the enigmatic heart of the industrial maze. The labyrinthine tunnels stretched out endlessly, creating a sense of both wonder and trepidation.

The Artist and The Craftsman remained unfazed by the darkness, their unwavering spirits shining through the murk, a guiding light for the apprehensive Andreï. Their connection transcended mere words, a silent understanding that kept their mission on track despite the oppressive atmosphere.

But for Andreï, the darkness was an unyielding adversary, relentlessly gnawing at the edges of his sanity. The whispers he had heeded were now a haunting symphony of guidance and mystery, their eerie echoes resonating through the desolate corridors.

As they journeyed deeper, time itself seemed to warp, slowing to a crawl, or perhaps speeding forward, as if hours bled into minutes and days into mere moments. The trio lost track of their existence in the subterranean world, unable to distinguish between day and night.

The labyrinth became their entire universe, an alien realm of interwoven beams and echoing whispers. It was as though the tunnels had acquired a life of their own, shaping and shifting, inviting them deeper into the unknown.

Andreï’s unease remained an ever-present companion. He continued to waver between despair and fascination, torn between his anxiety and the allure of the unseen forces guiding him. The Artist sensed Andreï’s torment but knew there was no turning back. They pressed on, their goal drawing them forward even as their surroundings became

more cryptic and distorted.

The Artist’s voice, calm and unwavering, cut through the obscurity, - “We are on the right path, Andreï. We can’t falter now.”

The Craftsman’s unyielding optimism remained undiminished, - “This is the journey we were meant for. We’ll find what we seek.”

As they ventured deeper into Azovstal, their footsteps reverberated through the metallic passages, creating an eerie symphony of sound and silence. Andreï continued to follow the guiding whispers, seeking answers and direction within the subterranean maze.

It was an exploration of their innermost fears, a test of their unwavering resolve, and an encounter with forces beyond comprehension. Time became a fluid concept, slipping through their grasp like grains of sand.

Andreï, caught in the crosscurrents of the unknown, couldn’t help but ponder the significance of their journey. What secrets lay concealed in the heart of Azovstal, and how would their discovery change their lives?

The labyrinth stretched endlessly before them, a journey into the depths of darkness and enigma. The Artist, The Craftsman, and Andreï pressed forward, united by an unspoken bond, guided by the inscrutable force that held sway over the subterranean world.

POST-TRAUMATIC STRESS DISORDER

is a mental health condition triggered by experiencing or witnessing a traumatic event. In Andreï’s case, the underground network of Azovstal serves as a potent reminder of the harrowing moments during the war. His PTSD manifests as a heightened state of alertness, anxiety, and intrusive memories, causing emotional distress. The confined, echoing spaces and shadows in the underground trigger vivid recollections of past trauma, making it challenging for Andreï to navigate this environment without being haunted by the ghosts of war.

In the heart of Azovstal, the trio ventured deeper into the subterranean passages, their path shrouded in inky blackness. While The Artist and The Craftsman moved with a steadfast resolve, Andreï was tormented by a profound sense of unease. The darkness weighed heavily on his shoulders, tugging at his every step.

Andreï had become the reluctant vessel of a persistent, mystical voice. It was the same voice that had guided him back to Azovstal, beckoning him to explore further into the labyrinthine depths. It whispered promises of understanding, a glimmer of truth that seemed to exist just beyond his grasp.

The voice was both alluring and unsettling, its resonance resonating with the tortured echoes of the industrial underworld. For Andreï, it was as if a silent siren called to him from the abyss, and he was compelled to follow.

The Artist and The Craftsman remained oblivious to Andreï’s internal turmoil. Their unwavering determination led them forward, deeper into the twisting tunnels of the metallurgical plant. They trusted the path they had chosen and felt no need to question the ever-present voice that seemed to dance at the edges of their perception.

But for Andreï, the voice had become a relentless presence, pulling him further away from the comforting light of his companions. He hesitated, contemplating whether to share his struggle or to keep it to himself.

As the trio moved further into the dark recesses of the plant, they reached a fork in the tunnel. The Artist’s commanding voice instructed them to take the right path. The Craftsman followed without question, his faith in their mission unshaken.

Yet, for Andreï, the allure of the voice grew impossible to resist. It called to him from the left path, where complete darkness reigned. Andreï, feeling isolated and overwhelmed, gave in to its enchantment. With a

sense of trepidation, he left behind the guiding light of his companions and entered the pitch-black tunnel.

In that moment, Andreï lost all sense of time. The darkness enveloped him like a suffocating shroud, pressing in on him from all sides. His steps were slow and deliberate, his hands outstretched to feel the cold, unyielding walls. He moved forward, guided only by the ethereal voice that seemed to resonate through the very core of Azovstal.

With each step, the darkness seemed to thicken, and Andreï’s heart raced with a mixture of fear and anticipation. He could hear his own breath, heavy and labored, echoing through the tunnel. The spectral voice persisted, its words a blend of solace and mystery.

“Follow me, Andreï,” it whispered, as if inviting him into the enigma of Azovstal’s depths.

Andreï felt a curious mixture of dread and curiosity. He wondered what lay at the end of this shadowy passage, what secrets the voice promised to unveil. As he navigated further into the labyrinth, his connection to The Artist and The Craftsman began to fade into the distance.

The darkness seemed to pull at him, an unseen force that threatened to consume him whole. Andreï’s world had narrowed to the confines of the tunnel, and he moved forward with a sense of trepidation and wonder.

As he journeyed further into the unknown, Andreï’s thoughts became entangled with the echoes of the industrial underworld. The voice that had guided him was a part of Azovstal itself, an embodiment of the plant’s enduring spirit.

In the impenetrable blackness, Andreï found himself both lost and found, a solitary explorer delving into the mysteries of the metallurgical labyrinth.

CHAPTER 6 : THE STARRY SKY

Andreï became blind as soon as it reached complete darkness. Nothing was there, even behind him, he could not notice the tunnel conveying the hydrogen sulphide anymore. He was alone, in an infinite blackness. Alone with his feelings and thoughts. Was he actually still there ? No idea. Andreï merged with the darkness to become one. However, Andreï could still hear the sound of his steps on the dusty concrete. That was the only element that made him think that he was still alive, still here, walking somewhere, walking to the unknown. While Andreï is following the mysterious voice in the tenebrous path, he abruptly stumbles on something. It seems to be a staircase. As Andreï does not see anything, he tries to find a handrail in order to guide him towards the stairs. In his right hand, he suddenly feels the cold metal of the handrail freezing his blood. This post is his only physical reference point. As Andreï walks up the long staircase, he finally spots a source of light. It is really tiny, probably the size of a 2 kopiyky coin. This really small ray of light appeases Andreï. He finally can see something else than the darkness.

As Andreï goes deeper into the corridor, other beams of light appear little by little. They are still really tiny but Andreï starts to feel better. His pulse decelerates slowly and Andreï starts to wonder where he is. The minuscule perforations in the ceiling seem to get bigger as Andreï moves forward. The bigger holes are now the size of a 5 hryvnia coin. As he continues, Andreï finds another staircase that he decides to climb up without hesitation. It seems that the more he walks, the more light he can find and the better he feels. Andreï walks up the stairs without any problem of finding a handrail as the light is already guiding him to the top. While Andreï follows the path, he notices that this is not a normal bunker where he is standing. Thanks to the small beams of light, Andreï notices the material of the ceiling. This is not concrete anymore. When did he go out of the underground system of Azovstal ? Where is he actually ? Many questions begin to arise in Andreï’s head but he tries to put aside all his feelings of anxiety, his traumatic memories of the past and the questions that are beginning to plague him. Andreï continues. If the voice invited him to follow this path, there might be a reason. Since he pursued the voice, Andreï has always been given help.

He decides then to continue exploring this path that is gradually illuminated by these small perforations. As Andreï progresses, these apertures create beautiful constellations. They seem so close to him, like he could possibly reach the stars. Their lights seem divine. They allow Andreï to capture few details of the spaces he is walking in. With the dust he emits with every step he takes, the beams of light become more and more defined. He feels like he could grab the light directly in his hand. As he approaches his hand to a beam of light, Andreï notices all the details of what his hand has lived. Andreï admires his hand, cradled in the starlight. His bitten nails are synonymous with the stress he has experienced as a result of traumatic events. The little scars spreading all over his hand remind him the pain of the war. These characteristics make him unique. His hands are the reflection of his life. He sees, the rust stains in his palm when he helped The Artist and The Craftsman to connect the pipes. His hands are synonymous of devotion and labour. And then, the reflection of Andreï’s personality. While, he passes his hand through the light, he can feel the warmth of the sun on the back of his hand.

Andreï moves forwards a few steps and sees the light travelling on his body till he gets blinded by the star. Andreï walks and cross the beams of light caressing his face. He is fascinated by this spectacle. The lights dance on Andreï’s body before taking back their initial position. The more Andreï moves forward, the more stars he can admire. However, the spectacle seems to come to an end and Andreï comes face to face with what seems to be a metal door. The door seems to be a mix of metal sheets. There is no handle, only a hole where he can put his fingers in order to pull it.

Andreï does not hesitate. He stretches out his arm, puts his fingers in the handle and starts to open the door, not knowing what he will discover behind it. Andreï was still in his thoughts through the wonderful dance of the stars that helped him to disconnect from all his stress. The door made a slight creak and slowly opened, revealing a scene that left Andrei speechless.

HRYVNIA

The hryvnia is the official currency of Ukraine. Its ISO code is UAH. The hryvnia was introduced on September 2, 1996, replacing the temporary currency, the karbovanets, as part of Ukraine’s monetary reform. The name “hryvnia” is derived from a historical measure of silver, emphasizing the country’s rich cultural and historical ties.

After closing the door, Andreï got absorbed in space. He is not in Azovstal anymore, he is in a galaxy. The stars and the beams of light are coming from all directions. The ceiling is much higher than in the corridor. Andreï feels small in this space. The walls are not straight anymore.. Indeed, the sides walls are tilted like they were pointing to a certain direction to Andreï. He is attracted by something. Something really specific.

Thanks to the lights, Andreï can perceive the small details of the room. This ceiling, these walls.. they are a collection. A collection of metal sheets perforated by the war’s shots. A collection of memories that connect the past and the future. A collection of Azovstal. Through the beams of light, these bullet holes are nothing more than a path to the expiation of Andreï’s sorrow. They connect Azovstal… Andreï… the past… with the heaven, with freedom, with the future.

The sizes of the holes are all unique. Some are smaller, some bigger, some really focused in a certain zone, some are ovals, circular,… they all are different as well as the metal sheets. Despite the backlighting, Andreï can notice that the metal sheets were brought from all over Azovstal. He can distinguish their shades that are different. The perforations made during the war which provoked an eternal sadness are then given another intention. From fear to faith, these apertures symbolise the forgiveness. The forgiveness of Andreï towards his past. He always had felt guilty since he fled Azovstal to avoid being captive. But now, he is back here… perhaps it is time for him to repent and atone for his darker thoughts in this light-filled space. This space has been made for people like Andreï. A space where you can let everything go. You do not need to keep that inside of you anymore, it is time to abjure. It is time for Andreï to free himself.

Since Andreï walked into that space, his main focus was there. At the end of the space. His goal was close and reachable. As Andreï travels through the space to reach his objective, he feels all the beams of light warming up his skin.

The tilted walls allow the light to pass through the sides. It is not a starry sky anymore, it’s a galaxy. He walks through space where silence rules. He looks like a star among the others.

As he continues, Andreï arrives nearly at the end of the space where one specific star is waiting for him. Andreï steps up on the only metal sheet on the floor and suddenly disappears in a well of light. Andreï starts to glow. The light embraces him. Andreï raises his arms in the air as if to announce that he embraces it as well. Andreï shines. He had become a star. He had become a being of light. While immersed in this divine light, Andreï lets his feelings go..his guilt, and his most painful memories.. Andreï closes his eyes and remains long bathed in the healing light. The darkness buried in his being is being released in the form of black ripples that oscillate and escape into the well of light. The obscurity of Andreï is getting absorbed by the white light. These black flames no longer exist. The well extinguished them. Andreï feels relieved. He feels changed. After embracing the light and atone his blackness, Andreï lowers his arms and the well’s light disappears. He retraces his steps, while the lights fade away. He reaches the tunnel without any stress. Andreï feels better, he is ready to join The Craftsman and The Artist again. Despite his well-being, Andreï knows that this is only the beginning of his healing.

THE STARRY SKY

The Starry Sky is an enigmatic and mystical space within the labyrinthine depths of Azovstal. Its existence is shrouded in mystery, and few, if any, have ventured into its ethereal domain. It raises questions of whether it is a tangible reality or a figment of imagination, adding an element of uncertainty to the narrative.

If The Starry Sky does indeed exist, its origins remain elusive. No clear creator is identified, leaving room for speculation and intrigue. The room's exact location within the underground network is a closely guarded secret, known only to a select few who may have stumbled upon its mystical presence.

The Starry Sky, with its unexplained perforations allowing light to mimic a celestial display, stands as a symbol of the unknown and the supernatural within the industrial confines of Azovstal

CHAPTER 7 : DISILLUSION

After an introspective experience that left Andreï questioning the nature of reality itself, he found his way back to the main tunnel. The journey to connect the intricate network of pipes to the machine had initially filled him with determination and purpose. He had navigated through the labyrinthine corridors, each turn and junction etching a path into his memory. The hum of machinery and the distant echoes of his colleagues’ voices provided a reassuring backdrop. But amidst the metal and hissing of pipes, Andreï ventured into a room whose architecture deviated from the familiar patterns of the facility. An unsettling feeling of déjà vu enveloped him, and a growing disquiet gnawed at the edges of his consciousness.

Beneath the harsh industrial lighting, Andreï retraced his steps, attempting to find his way back to the main tunnel. It was during this disorienting backtrack that his heart rate quickened, and anxiety clawed its way into his thoughts. The door leading to the main tunnel, which should have been his guide, seemed to have disappeared, and the hallways stretched on endlessly in every direction. It was as though he had entered an alternate reality, or perhaps, he was beginning to question his own sanity.

When he finally returned to the main tunnel, expecting to find his colleagues diligently working to complete the crucial connection, a profound sense of emptiness greeted Andreï. The hole in the wall, designed to welcome the connecting pipes into the machine, had vanished, along with the connecting pipes themselves. The tunnel lay bare, devoid of any trace of the task he had been assigned. His colleagues were nowhere to be seen. A heavy sense of disillusionment weighed on his shoulders as he grappled with the inexplicable absence of life and motion. Andreï couldn’t help but wonder if all he had done was real or merely a fevered dream, his emotions becoming a complex tapestry of confusion, worry, and disbelief.

In the aftermath of that strange encounter, an overwhelming sense of peculiarity continued to haunt Andreï. It was a discordant symphony of emotions, each note discordant and unsettling. Standing alone in the quiet tunnel, he contemplated his next move. He knew he needed to return to the surface, to search for his friends and make sense of this disorienting situation. The path back to safety seemed shrouded in uncertainty, and the thought of venturing back into the maze filled him with a gnawing anxiety. The quest to find his missing colleagues and the haunting question of the reality of his recent experience weighed heavily on his mind as he steeled himself for the journey ahead.

As he walked along the tunnel, moving toward the surface, a myriad of questions swirled in his head. What had just happened in that surreal room, and why had the pipes and the connecting hole vanished? Was it a glitch in the system, or had his own perception betrayed him? The uncertainties and mysteries of that place continued to haunt him.

With each step, he tried to imagine what he would say to his colleagues once he rejoined them. He needed to convey the strange experience he had just undergone, the disorienting disappearance of the pipes, and the overwhelming sense of emptiness that had greeted him in the main tunnel. But how could he put these surreal events into words? He was left grappling with the idea that perhaps his reality had shifted in a way that defied explanation. Andreï’s mind was a whirlwind of thoughts, as he contemplated how to address these perplexing issues with his colleagues upon his return to Azovstal.

HALLUCINATI O NS

Hallucinations experienced by individuals with PTSD can manifest in various ways and are often linked to the traumatic experiences that led to the development of the disorder. These hallucinations can be vivid and distressing, contributing to the overall symptomatology of PTSD. Here’s a brief explanation:

It’s important to note that hallucinations in PTSD are typically linked to the traumatic memories and may intensify during moments of stress or triggers related to the trauma. Treatment approaches for PTSD often involve therapy, including techniques to manage and alleviate these symptoms.

When he finally emerged from the tunnel into the blinding daylight, Andreï blinked as the brilliant sunlight pierced through his retinas. The transition from the cold, dimly lit tunnel to the open expanse of the outdoors was stark, and for a moment, he felt disoriented. It wasn’t until he stepped out into the sunlight that he realized he had taken a different exit, leaving him with a sense of disorientation and vulnerability. The familiar surroundings of the Converter Shop at Azovstal were nowhere to be seen. Instead, he stood in the south part of the area, toward the water treatment lake, with the Sea of Azov stretching before him.

For a moment, a pang of anxiety gripped him as he wondered if he had taken the wrong path. The disconnection from his colleagues, the altered route, and the unknown landscape all left him feeling slightly adrift. However, as he took in the beauty of the natural world surrounding him, the grip of anxiety began to loosen. The birds flying overhead, the shimmering waters, and the boundless horizon before him served as a reminder that even in moments of disorientation, there could be unexpected beauty and solace. The sense of uncertainty persisted, but it was accompanied by a newfound curiosity and determination to find his way back to his colleagues, and to unravel the enigma that still hung in the air from his strange underground journey.

As he analyses his surroundings, Andreï’s eyes can not avoid what standing on his left : the colossal mountain of slag, a towering monument of industrial might, cast an ominous shadow over the surrounding landscape.

Its jagged contours, etched with the scars of countless tons of discarded material, loomed like a somber sentinel, a testament to the industry’s history. As Andreï’s gaze fell upon it, he couldn’t help but remember the countless times he had seen it, but now, it held an entirely different significance.

As he looked in that direction, his eyes settled on three distinct silhouettes perched atop the heap. In their general outline, they resembled his colleagues. However, a pervasive sense of unreality pervaded the scene. Doubt began to claw its way into his mind, casting a shadow over the clarity of his vision. What should have been a comforting sight, the presence of his comrades, now felt like an enigma, wrapped in an otherworldly quality that defied rational explanation.

The figures, despite their apparent familiarity, seemed to transcend the boundaries of ordinary existence, like phantoms or mirages conjured by the unforgiving sunlight. They were distant, their silhouettes rendered ambiguous by the vast expanse that separated them from Andreï. This distance added another layer of uncertainty to his thoughts, making it challenging to discern whether they were real or surreal, reachable or beyond his grasp.

Andreï’s perception wavered, caught between the realms of reality and illusion. It was as if the disorienting nature of the tunnel had shaken the very foundation of his understanding, leaving him in a perpetual state of ambivalence. He couldn’t escape the nagging feeling that the line between what was real and what was imagined had blurred. The silhouette of his colleagues perched atop the distant mountain was both a beacon of potential salvation and a mysterious riddle that deepened the enigma of his experiences, making the journey back to them a tantalizing yet uncertain prospect.

As Andreï stood there, the silhouettes on the distant mountain still beckoning, the lingering doubts weighed heavily on his mind. He was torn between the desire to believe they were his colleagues and the fear that they might be mere illusions. But uncertainty could no longer hold him captive. No matter what he believed now, he knew one thing for certain – he had to be sure. The need for answers and clarity propelled him forward, and with a resolute determination, he decided to embark on the challenging ascent of the mountain, determined to unravel the mysteries that loomed ahead.

CHAPTER 8 : AXIS MUNDI

AXIS MUNDI

The “axis mundi” is a concept found in various religious, mythological, and cultural traditions, representing a central point believed to connect the physical and spiritual realms. It is often considered the “world axis” or “center of the world.” This symbolic axis serves as a link between heaven, Earth, and sometimes the underworld.

The concept is expressed through various vertical symbols, such as a mountain, a tree, a pillar, or a ceremonial pole. The axis mundi is integral to many belief systems and rituals, emphasizing a connection between different planes of existence.

As Andreï reached the top of the mountain, his breath came in ragged gasps, and his body glistened with the sheen of exertion. The climb had been an arduous and soul-testing endeavour, a stark contrast to the dimly lit tunnels of Azovstal where he had spent so much time. He wiped the sweat from his brow and surveyed the desolate, rugged landscape that sprawled before him, the last remnants of daylight casting long, eerie shadows.

And then, as if conjured by the very landscape itself, three distinct silhouettes came into focus. They materialized into the familiar figures of his colleagues, The Craftsman, The Artist, and The Scientist, bathed in the soft, fading hues of the setting sun. For a moment, he stood there in awe, his heart swelling with relief and disbelief. The emotions that surged through him were a mixture of joy at their reunion and confusion, his earlier disorienting experiences in the tunnels still fresh in his mind.

With a deep breath, he couldn’t help but voice his most pressing questions, his voice carrying a mix of urgency and curiosity, - “Where did you all go? What happened to the pipes and the machine down there in the tunnels? I was alone, and then everything disappeared.”

The Craftsman, with his boundless energy and childlike curiosity, exchanged a knowing glance with his companions. The Artist, the enigmatic figure of the group, spoke first.

- “Andreï, it’s good to see you again. We’ve been exploring some ideas, some dreams if you will. Those pipes and machines can wait. We have something else in mind.”

The Scientist, with her immense knowledge and vision, chimed in, - “Indeed, we’ve been thinking about a different kind of project. You see, all those steel beams and columns that Azovstal left behind –we can repurpose them. Build something grand, something that stands as a symbol. A pavilion, right here on this mountaintop.”

As the sun continued its descent, casting a warm, golden light over their reunion, Andreï’s confusion deepened. But amid the enigma that had enveloped their encounter, a sense of wonder and curiosity began to rise, and he felt compelled to learn more about this new vision his colleagues were unveiling.

The Artist, with his enigmatic smile and penetrating gaze, continued to elaborate on their grand vision,

- “This pavilion is more than just a structure, Andreï. It’s a work of art, a tapestry woven from the industrial remnants of Azovstal and the breathtaking canvas of this landscape. It will be a fusion of the past and the present, a symbol of resilience that transcends time.”

He paused for a moment, considering the deeper implications, and then continued,

- “You know Andreï... in the field of astronomy, the term ‘Axis Mundi,’ originating from Latin, denotes the Earth’s axis positioned between the celestial poles. An Axis Mundi connects different realms : The Heaven and The Earth. For us, it symbolizes the connection to all those who perished during the war, their memory serving as a reminder of the atrocity that can befall humanity. This pavilion will be a monument to not only the people who lived through the horrors of war but also to their inner selves, which were forever lost by the atrocities they witnessed. It will be a place of reflection, a sanctuary to honour the memory of those who are gone and a testament to the resilience of the human spirit.”

The Scientist picked up where The Artist left off, her voice filled with a scholarly authority,

- “Diverse interpretations surround the genesis of the Axis Mundi concept. A psychological and sociological perspective proposes that the symbol originates from an inherent and widespread psychological perception – wherein the specific location an individual occupies is perceived as ‘the centre of the world.’ Within this space, a microcosm of order is present due to its familiarity and stability.

Beyond the confines of this microcosm lie distant domains that, owing to their unfamiliarity or lack of structure, symbolize chaos, death, or the nocturnal. Radiating from this central point, one retains the ability to embark in any of the four primary directions, embarking on discoveries and establishing fresh centres as new realms gradually become familiar and stable.”

While Andreï still grappled with the conundrum of the strange events in the tunnels, The Craftsman leaned in, his eyes alight with the excitement of a child,

- “You see, sometimes, we become so consumed by our work that we lose sight of the bigger picture. This pavilion isn’t just about steel beams and columns; it’s about the human spirit. It’s about inspiring the people who have weathered the storms of Azovstal and not only, to rise above their challenges.

- And it’s not just about creating a symbol; it’s about building a community. Through this project, we can unite people, inspire them, and remind them of their strengths. It’s a place where we can find the answers we seek, within ourselves and in the world around us.”, adds The Artist.

The warm breeze carried a sense of unity and determination that seemed to permeate the very fabric of their conversation. Yet, Andreï’s confusion still loomed, and he couldn’t help but revisit the perplexing moments in the tunnels :

-“I understand the vision, and it’s a powerful one, but what about the strangeness I encountered? The pipes that disappeared, the surreal experiences in the tunnels?”

The Craftsman exchanged another knowing glance with his colleagues and leaned in closer, his voice gentle and reassuring,

- “Andreï, there are times when our imagination blurs the lines between reality and illusion. The underground world of Azovstal is filled with history, with stories, with memories. It can play tricks on our minds, especially in the solitude and darkness.”

The Artist, his eyes reflecting a deep understanding, added, - “You’ve been through a lot, my friend. Sometimes, the human mind conjures enigmas amid chaos. What’s important is that we are here, together, in this moment, united by a vision that can shape the future.”

As the sun continued its descent, casting long shadows that stretched across the rugged landscape, Andreï found himself torn between the mysteries of the tunnels and the allure of the project his colleagues were proposing. He understood the greater purpose they were pursuing, but the unsettling enigma of the tunnels still tugged at the edges of his consciousness.

- “I don’t know if I fully understand,” confesses Andreï with his voice filled with a mix of uncertainty and determination, “but I’m willing to be a part of this vision, to see where it leads us.”

The Artist’s eyes sparkled with appreciation, - “That’s the spirit, Andreï. Together, we can turn this mountain into something extraordinary, a symbol of resilience, and a testament to the human spirit.”

CHAPTER 9 : THE PLAN

As the vibrant discussion continued, they began delving into the intricate details of their ambitious project. The evening sun cast long, stretching shadows over the mountain, creating an atmosphere of determination and collaboration.

The Artist, with his enigmatic smile, sketched a rough design in his notebook that he got out of his pocket. - “Imagine, he began.

The footprint of our pavilion as a perfect square, with each side equal to the other. The square is a four-sided figure that has always been used to represent the attributes associated with the number four.”

The four sides of a square are symbolic of the four elements, the four compass directions, and even appear in ancient artworks like the Vitruvian man to signify the material world, life, and spiritual balance. Because the four sides are equal, they represent proper structure, balance, logic, law and order. The square is often seen in connection to the material world, being a reminder that everything in the universe is made up of energy, and that we are all connected to each other and to the world around us.”

The Craftsman, surprisingly practical, added,

- “To build this square, we’ll use different beams we find here in Azovstal. IPE, HEA, HEB, HEM of different sections - these are the materials that tell the story of this place, the very backbone of Azovstal. We will repurpose them to create something new, something that rises from the ashes of the past.”

The Scientist, and her immense knowledge, nodded in agreement and contributed her expertise,

- “To ensure the stability of our pavilion through the ages, we’ll need a solid foundation. We can’t simply place it on the surface. We’ll dig deep and use pile foundations. These will anchor our pavilion to the earth, providing the strength it needs to withstand the test of time. It’s a symbolic gesture too, a reminder that no matter how deep the wounds of history, we can build a strong future.”

SQUARE

In the context of symbolism, a square often represents stability, balance, and order. It is associated with the virtue of Justice. The square’s equal sides and angles symbolize fairness, equity, and righteousness.

In the works of Leonardo da Vinci, who was both an artist and a scientist, the square’s geometric precision and balance likely held significance. Da Vinci’s keen observations of the natural world influenced his art and studies of proportion, and the square, as a geometric form, may have represented his pursuit of balance and order in both artistic and scientific endeavors.

The warmth of their camaraderie was palpable as they continued to refine their ideas. The design incorporated not just the materials but also the story of Azovstal. The pavilion would feature steel beams with markings and scars from their previous life, a testament to the resilience of the people who had worked here.

The Artist’s voice resonated with fervor, and his eyes sparkled with the vivid imagination of their endeavor.

- “Within the heart of the square, we shall fashion a truly unparalleled experience, a transformative journey through the labyrinthine chaos of tightly entwined beams spiraling skyward. At the epicenter of this mesmerizing structure, an inner staircase will gracefully wind its way, beckoning you on a profound voyage through the very essence of chaos. As you begin your ascent, you’ll find yourself immersed in darkness because of the non-spaces between beams creating obscurity, mirroring the labyrinth of life’s challenges. However, the higher you climb, the wider the chasms between these beams become, allowing an ever-increasing stream of light to infiltrate your surroundings. This ascent represents a symbolic odyssey, a transcendence from the earthly turmoil into a connection with the realm of the heavens, where hope and clarity reside. Until, at last, you stand at the zenith, greeted by the boundless embrace of the Sea of Azov, a metaphorical representation of liberation from the intricate chaos below, akin to emerging into the radiant and limitless expanse of freedom.”

As he finished, The Artist’s hands seemed to weave a tapestry of the pavilion’s essence, depicting a transformative journey from darkness into light, from confusion to clarity, and from chaos to liberation. The structure was poised to become a powerful symbol of human resilience, where individuals could explore their inner selves and find solace amid the infinite expanse of the sea.

The Scientist, drawing on her extensive knowledge, expanded on the idea, - “This structure will be a powerful metaphor, representing the struggles and challenges faced by the people of Azovstal. It symbolizes the journey from darkness to light, from despair to hope. As you ascend, you’ll not only be physically climbing but also undergoing a transformation, experiencing the evolution from confinement to liberation.”

The structure they planned to create would echo the framework of demolished buildings in Ukraine, where only the skeleton remained visible. Its grid, built from the collected beams, would serve as a reminder of the destruction borne from conflict, a profound representation of the endurance of its people.

As the night began to envelop them, the group continued to flesh out their plans. They discussed every aspect of the unique structure, from the intricate details of the steelwork to the layout of the stairwell that would guide visitors on their symbolic journey.

The evening breeze carried their voices, filled with determination and hope, echoing through the mountains. They knew they were embarking on a monumental task, one that would require unwavering dedication and a belief in the power of the human spirit.

As they wrapped up their planning session, the night sky above was a tapestry of stars, and they felt a renewed sense of purpose. The path ahead was uncertain, and the enigmas of the tunnels still haunted Andreï, but at this moment, surrounded by colleagues who had become friends, he couldn’t help but feel a glimmer of hope that their project would bring light to the shadows of Azovstal.

INSPIRATI O N

The trio drew inspiration for the pavilion’s design from the remaining structures of the demolished buildings within Azovstal. Salvaging elements from the ruins, they sought to weave a narrative that honored the resilience and history of the site.

The fragmented remnants of once-standing structures became the building blocks for a new architectural vision, a symbolic bridge between the past and a hopeful future. Incorporating these fragments into the pavilion’s design, the trio aimed to create a space that echoed the strength and endurance witnessed during the war, turning destruction into a foundation for renewal.

CHAPTER 10 : BUILDING HOPE

THE J O URNEY

Navigating to the pavilion becomes a unique journey, especially considering the transformed landscape of Azovstal post-war. The steel factory, now a testament to the struggles faced, presents a challenging yet evocative terrain. Entering from the main gateway in Mariupol’s city centre spans approximately 8 kilometres, offering an exploration through the ruins and remnants of wartime courage. Azovstal, sprawling across 11 square kilometres, provides a vast canvas where your choices dictate the path to the new Axis Mundi. The journey, whether through building remnants or along the Azov Sea, is a personal odyssey, guided only by your instincts. Embrace the obstacles and scenes encountered, as they become integral to your exploration. Amidst the calmness of THE ZONE, time seems suspended, offering a solitary experience where you determine the direction, focus, and destination of your stay.

With their resolve strengthened and a newfound sense of purpose, the trio embarked on a mission of creativity and survival. The decision was made: they would gather the necessary materials to construct the pavilion. This would not be any ordinary structure; it would be a testament to their collective vision and the enduring spirit of Azovstal.

The Artist, a man of meticulous planning and precision, began to outline the blueprint of their pavilion. In his low, methodical voice, he detailed the design, describing how the steel beams they would gather would intertwine, creating a structure that symbolized unity and strength.

- “The intertwined beams will represent the interconnectedness of our lives and the unbreakable bond between us and Azovstal,” he explained. “It will serve as a beacon of hope, a symbol that transcends the darkness of this place.”

They traversed the immense territory of Azovstal, which spanned an impressive 11 square kilometers. Abandoned warehouses, dilapidated structures, and the remnants of a once-mighty industrial empire held the hidden treasures of discarded steel beams. The unmistakable scent of rust permeated the air as they combed through the vast expanse.

The Scientist, with her profound knowledge, guided the group to the most promising locations, her eyes scanning the landscape for any valuable materials. The sight of steel beams, once left to the mercy of time, now held a new purpose, a symbol of the strength and unity of the Ukrainian people..

The Artist’s appreciation for form and structure shone through as he assessed the quality of each beam. He felt a deep connection with the materials, understanding their potential to become something extraordinary.

The Craftsman, whose hands were well-acquainted with the tools of the trade, selected beams with care. He recognized the importance of

each piece in the intricate puzzle they were piecing together. His rugged expertise brought a sense of practicality to the endeavor And then there was Andreï, the one who had been haunted by the mystical voice in the depths of Azovstal. Though the echoes of that voice still lingered in his thoughts, he found solace in the mission ahead. His heart, heavy with the weight of his own experiences, was filled with a newfound sense of purpose.

This collaborative venture was not just about gathering steel beams but symbolized the resilience of a nation, rising from the ashes of war. Each beam held the potential to create a symbol of hope and unity that would transcend its individual parts. It was a testament to the human spirit, one that could rebuild and renew even in the face of destruction.

As they gathered more and more beams, a sense of fulfillment washed over the trio. The physical labor, the shared purpose, and the unity of their efforts drew them closer together. Their dreams of creating something extraordinary from these discarded materials seemed closer to realization with each step.

However, it was not just the physical weight of the steel beams that they carried but also the weight of their collective history and hopes for the future. The process of collecting these beams was, in itself, a metaphor for the Ukrainian people’s journey from adversity to a brighter tomorrow.

Their determination did not waver as they continued to collect beams throughout the day, driven by a common goal that had woven their destinies together. As the sun began its descent, casting long shadows across Azovstal, the trio finally took a break.

Exhausted, they found a sheltered corner amongst the steel beams, using the collected materials as makeshift seats. The long day of labor had taken its toll, and they couldn’t help but reflect on the enormity of their task and the dreams they hoped to bring to life.

The pavilion incorporates a variety of steel beams crucial for its structural integrity. Among these are IPE 100-200-300-400 (beams, characterized by their I-shaped cross-section, ideal for wide spans and robust support. Additionally, HEA beams (100-200-300-400), featuring a wide flange for high-profile strength, and HEB beams (100-200300-400), similar but heavier, contribute to stability and load-bearing capacity. Complementing them are HEM beams (100-200-300-400), known for larger flanges, designed to meet the demands of heavy-duty applications.

Each beam type serves a specific purpose, allowing the trio to tailor the pavilion’s structural framework based on factors such as span, load requirements, and aesthetic considerations.

The setting sun painted the sky with vibrant shades of orange and purple, casting a warm glow over Azovstal’s wastelands. It was in this moment of rest and camaraderie that the trio, each with their unique skills and talents, shared a sense of purpose that transcended the ordinary.

As the first stars began to twinkle in the evening sky, they knew that their journey had only just begun. The steel beams they had collected were more than just materials; they were the embodiment of a shared dream, a symbol of unity, and a testament to the unbreakable spirit of the Ukrainian people. They fell asleep amongst the beams, their dreams filled with visions of what they would create together, united by steel and a common purpose.

CHAPTER 11 : DISSONANT TIME

As dawn delicately brushed the perforated metal sheets, Andreï’s eyelids fluttered open to a realm shrouded in ambiguity. A haunting silence enveloped the room, echoing more profoundly than the bustling energy that once filled it. He lay there, grappling with an uncanny sense of bewilderment that clung to the very air he breathed. As he opened his eyes and scanned the room, the absence of his comrades was stark, their presence etched in the silence that reverberated within the desolate space.

His mind, shackled by the weight of disorientation, grappled with an unyielding fog of uncertainties. The room bore the remnants of his friends, but their actual existence remained suspended in question.

Time seemed elusive, slipping through his fingers like sand. How long had he slept ? Days, months, or mere moments? It was a question that loomed over his mind, yet answers remained tantalizingly out of reach. The day itself seemed to flicker in and out of focus, an ephemeral dream that stubbornly defied a fixed form.

With each passing second, an estranged sense of dissociation clutched at Andreï’s chest. The days were elusive, merging into an unidentifiable mélange of hours and minutes. His thoughts spiraled into the depths of disorientation, engulfed by a hazy shroud that veiled his memories.

How would it be possible for his colleagues to disappear like that ? Andreï decided to stand up and look for them. He did not want to get abandoned and left alone another time. They created bonds together. They had a mission. They could not have left without saying anything. They might be somewhere else thinks Andreï.

Exiting the shadowed room, the landscape outside appeared both familiar and foreign, enveloped in a surreal sheath of timelessness. The bleakness of Azovstal echoed his solitude, resonating with the silence that marked the sudden disappearance of his friends. His echoes reverberated through the desolate terrain, resonating off the vast, silent

structures that encased him in their steel embrace.

The drawn-out silence birthed a disconcerting realization—his memory was riddled with gaps, gaping holes where time and moments were lost, shrouded in a mist of ambiguity. Was it morning, noon, or twilight ? The sun provided no cues, casting shadows that offered no indication of the hour.

In the silent corridors, he retraced his steps, seeking solace in familiarity, hoping to unearth a trace of his lost companions. But the emptiness of Azovstal remained impenetrable, taunting him with its unyielding silence. His friends’ absence gnawed at his spirit, driving him deeper into a spiral of introspection and self-doubt.

He knelt beside the meticulously laid-out drafts, examining the floor plans, designs, and structural sketches. His fingers traced the lines, and an eerie recognition set in, whispering from the depths of his subconscious. The annotations, penned in his own script, were whispers of a reality he grappled to comprehend.

THE PLANS

The mysterious plans discovered by Andreï, when he wakes up alone, are enigmatic sketches intricately detailing a design for a structure within Azovstal.

After waking up, Andreï has no recollection of creating or contributing to these plans. The drawings suggest a level of creativity and architectural insight beyond Andreï’s conscious awareness, leaving a lingering question about the source of this design.

sixth, seventh, eighth, floor

ninth, tenth, eleventh floor

Amid the eerie silence, a sudden realization struck him. He stepped outside the building where they had fallen asleep, hoping to catch a glimpse of his friends. But there was nothing - no trace, no sound, just an expanse of desolation under the clear sky.

Suddenly, his gaze was drawn to a steel tower on the distant slag heap, stark against the horizon. It was the pavilion, an architectural marvel standing tall, adorned with the grace of intertwined steel beams. How had it appeared so quickly, rising in majestic defiance of the desolate landscape ? The tower seemed to pulsate with otherworldly energy as if born from the whispers of his dreams. “

- Is this real?” , muttered Andreï to himself, a sense of surreal disorientation clouding his thoughts. He shook his head, trying to rid himself of the sensation that this might all be a dream. But the tower stood there, undeniable in its presence, a testament to something that defied explanation.

Questions swirled in his mind like an unruly storm. How had it come to be? When did they build it? Where had his friends disappeared to?

Andreï, caught in the maze of his thoughts, grappled with doubts and whispers of self-doubt. The drawings, their detailed language, and the inexplicable tower whispered secrets of a mind that struggled to distinguish between imagination and reality, between the lonely echelons of his psyche and a realm where collaboration brought solace.

The gaping emptiness within him yawned wider, a chasm of uncertainty that drew him further into the labyrinth of his own fragile mental landscape. As he stood amidst the silent expanse of Azovstal, the puzzle of his fragmented existence, and the elusive truth of his fractured psyche, questions surfaced without answers, leaving him adrift in a sea of doubts and shadows.

CHAPTER 12 : ANOTHER PERSPECTIVE

As the morning sun cast its pale glow upon the desolate landscape of Azovstal, Andreï stood at the base of the pavilion, a sturdy structure constructed from the intertwined steel beams found scattered throughout the industrial expanse. The building’s silhouette pierced the sky, appearing more like an enigmatic monument against the backdrop of the once-thriving but now-decaying industrial hub.

The elusiveness of time and the vacuity in his surroundings enveloped Andreï. Questions mushroomed in his mind, clouding his perceptions. The inexplicable tower on the slag heap stood as a symbol of the enigmatic, offering no solace, only contributing to the disarray that encumbered his understanding of reality.

A kaleidoscope of unanswered queries punctuated the air. The absence of his companions, the familiarity of the blueprints, and the untraceable passage of time, all wove a discordant tapestry, leaving him stranded in a labyrinth of doubts and unresolved shadows.

And amidst this disarray, Andreï grappled with the slippery eel of time, searching for the elusive truth shrouded in the enigmatic veil that draped his reality, leaving him cast adrift in the limbo between the tangible and the intangible.

In the dimly lit sanctuary of the pavilion’s base, Andreï began his ascension, the chilling darkness enveloping him like a heavy cloak of uncertainty. The eerie silence amplified his own footsteps, echoing through the hollow interior. As he ventured higher, doubts began to germinate in his mind.

As he walked further into the pavilion, the inky blackness seemed to intensify, shrouding him in a cocoon of uncertainty. The ascent was slow and deliberate. Each stride upward was a blend of anticipation and trepidation. The suffocating murk of the base made every step an endeavor into the unknown. The air was heavy with the scent of rust and the echoing quiet that amplified the clamor of his own breath.

Unsettled thoughts whispered in the recesses of Andreï’s mind. Was this a dream, a mere figment of his overwrought imagination? The suffocating darkness seemed like a subconscious abyss, a realm where reality blended with the surreal.

The ascent continued, and the darkness gradually yielded. A soft, diffused light filtered through, revealing the labyrinthine passageways of the pavilion. Distant beams of sunlight perforated the once oppressive gloom, illuminating the intricate framework of the structure.

The deeper he ventured into the tower, the more the surrounding emptiness accentuated the elusive passage of time. It was as if time itself had acquiesced to the boundless, impenetrable darkness, expanding and warping within the hollow steel structure.

The stifling blackness began to play tricks on his senses. The absence of light, combined with the chilling silence, created an environment that disoriented his every thought and action. His mind struggled to grip onto any semblance of a timeline, feeling as though he was caught in an eternal loop of shadow and indistinct spaces.

With the uncertainty of time, the darkness slowly yielded to the faintest glow that penetrated the steel beams. The ascent through the nebulous structure was surreal, a symphony of confusion and wonderment. The gradual emergence of the faint light was a respite, but it was accompanied by a peculiar uneasiness that time had contorted and twisted.

Questions flitted through Andreï’s mind, clustering like the shadows that danced around him. What was the duration of his ascent? When did the darkness subside to grant the feeble light that barely illuminated the way? Time felt intangible, immeasurable, and elusive in this ascent, challenging the very essence of temporal understanding.

A subtle humidity clung to the air, wrapping around him like a cloak of unseen tendrils. The beams, once sterile and cold, now harbored textures that eluded his vision in the darkness. His fingertips brushed against surfaces that seemed to pulse with an enigmatic vitality.

In the obsidian void, where sight yielded to the mysteries of the unknown, Andreï’s hands encountered anomalies. Strange textures, perhaps the delicate embrace of lichen, the soft tufts of moss, or even the resilient presence of mushrooms, created an otherworldly terrain on the steel beams. His senses, heightened in the absence of light, could only hint at the transformative forces at play.

These subterranean levels became an exploration not just of physical space but of tactile revelations, a sensory symphony that unfolded with each step. Andreï, immersed in this mysterious world, traversed the boundaries between the corporeal and the surreal, guided only by the gentle guidance of the beams and the enigmatic textures that whispered secrets of a metamorphosis concealed in the shadows.

Andreï’s journey through the pavilion unfolded at a languid pace, each step a deliberate communion with the mysterious structure. As he ventured deeper into the shadows, the beams overhead resembled ancient runes etched against the infinite canvas of the dark. A silence, almost sacred, enveloped him, broken only by the echo of his own footsteps resonating within the steel skeleton.

At the lower levels, the obscurity was profound, compelling Andreï to rely on the tactile guidance of the beams. The air was cool and pregnant with anticipation. Each step unveiled a new layer of the pavilion’s enigma, the beams casting cryptic shadows that danced on the floor beneath.

Midway through the ascent, a subtle luminescence began to emerge, ethereal tendrils of light weaving through the interstitial spaces of the beams. Andreï closed his eyes, surrendering to the sensory symphony surrounding him. When he opened them, he found himself in a dreamscape. The beams, once rigid and metallic, now cradled a verdant tapestry of ivy, tendrils entwining with the steel in a delicate dance of nature reclaiming its dominion.

As he continued his ascent, the transition from darkness to light was gradual, revealing the gradual metamorphosis of the pavilion. The play of illumination and shadow heightened the sense of wonder at every level. Muted hues painted the steel structure, hinting at the ephemeral nature of the journey.

Veering towards the upper levels, Andreï encountered a surreal tableau. Birds, ethereal messengers of this transformed realm, flitted between beams. Their melodic songs intertwined with the soft rustling of leaves, weaving a symphony that resonated within the metallic expanse.

Reaching the zenith, a panoramic spectacle unfolded. The Sea of Azov stretched before him like a vast tapestry, its azure depths blending seamlessly with the sky’s cerulean expanse. Looking back, the once-industrial landscape of Azovstal had undergone a profound metamorphosis.

The once-industrial Azovstal, reborn in hues of green and blue, was a testament to the ceaseless pulse of nature and renewal.

As he took in the resplendent scene, Andreï couldn’t help but feel a pang of isolation. The beauty that unfolded before him begged to be shared, and yet, the absence of the companions who had embarked on this journey with him weighed on his heart. The vibrant wildlife, the symphony of rustling leaves, and the gentle lapping of waves against the shore were all witnesses to this profound metamorphosis.

Amidst the beams of the pavilion, Andreï experienced a deep connection to the transformed Azovstal. The air, once tinged with the metallic tang of industry, was now fragrant with the scent of blooming flowers and the earthy notes of thriving vegetation. The distant call of a bird, the whispering breeze weaving through the metallic lattice, and the soft rustle of leaves beneath his feet all contributed to a symphony of life.

The emotional resonance of the moment was palpable. Andreï stood on the precipice of a new beginning, the culmination of a journey that had transcended physical and metaphysical realms. The loneliness he felt was tempered by the understanding that the pavilion, with its ivy-clad beams and burgeoning ecosystem, stood as a testament to the resilience of life.

As he gazed upon the Sea of Azov stretching into the horizon, a sense of calm settled within him. The landscape, reborn from the ashes of conflict, held the promise of hope and regeneration. The world below was now a living testament to the intertwining dance of nature and industry, where humanity’s creations coexisted harmoniously with the wild.

In this moment of solitude, Andreï embraced the paradoxical beauty of his surroundings : a beauty that emerged from the scars of the past, revealing the cyclical nature of creation, destruction, and rebirth. The pavilion, now an ethereal bridge between worlds, stood as a silent witness to the transformative power of time and the indomitable spirit of life. With a heart both heavy and uplifted, Andreï took a final, lingering glance at the rejuvenated Azovstal, etching this surreal tapestry into the fabric of his being.

NATURAL REC

O L O NIZATI O N

PERS O NALITY DIS O RDER

Personality disorder is a psychological condition characterized by enduring patterns of inner experience and behaviour that significantly deviate from societal expectations. These patterns often manifest in cognition, emotional regulation, interpersonal functioning, and impulse control. Individuals with personality disorders may encounter challenges in forming and maintaining relationships, as well as navigating various aspects of daily life.

This disorder can create a blurred line between imagination and reality, leading to the manifestation of imagined personas and events.

Where did I go ? Am I an architect or a writer now ?

Despite being interested by many things in life, I always tried to not limit my imagination and here I am, writing a novel. If for some of you, this does not make any sense as it should be an “architecture” graduation project, It does make sense for me. What is the actual limit of architecture ? What is the limit of its process ? There is none.

Having a grasp on such a project is difficult. I mean a real grasp. Not a sterile project without emotions in such conditions. But I have tried at the beginning, looking for some urban issues, how to reconnect some areas together, how to de-pollute the soil by using natural processes,... but why for ? Why did I pick this project on the first hand ? Not to do that. Not to be a designer who tackles this project like every other ones with the same angle. This project had to be treated differently and therefore, had a different process than the others. If some of you might think that this eleven square kilometres area could be re-developed into a new green neighbourhood or something else, you are right but you are also pretty wrong. Understanding the people, the situation, the culture of a location is what an architect or a designer should do. By just thinking about ourselves or about how we could make more money or create development in such area, we are just far from the reality. This is not the need. This is not understanding. This is actually the Russian’s plan for Azovstal, creating a new neighbourhood capable of hosting 400.000 inhabitants. But it is kind of normal to think about this as we have been into this conditioning during our lives and studies. However, we should admit and realise that this thinking does not apply everywhere. And my way of getting an understanding on the situation despite analysing and researching everything I could on the city and the steel mill was to put myself in someone else’s skin : Andreï.

Writing actually helped me to conceive a story and to incarnate a character that was closer from the reality than I am. Without this media, I would not have perceived myself in another state of mind. Indeed, if you have watched the movie, you would have understood that Andreï and I are the same person.

Trying to find a solution was more complicated than expected. Many parameters had to be taken into consideration... But I did not know how. I was running in circle. Nothing made sense. I therefore decided to take a small break and comeback to my roots as I told you before. I came back to my parents and started to think about how I could really approach this project, how I could get a grasp on it, from the inside this time. Not overlooking at it anymore.

I started to write the synopsis of a story that was quickly translated into a video, the first version of the movie was born. But I did not want to write a synopsis anymore... I wanted to tell an entire story. But how ...? I am a designer and supposed to be an architect soon... Fuck it.

I started to create my character based on my researches. My imagination started to flow.. I was keeping on writing, what would be his next encounter ? What will happen to him, ...?

This novel was supposed to be an architectural essay about posttraumatic disorder caused by the war where at the end he finally succeed to build structures around Azovstal that would protect him and the zone. I would have loved to continue developing this story but It was time to go back to architecture. I had many ideas... maybe too many actually... It was time to reflect on what I had done. It gave me inspiration and from that, I could select the different parts I wanted to use in my project and its representation. But some had to go away. You need to make a choice because even if you don’t, you’re still making one, so it’s better to be the one deciding.

The thing is that writing and making the movie made me realised more than what I expected. By incarnating someone else I let myself be another person but also my true self.

I was there, getting out of the conditioning I have been put into, but I felt more free than before. I really felt myself while expressing my vision through different media. I therefore realised that being a designer or an architect is far more than what we use to know. These are such vast fields that we mostly see the tip of the iceberg but not their “hidden” face. It is not easy to let yourself be while studying and working all these years but at the same time it feels great actually. Finding my own self during this process made me grow and I know that is only the beginning of my journey. This process, that might have been longer than I expected was really beneficial to me. I advice it strongly : to find yourself, to be yourself. Which is not an easy task knowing all the distractions surrounding us in the actual society.

That is why, after reflecting on myself and my process, I decided to take a step forward in my project. This project started personal and suddenly became introspective. It is important for me to have a design reflecting my identity, reflecting my ideas, reflecting my vision. This project is actually me.. So why not sharing it ? And I know that everybody could relate to this topic. I am not the only one. Indeed, by having all these distractions around us constantly make us forget who we are. We are just in a conditioning where we follow our way of living. We go to work, we come home to rest while watching TV and being on our phones, or playing video games, ... keeping ourselves, our minds, always busy. You do exercise, that’s great to empty your mind and for your health, you go for a walk, alright. But when do you actually think about yourself ?

What I mean by thinking about yourself, it’s not ordering on Uber Eats a dish you wanna have tonight, or buying clothes in the city, but literally thinking about yourself. Asking yourself questions. Who am I ? What do I wanna become ? What do I wanna achieve ? What do I really wanna do ? and the list goes on... When do you really ask yourself the good questions ? Probably never.. maybe I am wrong and some people do so. But taking my case as an example which is probably the majority, we never think about ourselves. Especially the young generations, we live through all these screens surrounding us. We work, we study, we hang out together, but we are never alone with your own self. You are probably alone at your place yes, but only physically. Why not giving some time for yourself ? It is hard, I know. We are probably unconsciously scared about questions that we might not have the answers to, and that’s human. Maybe it is in our nature to avoid those questions, but at a certain point we have to face them. We cannot remain in denial and just follow the path that lies before us. I mean, technically you can but I am not sure if keeping your blinders is the best solution honestly.

This reflection of my project, of a part of my life, made me realise many things. We do not have time to waste in something that we are not interesting into. We need to see further, we need to find aspirations and inspirations where we want. We need to follow our own path, taking our own decisions, the ones that will make us happy and alive. We just “basically” need to live our lives for our own selves. Simple as that, but difficult as fuck.

THE EXHIBITION : THE ZONE

THE ZONE is an immersive exhibition that unfolds across three distinct acts, each meticulously designed to guide the viewer through a narrative of creation, reflection, and resolution. The installation engages the audience both visually and emotionally, as they move through the various spaces and themes presented in the exhibition. Each act represents a different stage in the journey of self-discovery and creative exploration.

The exhibition layout is carefully crafted to evoke a sense of passage through different emotional and intellectual spaces. The transition between each act mirrors the narrative progression of the characters and the my own experience, creating a dialogue between the viewer, the physical space, and the abstract ideas behind the work. The spaces are minimal, giving weight to the content and allowing the installations to speak for themselves without excessive distraction.

ACT I - THE FILM :

ECHOES

ECHOES begins with a dual-screen video installation. On the left screen, we follow Andreï, a character I created, as he is mysteriously called back to Azovstal, a former industrial complex, and the site of his trauma. On the right screen, I, try to make sense of Andreï’s pain, translating it into various artistic media such as hand-painting, writing, and sketching. This dual-screen interplay mirrors the complex relationship between Andreï’s emotional and physical journey back to Azovstal and my own struggle with the creative process and personal reflection. The two screens counterbalance one another, sometimes synchronizing, sometimes diverging, to represent the simultaneous connection and separation between Andreï’s world and mine. As the film progresses, both Andreï and I are lost—he is lost in the literal underground tunnels of Azovstal, and I am lost in my thoughts, unsure of what I want to achieve with this project and how to express it.

As the film concludes, the screens fade to black, allowing the audience to sit in reflective silence for a moment. This pause is designed to allow the themes of loss, trauma, and the creative struggle to settle in the minds of the viewers.

ACT II - THE PROCESS : CHAOS & CLARITY

CHAOS & CLARITY takes place in the same room as Act I, transitioning seamlessly from the film to a presentation of the creative process. However, this time, I appear digitally on the same screens the audience just watched, presenting the second act from another room that remains closed to them. Behind the audience, this room holds the physical manifestation of the creative process: tables covered with sketches, models, drawings, and notes.

The layout of Act II is intentional, mirroring the organization The Scientist might impose on chaos. Each table explores different topics, such as Azovstal, bioremediation, hydrogen sulfide, etc... This careful arrangement contrasts with the chaotic nature of my creative journey, representing how I ultimately found clarity after feeling lost and overwhelmed.

On the screens, I guide the audience through my process, sharing how I took many divergent paths before finally coming back to my initial ideas. I discuss how essential it was to revisit these concepts, such as bioremediation and the reuse of industrial materials, which I didn’t realize were the key to my final project until I took a step back. My creative process, now neatly organized on the tables, becomes a metaphor for the mind—chaos slowly brought into order.

The audience remains in the first room, focused on the screens where I appear digitally, allowing them to fully concentrate on the narrative without distraction. At the end of Act II, I finally meet the audience in person for the first time, stepping out from behind a curtain to engage with them directly. I briefly open the curtain to reveal the room behind them, giving a glimpse of the space where the tables are set up, before closing it again.

ACT III- THE MODEL : FACES OF RENAISSANCE

FACES OF RENAISSANCE then begins as I guide the audience into a separate, newly revealed room. In this sacred space, they encounter the monolith—a vertical stack of four dioramas, each representing one of the four characters central to the project: Andreï, the Artist, the Craftsman, and the Scientist.

This final room is minimalist, with natural light pouring in from an uncovered window, giving the space a sacred, reflective atmosphere—a space for rebirth and contemplation. The dioramas symbolize how each character contributed to the healing journey, their collective effort leading to a resolution and balance.

After the third act, we return to the original room where I reopen the curtain to the process space from CHAOS & CLARITY, inviting the audience inside. Now, they are free to explore the tables themselves, walking through the various stages of the creative process that led to the final work. This time is for discussion, reflection, and feedback, allowing the audience to ask questions and engage with me directly as they tangibly experience the work that was previously only presented on the screens.

This exhibition layout creates a cohesive narrative structure, where each act builds on the last, inviting the audience into the artist’s mind, process, and eventual healing. The balance between video, live presentation, and physical objects allows the audience to engage with the work on multiple levels, ultimately leading to a personal moment of reflection as they interact with my mind and myself at the end.

The first act of the exhibition is a two-channel video installation titled ECHOES. Presented on two screens, the video explores the intertwined journeys of Andreï, a character I created, and myself. The screens alternate—sometimes one remains dark while the other plays, at other times, both are active, showing different aspects of a shared narrative. This visual rhythm captures the essence of the title, Echoes—where both stories mirror and amplify one another, like reflections of the same emotional struggle.

On the left screen, we follow Andreï, a man drawn back to Azovstal, the haunting industrial site in Mariupol. This place, once a symbol of resistance, now holds his traumatic memories. He feels compelled to return, yet the experience is overwhelming. As he explores the ruins and tunnels, he is confronted with suffocating anxiety and disorientation. Lost in the physical maze of Azovstal, Andreï’s struggle is both external and internal—a battle with the weight of his past.

On the right screen, I am seen trying to understand and connect with Andreï’s trauma. Through painting, drawing, and writing, I attempt to express his emotions and confusion. But as I engage in this process, I too find myself lost—mentally rather than physically. I struggle to navigate the complexity of the project, unsure of its direction and questioning my own purpose. My creative block mirrors Andreï’s feelings of being trapped in the ruins of his past.

The video begins with a moment of connection. Both screens show a shared scene, where Andreï becomes aware of my presence, though unsure of who or what I am. I reveal that I am his creator, that we are one and the same, only separated by different realities. From that point on, our journeys run in parallel. While Andreï is lost in the decaying halls of Azovstal, I am lost in my own creative process, grappling with the overwhelming task of making sense of it all.

As the video progresses, Andreï’s anxiety heightens, and his physical struggle intensifies. On my side, I continue to wrestle with doubt and confusion. I try different creative approaches—painting with my hands, writing my frustrations—but nothing seems to break through. We are both trapped, him in the physical space of Azovstal, and me in the mental space of my creative block.

In the final moments, a shift occurs. Andreï begins to find release, slowly letting go of his trauma. His journey toward liberation allows me to also find freedom in my creative process. As Andreï heals, I too feel the weight lift, allowing my imagination and ideas to flow freely. His healing echoes into my own, and our parallel paths converge in a moment of shared catharsis.

ECHOES explores the intertwined themes of trauma, creation, and selfliberation. The alternating screens reflect two distinct, yet connected, perspectives—Andreï’s physical struggle with a traumatic past and my mental battle with the creative process. Through each other’s journey, we find healing and release.

As you enter this empty room, you’ll notice the quietness and the simplicity. There is only one structure in the space—the monolith standing in front of the window. This single, uncovered window lets natural light into the room, creating an atmosphere that feels sacred, peaceful, and reflective.

This monolith is the final piece of my project, a representation of the journey I’ve taken. It holds four dioramas, one stacked on top of the other, each symbolizing a different character—Andreï, The Artist, The Craftsman, and The Scientist. These are not just characters, but parts of the creative and personal process I’ve been through while working on this project.

Encasing each diorama, engraved into the black MDF exterior, are the elevations of the pavilion that these four figures—Andreï, The Artist, The Craftsman, and The Scientist—designed together. These engravings symbolize the collective vision that emerged from their individual perspectives. The pavilion they designed is not merely an architectural form but a physical representation of their journey. It stands as a testament to the unity that can be achieved when different parts of the self—trauma, creativity, craftsmanship, and knowledge—come together.

In this final room, everything is intentionally simple. There’s nothing here except the monolith, and one window left uncovered, allowing natural light to fall directly onto the structure. This light is deliberate. It symbolizes clarity and “renaissance”—a rebirth after the darkness and confusion of the creative process.

Much like the journey I went through during this project, the light streaming in represents new understanding, new perspectives emerging after a period of struggle. It highlights the raw and imperfect textures of the monolith, reminding us that creation comes through both beauty and hardship. It’s a moment where everything becomes clear.

The atmosphere here is meant to feel sacred, almost like a sanctuary. This isn’t just a room to observe an object—it’s a space for reflection, a space for you to pause and contemplate. The light brings a sense of peace and invites you to think about the journey—the creative process, but also your own.

This room becomes a place of renaissance, of rebirth, where you’re not only asked to engage with the work but to reflect on your own inner growth and what can emerge from it.

The Foundation : Andreï – Strength and Trauma

At the base of this structure stands Andreï, made from raw concrete. The choice of material is deliberate: concrete, cold and unyielding, represents his strength and his burdens. It reflects his battle against trauma, carrying the weight of the world—his past, his suffering, his endurance.

Andreï’s world is one of raw survival. The rough, textured surface of the concrete hints at scars—both physical and emotional. He stands as the foundation of the entire monolith, just as trauma, pain, and resilience often form the base from which personal growth emerges. The solidity of Andreï symbolizes that despite everything, he is unbreakable, even if wounded.

The Artist – Creativity and Possibility

Rising from Andreï’s heavy base is The Artist, a figure rendered in white plaster. The stark contrast between the heavy, grounded base of concrete and the delicate purity of plaster is intentional. The Artist symbolizes freedom from trauma—a blank canvas upon which new possibilities can emerge.

In this diorama, the small structures of steel and plaster rise like burgeoning ideas, unformed and fluid. This is the space where creativity thrives, where the mind can imagine what could be.

The Artist sees beyond the dark and oppressive present and envisions a future, unburdened by the past, full of potential.

These emerging structures speak to the act of creation, like ideas that are not yet fully formed but full of promise. Here, in the Artist’s diorama, the vertical structures stand as the first hints of that connection between earth and sky, between the physical and the spiritual. They represent the early stages of this idea— the axis mundi as a pillar of possibilities, a growing concept just starting to take form.

Plaster, a material that begins soft and malleable but hardens over time, captures the fluidity of imagination turning into reality. While Andreï is weighed down by his past, The Artist looks toward the future, using imagination to carve out new possibilities.

The Craftsman – Playfulness and Precision

On top of The Artist stands The Craftsman. This diorama is more playful and childlike, with colorful hand-drawn elements that represent a more innocent version of Azovstal. The Craftsman has a childish, naive spirit but is also highly skilled. In the center of this model, you’ll see a tower made of aluminum tubes.

The aluminum tower represents the Craftsman’s technical knowledge. He takes the imaginative ideas of The Artist and gives them structure, turning creativity into something real and functional. The contrast between the playful colors and the precise aluminum tower reflects how the Craftsman bridges the gap between childlike curiosity and technical skill.

The Scientist – Knowledge and Understanding

Finally, at the summit of this monolith, you find The Scientist, a figure entirely crafted from MDF, meticulously engraved with knowledge. This diorama is a space of intellect and discovery, far removed from the emotional weight of Andreï and the creative fluidity of The Artist. The Scientist’s world is one of precision, facts, and exploration.

The engravings on the MDF include scientific data about bioremediation—how organisms can be used to depollute the land, a literal healing of the earth that mirrors Andreï’s emotional healing. These engravings also include celestial imagery, representing the axis mundi, the cosmic axis connecting heaven and earth, symbolizing the bridge between the physical and the metaphysical realms.

In the center of this diorama stands the slag mountain, a towering presence that has both literal and symbolic meaning. In the narrative, this is where Andreï and the others meet The Scientist, the figure of wisdom and knowledge. The mountain also serves as a metaphor for the highest point of understanding—scientific, personal, and spiritual. The Scientist’s role is to distill knowledge from the chaos below, to extract order from disorder, just as the slag mountain rises from the detritus of the industrial world.

Prompt 1 :

photorealistic, Azovstal, metallurgy, demolished metallurgical plant rebuilt, modern, future, architecture, architectonic, AR 3:5, 4K, unreal engine, steel structure, blast furnace, Ukraine

photorealistic, Azovstal, metallurgy, demolished metallurgical plant rebuilt, modern, future, architecture, architectonic, AR 3:5, 4K, unreal engine, steel structure, blast furnace, Ukraine, demolished chimney, reconstruction, extension, refurbished, design debris, s 600, people celebrating, community, end of the war, new, people living, vegetation, party, people working, group of people, building with glass, renovation, no apocalypse, good day, celebration November 2022.

In November 2022, while I was starting my thesis, I decided to use MidJourney, an Artificial Intelligence generating images. By putting different words known as “prompt” I could create a variation of images based on those. However, it didn’t really help in the end.

Prompt 2:

Just a small 3D video of an ore spinning to make an example of the NFT idea I had in mind. At least I learned a bit about a new software. November 2022.

November 2022.

After going back through my sketchbook that is literally the logbook of my graduation, relating all the thoughts, ideas and concepts I had from the beginning, I have found the first drafts of the final proposal.

Sometimes, the idea might just be in front of your eyes all this time, but you only realise it once you explored many other paths that were actually dead-ends.

November 2022.

During a workshop at the Academie held by an artist, we had to write few words by incarnating our graduation project or a part of it. I stopped writing years ago and this work made me realised that I could use words to personify an entity and describe my work as well. It was the beginning of something.

I am Azovstal, I gave people life, I gave people purposes, I gave people home, I gave people opportunities. I am a symbol, As my people, I am Resistance, And I will be a Renaissance.

Today, I am different, Demolished, but still here.

I am Azovstal, I am timeless, I am history, I am emotions, I am scared, But I am hope. I am here, And I’ll always be here. I’ll be here for you, I’ll be here for us, I’ll be here for everybody.

I am waiting for you, I wanna rebirth, I wanna live again, I wanna be with all of you.

Azovstal, the resistant

After reflecting on this workshop, I decided to personify Azovstal by writing the following text. By doing so, imagination started to flow and inspire me to write something bigger... something you just have read. December 2022.

Born in 1930 during the Soviet Era, Azovstal was a new creation by human destined to create new metallic products with raw materials. Located in Mariupol, Azovstal became the younger brother of Illich Iron and Steel Works that was established in 1897. After its construction Azovstal created many opportunities for the Ukrainian people. Indeed, It offered them work and a new place to live in its area. Azovstal was at its highest level. Helped by more than 12 000 of its employees, Azovstal became one of the most important metallurgical plant of the country. Azovstal the great, was untouchable. Its performances helped It to be a key in Mariupol and Donetsk Oblast’s economy. It was essential for its city and for its country. However despite its intensive work, Azostal was harming unintentionally its population. Azovstal was used as a tool and did not know that It could endanger people’s life. Its goal was only to make a better world and offer people a home. But Azovstal felt used. People were protesting against It in the street of Mariupol because they could not breath properly because of harmful substances released in the air. Azovstal had to slow down its production and stop working like It used to do in the old days.

Without knowing it, Azovstal changed radically the city that welcomed It. It changed it at different levels. Azovstal’s birth happened on a site near the city centre of Mariupol.

A site where archaeological excavations have revealed a cemetery, a late Neolithic Tribal Burial (5500-5200 BC) of the Lower Don culture. But Azovstal did not know that. It was born there and had no idea of what happened in the past.

It replaced an area where people used to swim in the Sea of Azov into an industrial landscape. What used to be beaches and playfulness, became chimneys, warehouses and a mountain. A mountain of Azovstal representing its tumour. A toxic cluster composed of slag that was endangering the Sea of Azov. Hydrogen sulphide that could extinct all forms of lives in the near Sea.

People were worried about Azovstal. They liked It for all the opportunities It has brought in the city but also did not like the fact that their lives were put in danger. Azovstal did not know how to react and then started to be slowly updated. Its upgrades allowed It to reduce its pollution. But it was not enough for the Ukrainian standards.

In March 2022, when Azovstal was almost hundred years old, It suffered from a disease. A Russian illness controlled by Vladimir Putin. This infection started to spread each days passing.. This abnormal condition that negatively affects the structure and the organism of Azovstal was going on for months...Azovstal could not move anymore. Its people had to leave It because it became too dangerous for them. Some people were victims of the same illness and could not leave this murderous area. However, some Ukrainians saw an opportunity in the strong Azovstal. Thanks to its complex architecture, Azovstal offered them a shelter in its heart. In spite of the fact that Azovstal was riddled with disease, It was holding on in order to protect the last persons of the area. And Azovstal became a symbol of the Resistance. Azovstal the resistant, has fought like It never did in the past. Helped by its soldiers, Azovstal is now taken by the

enemy. But Azovstal is still here. Still standing and still in people’s heart.

Its constant smoking chimneys let placed to smouldered ruins. Its daily movements acted by the 12 000 workers have become a vast and empty place. The sound of the machines have been reduced to silence.

Azovstal is exhausted of its long combat. Laying next to the Sea of Azov, It feels the sea sprays on its strong and damaged skin. This silence is eating it up. It misses the past, where It was strong and powerful. But its destiny has unfortunately radically changed. After months of cries, of pain, Azovstal closes slowly its eyes. It wants to forget this horror. It does not want to see its people hurt anymore..

Azovstal falls asleep. Waiting for its people to free him from this nightmare, Azovstal waits. It knows that in a near future, its chains will be break down.

During its sleep, Azovstal thinks. Azovstal is an optimistic. It dreams. It dreams of a new world, of peace, of changes. Azovstal wants to become new and helpful. Like in the past, Azovstal helped its people, It gave them homes and opportunities. Today, Azovstal would like to be useful again, useful for its people, useful for its city and useful for its country..

Azovstal was a symbol of progress and became in this year a symbol of resistance. But in Azovstal’s dreams, It sees itself as a symbol of Renaissance too. It wants to give a better future for its community and for everybody surrounding It. It wants all living species to live together in harmony. It wants to create an ever bigger relationship with them and give them again, opportunities. It does not matter how big or small they are, It wants to take care of everybody. It wants to host them and live through their actions.

Azovstal wants a second life in which It could improve Mariupol’s citizens lives. It does not want to harm them like It unintentionally did in the past. It wants them to remember the past and give them a healthy life.

Azovstal wants to change and become a new entity. It would like to be preserved and modernized. It sees itself as the connector of Mariupol.

In its dreams, Azovstal sees its skin getting covered by climbing plants and moss that would help him to heal its scars. Its people will help It removing its wounds and take care of its remaining. They will help It getting back on stage. Hold It so Azovstal could walk again. After having protected its people, citizens of Mariupol will return the favour. To thank It, they will help Azovstal to become a new place that will improve their life without forgetting what It has done for the city and the country.

Azovstal dreams.

Its dreams are poetic and utopian. They gave It hope and hope is the only thing that keep It alive. Azovstal has found a deep sleep where It could rest and imagine a better life for everybody.

And somehow, in its sleep we can see It evoking what seems to appear as a smile. A smile representing its hope towards its people. A smile that says “One day, we will all be together”.

January 2023.

Another use of MidJourney to have inspiration about how Azovstal could look like in the future by letting the site being taking over by nature. Guess what, it still doesn’t work.

February 2023.

After finding my new idea about converting the hydrogen sulfide into sulphur in order to make architectural interventions, I decided to check on MidJourney how it could look (yeah once again), but of course, the result was not the one I expected (once again).

March 2023.

My first attempts of a movie were not really glorious I have to admit. But it was just the first try. The initial idea was to make a small movie, relating my concept of converting hydrogen sulfide into sulfur. It was supposed to only be a synopsis, not a novel, but I guess I had too much inspiration at the time and it lead me to Zone.

March 2023.

After writing the first chapters of Zone, it was necessary to give it a certain image. At the time, the story was relating the use of the hydrogen sulphide that Andreï and his friends converted into sulphur in order to elevate Azovstal on a different level. For this illustration, I have also used MidJourney in order to have a quick illustration showing the representation of my story.

April 2023.

The Noise is a four minutes video relating the different noises from the beginning of the war until its duration. From the metal sound of Azovstal and its thousand of workers to the first alarm during the invasion, the screams of people, the pitch of Volodymyr Zelenskyy mixed witht the explosions and gunshots.

The idea was to create an immersive experience for the future visitors and be plunged into this darkness that Ukraine is facing. It was supposed to be duplicated with different other topics such as The Light : depicting the beginning of the war, in the cold winter where the sun was low behind a grey sky, to the darkness of the bunkers where many people tried to survive despite the precarious conditions. Until they succeed to get out and see the light again, synonym of freedom.

The aim of these works was supposed to recreate the different entities and spaces included in Andreï’s story but the relevancy to my project seemed to have disappeared and I had to let these go.

“The idea of creating a project that could be everywhere in the world, a project that does not require a site specific design, a pavilion made out with the different materials I have found along the way during my process. Probably a structure using small perforations reminding the metal sheets covered with bullets. Using fabric, reminding the leftovers clothes that can be find in the bunkers. (Cf : Christian Boltanski).

June 2023.

The aim of this pavilion could be a place to meditate, to free yourself and enter to your inner zone. Nowadays, people do not have time to think about themselves truly. In a society driven by work, hobbies, etc.. we don’t have time to sit peacefully with our inner self and think about who we really are, what we really want .. It is also an introspective view of myself during the years where I have “forgotten” myself during years because my mind was too much in the studies, work and personal life. It is important for people to reflect on themselves and maybe that this pavilion could give them the time to do so.”

thoughts on the 15.06.2023

“The pavilion could be situated or duplicated everywhere in the world. The aim of the pavilion is to bring people to a calm area, avoiding all the distractions from the city. Having this random staircase going down, leading one visitor at the time in the darkness. The pavilion will be a transcription of Azovstal’s underground network. A narrow corridor (probably 3m wide max) where the visitor will experience different rooms (2-3) taking the elements found in the bunkers (clothing, ammunitions, etc...) to final reach a room perforated by the bullets of the war. The chosen materials would come directly from Azovstal or Ukraine and the building won’t be maintain to let the last room evolve with the time as it will be the only one having a roof for the light to come in. Water will infiltrate and the experience will be different for the visitors. Arrived at the end of the journey, the visitor will face his/her own self in a mirror, take a seat (or stand) and see his/her own reflection.

A particular attention will be paid to details, materials, sound, light to immerse fully the viewer/ visitor in the pavilion either digitally or physically.”

I think that by absolutely wanted to learn this new software, I also might have lose myself in it. In the end, the result I wanted to achieve does not reflect the essence of my project.

NB : this was a failure.

July 2023.

Learning a new sofware is always a bit tricky. Especially when time is ticking. The render I have made for this room was not powerful enough. If I had mastered this software, I could have given the atmosphere I wanted to transmit, however it was not the case. So I think it’s better that I show you the first sketch idea of the space. Cause sometimes, a drawing speaks better than an image.

After this “failure”, I had to change drastically my ideas, my conception of the space but still take into consideration all the work I have made before. And more specifically, coming back to initial ideas, such as : reusing the steel production’s leftovers. Either the slabs or the beams that were created there.

I therefore started to make small physical models with standard steel slabs sizes and find various combination on how to stack them onto each others while still keeping the different feelings I wanted to bring in my project.

August 2023.

After making physical models, I decided to make them into 3D, in order to explore various possibilities in a quickest way. And thanks to the combination of the two mediums, I came up with the beginning of something.. that I actually think you can notice between all these axonometries.

https://earth.google.com/web/search/mariupol/@47.122595,37.5819625,4.47949987a,50617.63328657d,35y,0 h,0t,0r/data=CncaSRJDCiUweDQwZTZlNmE3YmVlNzU4MmI6MHhhNWQxMTgzMDBhNzViNWNlGWIuqdpujEdAIeFcwwyNxUJAKghtYXJpdXBvbBgCIAEiJgokCQeZtu3rQDdAEQeZtu3rQDfAGeJL28m0ejBAIcj1USwsWVbAQgIIAToDCgEwSg0I____________ARAA

https://www.theguardian.com/world/2022/may/16/revealed-eu-plans-loans-and-grants-to-help-rebuild-ukraine

https://pastvu.com/

https://www.maxar.com/

https://mrpl.city/blogs/view/lyubov-yablonskaya

https://svoi.city/articles/214809/azovstal

https://litmir.club/br/?b=106319&p=60

https://riamediabank.ru/media/33759.html

https://dreamstime.com

https://stock.adobe.com/nl/images/brown-coal-lignite-is-a-soft-brown-combustible-sedimentary-rock-formedfrom-naturally-compressed-peat/99279399

https://en.m.wikipedia.org/wiki/File:HematitaEZ.jpg

https://vitamin-pro.ru/polza-kremniya-v-organizme-dlya-kozhi-volos-i-nogtey/

https://stock.adobe.com/ch_fr/images/macro-shoot-of-piece-of-nickel-metal-ore-isolated-on-a-white-background-closeup-photo-of-amazing-shiny-mineral-rough/413587812

https://www.istockphoto.com/photo/natural-minerals-anthracite-gm927050298-254336793

https://nl.wikipedia.org/wiki/Zink_(element)

https://fr.geologyscience.com/minéraux-de-minerai/minerai-d%27étain/

https://fr.m.wikipedia.org/wiki/Fichier:Molybdenum_crystaline_fragment_and_1cm3_cube.jpg

https://www.seilnacht.com/Lexikon/23Vanad.htm

https://www.refractorymetal.org/tag/the-classification-of-tungsten-ores/

https://www.epravda.com.ua/rus/publications/2022/10/3/691942/

https://www.rferl.org/a/us-steel-tariff-ukraine/31841732.html

https://delo.ua/ru/society/v-minekologii-net-dokazatelstv-popadaniya-serovodoroda-v-azovskoe-more-ministr-398129/

https://punkt-a.info/news/federalnoe/my-ne-videli-solntsa-boyalis-eshche-40-chelovek-vyshli-s-azovstali

https://www.ukrainer.net/azov-arent-neo-nazis/

https://www.euronews.com/2022/06/02/ukraine-crisis-eu-russia-sanctions

https://www.journaldemontreal.com/2022/06/14/kyiv-recupere-les-corps-de-combattants-dazovstal-dans-unechange-avec-moscou

https://egc.ostrava.cz/ostravas-slag-heaps/

https://www.ladepeche.fr/2023/02/26/guerre-en-ukraine-des-ong-cartographient-des-destructions-environnementales-majeures-11023430.php

https://www.dna.fr/defense-guerre-conflit/2022/06/03/100e-jour-de-guerre-en-ukraine-d-une-operation-eclairratee-a-un-conflit-d-usure

https://www.reuters.com/world/icrc-says-ready-lead-evacuations-mariupol-deliver-aid-2022-03-31/

https://www.linkedin.com/posts/metal-expert_romania-liberty-steel-activity-7164313476587352066-NdWS

https://inlandstories.com/patrick-wack-azov

https://www.flickr.com/photos/janetjj/2277281295

https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.freepik.com/premium-ai-image/large-industrial-structure-with-large-pipe-large-number-pipes_45985995.htm&ved=2ahUKEwib0eGtwIOJAxUqxgIHHRsqPDcQh-wKegQIFBAD&usg=AOvVaw3nxwks-c-0I74grEiYfYN3

https://pikabu.ru/story/chto_est_katakombyi_azovstali_9049156

https://brooklynrail.org/2022/03/field-notes/Ukraine-The-Economic-Consequences-of-the-War/ https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://commons.wikimedia. org/wiki/File:Slagheap._Donbass._Infrared.jpg&ved=2ahUKEwiB47WFwYOJAxWDwAIHHRy2OsMQh-wKegQIZRAD&usg=AOvVaw1gIn2qtlPIZnGtlCqraYDs

https://pikabu.ru/story/chto_est_katakombyi_azovstali_9049156

https://www.google.com/url?sa=i&url=https://www.rtbf.be/article/guerre-en-ukraine-la-video-dans-les-souterrains-d-azovstal-a-marioupol-ou-civils-et-soldats-attendent-leur-evacuation-10984309&psig=AOvVaw2VlWyWJn7QfH5AyuQjobsp&ust=1728639347145000&source=images&cd=vfe&opi=89978449&ved=0CBcQjhxqFwoTCOCj78PBg4kDFQAAAAAdAAAAABAJ

https://www.journaldemontreal.com/2022/06/14/moscou-annonce-un-couloir-humanitaire-pour-les-civils-delusine-azot-de-severodonetsk-1

https://www.foreigncurrencyandcoin.com/product/ukraine-1-hyrvnia-2018/ https://www.immersiveukraine.com/en/sources/

https://commons.wikimedia.org/wiki/File:Diagram;_integra_naturae...imago,_Fludd,_1618_Wellcome_ M0013224.jpg

https://treeofvisions.wordpress.com/tag/magic-wands/

https://u.osu.edu/chen.10586/2020/09/02/babel-tower/

https://iawia.net/images/axis-mundi/

https://thenewvitruvianman.com/design/vitruvian-man

https://uk.news.yahoo.com/russias-siege-ukrainian-city-mariupol-123445689.html

https://www.bbc.com/news/world-europe-63694707

https://www.geneva-academy.ch/news/detail/567-new-expert-pool-will-strengthen-the-capacity-of-humanrights-mechanisms-to-incorporate-ihl-into-their-work

https://chas.news/news/sutsilni-ruini-yak-viglyadae-azovstal-u-mariupoli-video

https://perconcordiam.com/the-ukraine-war/

https://www.euronews.com/2022/05/29/us-ukraine-crisis-azovstal

https://www.bnr.nl/nieuws/internationaal/10475154/rusland-heeft-geen-belang-om-burgers-uit-staalfabriekmarioepol-niet-te-laten-gaan

https://www.euronews.com/2022/04/16/us-ukraine-crisis

https://www.lepoint.fr/monde/guerre-en-ukraine-treve-en-vue-a-l-usine-azovstal-pour-evacuer-lescivils-05-05-2022-2474343_24.php

https://fr.euronews.com/2022/06/20/ukraine-117-jours-de-guerre-les-bombardements-sintensifient-sur-kharkiv

https://www.nrc.nl/nieuws/2022/04/13/verbeten-slag-om-marioepol-a4111138

https://www.telegraaf.nl/nieuws/555543205/er-lijkt-een-kentering-zichtbaar-in-oorlog-met-rusland-poetinweet-spel-goed-te-spelen

https://projects.voanews.com/ukraine/war-anniversary/timeline.html

https://www.diakonia.se/ihl/news/ukraine-two-years-since-russias-full-scale-invasion/

https://www.euractiv.com/section/global-europe/news/siege-ends-at-ukraines-mariupol-steelworks-russia-seekscontrol-of-donbas/

https://www.irishtimes.com/world/europe/2022/12/15/we-were-prepared-to-die-a-ukrainian-prisoner-of-wartells-his-story/

https://www.leparisien.fr/international/guerre-en-ukraine-kiev-propose-a-la-russie-des-pourparlers-a-cote-dusite-dazovstal-a-marioupol-24-04-2022-F2G6FGJIGJAUDKJ3BKBVAVFBBU.php

https://kathypikephd.com/five-on-friday/roman-tritz/

https://www.nationalgeographic.fr/environnement/les-terrils-du-nord-de-la-france-redonnent-vie-au-tourismeregional

https://doroleung.com/

https://en.zona.media/article/2022/07/14/azovstal

http://www.sulphuric-acid.com/techmanual/sulphur/storage.htm

https://www.google.com/maps/place/ЧАО+”МК+”АЗОВСТАЛЬ”+Крупносортный+прокатный+цех/@47.102 4201,37.6074991,3a,75y,90t/data=!3m8!1e2!3m6!1sAF1QipMVIzjBKIUHDZ5bJrTl4e2mDF70hf78bQwPQ517!2e10!3e12!6shttps:// lh5.googleusercontent.com/p/AF1QipMVIzjBKIUHDZ5bJrTl4e2mDF70hf78bQwPQ517=w203-h360-k-no!7i2340!8i4160!4m12!1 m6!3m5!1s0x40e6e7691d33c819:0xe87d3a8ff23e6ca0!2z0KHRgtCw0LvQtdGA0LDQt9C70LjQstC-0YfQvdGL0YUg0LrQvtCy0Yg! 8m2!3d47.1086097!4d37.6147018!3m4!1s0x0:0x226fcbf228195399!8m2!3d47.1035004!4d37.6067356

https://yandex.ru/maps/10366/mariupol/?ll=37.543300,47.097101&z=12

https://en.ppt-online.org/95075

https://niss.gov.ua/en/node/1503

https://fakty.com.ua/ua/ukraine/20220804-smitnyk-abo-park-gur-rozpovilo-pro-plany-okupantiv-shhodo-mariupolya-ta-ruyin-azovstali/

https://suspilne.media/271395-azovstal-istoria-budivnictva-rekordiv-ta-rujnacij/

https://studwood.net/1888773/tovarovedenie/listoprokatnyy_stan_3600

https://m.facebook.com/groups/industrialhistory/posts/2385133438441992/

https://www.oecd.org/industry/ind/47858288.pdf

https://www.britannica.com/place/Ukraine/Plant-and-animal-life

https://www.nationalgeographic.co.uk/environment-and-conservation/2021/11/inside-a-ukrainian-war-zone-another-fight-rages-for-clean-air

https://www.frontiersin.org/files/Articles/513099/fpls-11-00359-HTML/image_m/fpls-11-00359-t001.jpg

https://www.frontiersin.org/articles/10.3389/fpls.2020.00359/full

https://www.hindawi.com/journals/aess/2014/752708/

https://www.sciencedirect.com/science/article/pii/B9780128031582000151

https://timesofindia.indiatimes.com/life-style/food-news/cilantro-can-remove-most-of-heavy-metals-from-yourbody-in-less-than-2-months/photostory/68285600.cms

https://rattibha.com/thread/1527647978349023233

https://meta.ua/uk/news/video/47031-spravzhne-oblichchya-russkava-mira-u-merezhi-zyavilosya-video-znischenoyi-azovstali/

https://mfs.digital/en/

https://dn.depo.ua/rus/mariupol/shlakovi-gimalayi-mariupolya-yak-vizhiti-bilya-vidvaliv-zamulenogo-morya-ta-dihati-pilom-20180313741160

https://63.ru/text/world/2022/12/09/71865158/

https://www.0629.com.ua/news/2531990/slakovaa-gora-unikalnaa-dostoprimecatelnost-ili-ekologiceskaa-problema-mariupola-video

VIDEOS & DOCUMENTARIES

https://www.youtube.com/watch?v=SRIs96kgSQk https://www.youtube.com/watch?v=wELsEXnDkCA

https://www.youtube.com/watch?v=aFGSCZM1Ybo https://www.youtube.com/watch?v=z_WXSUCuERE https://www.youtube.com/watch?v=J4B6kfkMSCg https://www.youtube.com/watch?v=_4bt8qp6R3Q https://www.youtube.com/watch?v=X4o216W2N3s https://www.youtube.com/watch?v=cTe9Dio4CjA&t=3s https://www.youtube.com/watch?v=Fm59TJLxNPw

https://www.youtube.com/watch?v=24s_5sNBO4k https://www.youtube.com/watch?v=yvWqNqJ5IaQ https://www.youtube.com/watch?v=69_euWrHlfU

https://www.youtube.com/watch?v=Qa8JqMfJcj8 https://www.youtube.com/watch?v=mVEvN7vnYG0

https://www.youtube.com/watch?v=A0A59L4KEas https://www.youtube.com/watch?v=HLwk8VlRzak https://www.youtube.com/watch?v=UO8msJe0wMQ https://www.youtube.com/watch?v=kgt_SNi7-FE https://www.youtube.com/watch?v=AaZ2eMUizQo https://www.youtube.com/watch?v=azldlmJUolc https://www.youtube.com/watch?v=SJpooQeeiBk

https://www.youtube.com/watch?v=EeAkcQDHC1Q

Here it is, the end.

What you just read and experienced is the result of my graduation thesis in architecture. It has been a longer journey that I expected, but in the end, I am glad and grateful for this process, even the down moments, when I lost myself and also failed.

This project taught me much more than I thought, not only about the topic itself but mostly about myself. And that is why, it is a judicious thing to pick a meaningful topic for yourself. Sometimes, you just have to listen to yourself and follow your instincts. Even if many people will not understand you, it does not matter. As long as you understand you own self, that is the most important. Be true to yourself.

It is so beautiful to embrace our difference, so beautiful to be passionate, so beautiful to be curious and nothing and no one should stop you from what you wanna achieve and what you wanna become.

I could spend so much time writing and letting you know how I felt but I am afraid that it might be a bit long. And I have to be honest with you, there’s nothing to be afraid of. Not even the blank page in front of you, not even the chaos you are bringing to yourself, not even thousands of your thoughts that are intertwining between each others, not even your own self and your difference or stepping outside of your comfort ZONE. These are what make you unique. So, we have to embrace all of that, embracing the unknown.

And even if we won’t have the answers to some questions, it doesn’t matter. Because sooner or later, they will arrive, when you won’t expect it.

And if I have to find the answer to “Who am I”, that I tattooed on myself as a constant reminder, I will tell you, “I don’t know”. But what I know, is that everyday, when I listen to myself, when I follow my instincts, ... I am one step closer to what I really am. And yes, maybe this is a lifetime quest, who knows. But the most important isn’t the end, it’s the process.

So I would like to express my deepest gratitude to my mentor

Raul Correa-Smith who has guided me through this time with his meticulous advices.

Daria Khozhai, who allowed me to not be scared of who I am and letting me expressing myself without any boundaries.

And Peter Mensinga, who was the first on board and adapted his knowledge to all the shifts I have taken.

I am so grateful for having such an eclectic team of designers, thinkers, artists, engineers, and so much more. It has been a wonderful journey, lonely, sometimes through the darkness, but like Andreï, I have finally reached the light.

It is with emotions and my heart full of gratification that I am writing these last lines. It does sound like an end, but it is only the beginning. Thank you all for everything.

All rights reserved. No part of this book may be used or reproduced in a context of reviews. Several reference images in the book were sourced from Google search engine. This can be adjusted if there are any issues. Any errors or omissions will be rectified in future editions.

TIMOTHÉE PIGNOUX

Timothée Pignoux - ZONE - A journey to self-discovery and healing

THE STORY OF MARIUPOL

BEFORE THE WAR

THE WAR

MARIUPOL’S URBAN TISSUE

FROM FISHERY TO METALLURGY

MARIUPOL’S LAYERS

ARCHIVES

A NEW BEGINNING

THE CREATION OF AZOVSTAL

RAW MATERIALS AND MINOR METALS IN STEEL

AZOVSTAL’S ELEMENTS

INITIAL CONCEPT

A PHYGITAL PROJECT ?

AZOVSTAL’S SOIL POLLUTION

BY THE PHYTOREMEDIATION AND BIOREMEDIATION PROCESSES

MY VISION OF AZOVSTAL

AN OPEN MUSEUM

THE MOUNTAIN

CO2 CAPTURE

VEGETATION GROWTH

NATURAL RECOLONIZATION

A POTENTIAL ECOLOGICAL DISASTER

CHAPTER 1 : THE CALLING

THE WALLS O F UNITY

SECT O RS

CHAPTER 3 : THE SCIENTIST

THE C O NVERTER

CHAPTER

4 : THE ARTIST

THE SLAG

SECT O R N. 15

CHAPTER 5 : THE CONNECTION

UNDERGR O UND

CHAPTER 6 : THE STARRY SKY

HRYVNIA

THE STARRY SKY

CHAPTER 7 : DISILLUSION

HALLUCINATI O NS

CHAPTER 8 : AXIS MUNDI

AXIS MUNDI

CHAPTER 9 : THE PLAN

SQUARE

INSPIRATI O N

CHAPTER 10 : BUILDING HOPE

CHAPTER 11 : DISSONANT TIME

THE PLANS

CHAPTER 12 : ANOTHER PERSPECTIVE

NATURAL REC

O L O NIZATI O N

PERS O NALITY DIS O RDER

THE EXHIBITION : THE ZONE

ACT I - THE FILM :

ECHOES

ACT II - THE PROCESS : CHAOS & CLARITY

ACT III- THE MODEL : FACES OF RENAISSANCE

The Scientist – Knowledge and Understanding

Azovstal, the resistant

VIDEOS & DOCUMENTARIES