camilla rudanovskaya
architecture portfolio
PROJECT INDEX
1
Intervention in my student’s house
2
The city and the boundary
3
Housing: 6m building depth
4
Housing estate in Schlieren
5
The Forgotten Station in Mythenquai
6
essay & expo installation “Concave
Landmarks”
1 INTERVENTION IN MY STUDENT’S HOUSE Rebuilding intervention in a building of my choice. The student’s house where I used to live was a 5 storey height building lacking of a proper common space, where the rooms were arranged similarly to a typical hotel, thus with all the social spaces concentrated on the ground floor, consisting in a big unwelcoming kitchen and a dining room. By punching holes horizontally and vertically through the structure and over-imposing concrete tubular volumes the aim of the intervention is to cut out new social areas as well as visual and spatial connection throughout the different floors, generating new cohesion between the dwellers of the student house. The social space is fragmented in several smaller ones of different scale, each floor receives its own kitchen and living area in addiction to the big common room on the ground floor.
LÄNGSSCHNITT UMBAU 1/50
I NNE NRAUMBI LD UMBAU
QUERSCHNITT UMBAU 1/50
LÄNGSSCHNI T T UMBAU 1/ 50
ND UMG E BUNG BESTA ND 1/50
G RUNDRI S S UND UMG E B UNG B E S TA ND 1/50
INNE NRAUMB I LD UMB A U
INNE NRA UMB ILD UMB A U
Q UERSCHNITT UMBAU 1/50
1.ERDG OBERG E S CHO S 1/A 100 E S CHO S S SUMB U 1/100
4. BERG ES CHO SS 100 3. OOBERGESCHO SS 1/ 1/100
2.1.OO BB EE RG RG EE SS CHO CHO S S S1/1/ 100 100
DACHA 4. OB ENS RGE I CHT S CHOS 1/ 100 S 1/100
2. O B E RG
DA CHA NS ICH
2 THE CITY AND THE BOUNDARY A boundary means connection and interruption at the same time. Rome’s Highway Ring is a boundary, a sort of non-place. The idea of the project consists o a linear garden running on a deck over the whole ring road. At each point when the ring intersects the main radial arteries wich still bear their ancient roman names, there is a tower rising righ above the structure. The towers are possible stops during a promenade along the garden and serve as hubs of various public functions and activities, while the upper floors are dedicated to offices and are facing with windows onto an inner court.
3 HOUSING: 6M BUILDING DEPTH A bulidng depth of just 6 meters between the two facades is the initial constrain, which brought to the linear arrangement of the volume. The builiding stands between the street and the park, through several run-trhough points on the ground floor it allows the integration of the green lung with the public street on the other side of the building. Linearity characterizes the outer form as the building as well as the inner spaces of the housing units, which vary in 2-, 3- and 4-rooms apartments. Load-bearing concrete cores are juxtaposed to lightweight parts, harbouring the former the private rooms and the latter the bright multifunctional living area spanning the whole length of the apartment and facing on both sides of the slim block.
GSEducationalVersion
4 HOUSING ESTATE IN SCHLIEREN The housing project in Schlieren, a small town adjacent Zurich, is a big Siedlung composed of 10 smaller estates designed each by one student. The masterplan of the area is the result of collective work, which gave the framework for the following design project. The main measures we took after subdividing the space and defining the public space were establishing a building height and foresee a continuous 3-meter high brick wall on the outside facade of every estate in order to visually unite the public area in-between. The estate I designed on the north-west corner consist of six volumes that do not share any walls with each other and are separated by gardens, terraces and 2-meters high brick walls. Each house is composed of a volume with living area on the ground floor and private rooms on the first floor. Smaller one-floor high volumes contain the additional spaces of the kitchen and a studio, characterized by colourful glazings facing the backyard. Those minor volumes support terraces accessible from the private rooms upstairs, and because of their irregular configuration they divide the outside space in two complementary areas, thus a bright terrace in front of the house and a garden behind it. The backyard is accessible through a narrow passage between the walls, acquiring an intimate, almost hidden character.
Treffpunkt Faerbehuesli
elevation A1
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section S1
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section S2
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5 THE FORGOTTEN STATION IN MYTHENQUAI
Forgotten Station - Mythenquai Plan Scale: 1:50 ETH Zürich - Studio Brodskiy 18.12.2018
Studio Brodsky was about a “forgotten station”, a function-less place with the metaphorical meaning of a place of endless awaiting, a station were no train is ever going to stop. While designing a real life pavilion collectively, each of us was designing his own, boundless forgotten station. I) The site for the pavilion we designed and build collectively was placed on the roof of a railway garage along the swiss railway wich was also the location for the second part. After the first design phase a competition was hold in order to choose a project which could be further refined altogether. In second stage we calculated the structure in all its parts, organized the logistics and the subdivision of work, and gathered the necessary legal permissions. During the process we were assisted by an engineer, a scaffolding company an a carpenter who put his workshop to our disposal. The object stood 6 month long before being demolished. II) While working on the real life pavilion I designed my own version of the “forgotten station”, which on the opposite is an Utopian reflection on the topic of the train station. The project is a fairy tale about an imaginary train-master inhabiting the royal wagon of tsar Nikolai II. The railway garage is transformed in a train station with the symbolic value of the 19th century stations, thus not mere infrastructure hubs, but festive and dreamy palaces. Station in their beginning were used for events, banquets and concerts, and only sporadically for travel. In my project the garage is transformed into a banquet hall and the platform into a garden that plays on the sequence of the typical jardin à la française with garden, promenade and bosquet ending up in a labyrinth. The banquet hall is connected to the train-master’s private wagon through a ticket counter, while downstairs are the service rooms for visitors and the attendants, served by two separate staircases. The platform, which indeed remains a waiting platform, finally is a monument to the idea of awaiting, since the possibility of getting a train remains present but distant, subordinated to the density of the events taking place in the station.
6 CONCAVE LANDMARKS
ESSAY AND EXPO INSTALLATION
The semester at Studio Panorama aimed to highlight and discuss in a critical manner the most contemporary phneomena going on in the architecture scene since about a decade, as well as the many economical, ideological, social and aesthetical factors that determine in a more or less explicit manner what is being build nowadays. As I got interested into underground infrastructure as a particular form of public space, but also as a space of representation since its beginnings, i chose it as my topic to deepen into. At the end of the semester I contribuited with a chapter to the book “14 Views on Contemporary Architecture” and I designed and build an installation at the homonymous exposition in our faculty.
Borisovo (N. N. Shumakov), 2011, Moscow
Keilaniemi (ALA Architects), 2017, Helsinki
Spartak (D.V. Gursky), 2014, Moscow
Lesoparkovsya (V. Z. Filippov), 2013, Moscow
Arbatskaya, 1953
Novoslobodskaya, 1952
Kakhovskaya, 1969
Proletarskaya, 1966
Saviolovskaya, 1987
Domodedovskaya, 1985
Sretenskiy Bulvar, 2007
Lyublino, 1996
Novokosino (L. L. Borsenkov), 2012, Moscow Victory Park (Metrogiprotrans), 2003, Moscow
Zenith (n.): the point of the celestial sphere that is directly opposite the nadir and vertically above the observer; “point of the heavens directly overhead at any place,” late 14c., from Old French cenith, from Medieval Latin cenit, senit, bungled scribal transliterations of Arabic samt “road, path,” abbreviation of samt ar-ras, literally “the way over the head.”
Petrovsko-Razumovskaya (N. I. Shumakov), 2016, Moscow
Govorovo, 2018, Moscow
The Vibration Group, Printworks (Danceclub), 2017, London, UK Studio Karhard, Berghain (Danceclub), 2004, Berlin, Germany walkLab, Walk through the Crystal Universe, Interactive inst., 2016, Odaiba Aomi Area, Tokyo
Fonvizinskaya (N. I. Shumakov), 2016, Moscow
Dorothee Mainka, Resonate, Light and sound installation, 2012 Luminale, Mainz
Butyrskaya (N. I. Shumakov), 2016, Moscow
HIDDEN LIGHT SOURCES
iart (Lighting), Max Dudler Architekten, Passage Europaallee, 2012, Zürich
Bikas Park (Palatium Studio), 2014, Budapest
Chlodwigplatz (Schaller/Theodor), 2014, Cologne
MUSEUMS
Estudio Mariscal, H&M Store, 2009, Barcelona
Hafencity Universität (Raupach), 2012, Munich
COMMERCIAL SPACES
DHA Designs, Hitze Hall, 2018 Natural History Museum, London
Westfriedhof (Au+Weber), 2001, Munich
(Alberto Campo Baeza, Architettura sine luce nulla architettura est)
Ensamble Studio, Museum of Mesoamerican Art, 2010, Salamanca
Waldgarten (Nachtaktiv), 2012, Zürich
Salaryevo (A.I. Tarasov) , 2015, Moscow
ZENITHAL LIGHT
(Licht und Beleuchtung, in: Das Werk: Architektur freie Kunst angewandte Kunst, n. 6, 1929)
Could we not understand that the moment has arrived in the history ot architecture, this exciting moment when we must confront light? To grasp light; to dominate light; let there be light! And there was light. The most eternal, the most universal of materials is thus erected as the central materiai to build with, to create space.
Rasskazovka, 2018, Moscow
Shilipovskaya (N. N. Shumakov), 2011, Moscow
Lesoparkovaya (V. Z. Filippov), 2013, Moscow
Petrovsko-Razumovskaya (N. I. Shumakov), 2016, Moscow
Troparyovo (A.I. Tarasov), 2014, Moscow
Bikas Park (Palatium Studio), 2014, Budapest
Università (Alessandro Mendini + Karim Rashid), 2011, Neaples Fornebu Senter (Zaha Hadid + ALab), 2020, Oslo
completed “out of time and style”, with no change in design, new stations from the 2000s witness a search for new shapes and language coherent to the ideological change.
Baccheios the Elder, in Rudolf Westphal, Die Fragmente und Lehrsatze der griechischen Rhythmiker
Wenn auf einem Schreibtisch eine Vase, ein Telephonapparat und eine Schreiblampe stehen, wem ist der Beleuchtungskörper seiner Natur nach am nächsten verwandt, der Vase oder dem Telephonapparat?
LIGHT-OBJECTS
Toledo (Óscar Tusquets), 2012, Neaples
and provide an individual appearance to new metro stations through variations in the form of the columns and vaulting, together with a return to figurative and decorative elements.
“What do we call arsis ?“ asks Baccheios. - “When the foot is raised from the ground as if we intend to step. “And what is thesis?” “When it is put down”.
EXCURSUS: ARTIFICIAL LIGHT IN DIFFERENT INTERIORS
(Hardtmut Bohme, The Philosophical Light and the Light of Art)
construction, standardized design and cost saving. New stations embodied the aesthetics of functionalism and any artistry or pompousness was sharply condemned.
Sokol, 1938
Borisovo (N. N. Shumakov), 2011, Moscow
And between pure light and pure blackness— which paradoxically coincide and are nonhuman and superhuman, transcending existence, devoid of predicate, and therefore closer to Nothing than to Something—between these two, in the world of color, we appear along with things, and things appear to us.
detail had to be beautiful and of high quality. Lobbies become almost temple-like: wider, higher, even more pompous and solemn.
Ulitsa Akademika Yangelya, 2000
Barrikadnaya, 1972 Rimskaya, 1995
Kropotkinskaya, 1935
Epping (Hassel), 2009, Sydney
Überseequartier (netwerkarchitekten), 2012, Hamburg
STAGES OF GLOW
Architects attempt to move away from the boring sterility of the 60s. Despite limited financing and a mostly standardized structures they seek for greater freedom in design
The country was deeply affected by political and economical transformations which ‘90-2000 followed the fall of the Soviet Union. While some older large-scale projects were
INTEGRATION OF LIGHT SOURCES IN ARCHITECTURAL ELEMENTS
(Hardtmut Bohme, The Philosophical Light and the Light of Art)
With the advent of the new leader Nikita Khrushchev, changes took place in the state ideology as well as in the finance. In architecture it resulted in industrialization of
1970-80
THE LAMP IS THE THING
The sky is empty of God; so there is no metaphysics of light. But it is not empty of light; so there can be an art of light. Either God is the cosmic stagemanager of a light that offers us the prospect of a “superessential” truth; or we are forced to accept and affirm a secularized perceptual world that recognizes no “outside,” whether in the form of Nature or History, and can derive its potency, if any, only from techniques of simulation.
1960s
Ryazanskiy Prospekt, 1966
Work is not easy, but you are respected, And the guard, without looking at the passport, Will ask: well, when Will you come out to the light There, where still you have no tunnel.
Aviamotornaya, 1975
Работа не легка, но уважают Вас, И постовой, не глядя в паспорт, Спросит сам: ну когда Вы выйдете на свет Там, где еще у Вас тоннеля нет.
Novokuznetskaya, 1943
But there will be light and a bright hall, The trains will fly through. And further, you said yesterday they will lead you there, where you were awaited for a long time.
The letter “M” is highly lit. Milky lantern - the moon on a bracket. Finally, today my wife and I received an underground baptism. Step by step with us with everyone, working families are going down the steps. As soon as the lobby cornice whitened, my wife says, surprised: - We went downstairs, and we found ourselves, I think, higher! It seems that soon the clouds will begin to hang from the columns and balconies..., And the whole hall, like a glass of milk, shines with the morning freshness. Tiles - the brightest splendor! I don’t get tired of talking about them I want to smear the tiles on bread and savor them like sour cream. [...]
Metro stations became patterns of Stalin’s Empire style. Leading motif were the glorification of the Red Army and the dream of a peaceful postwar life. Every single
Preobragenskaya Ploshad’, 1965
Но будет свет и яркий зал, Промчатся поезда. А дальше, ты вчера сказал Вас уведут туда, где Ждут Вас долго и давно.
Литера “М” высоко зажжена. Молочный фонарь - луна на кронштейне. Наконец-то сегодня я и жена получили подземное крещенье. Шагом степенным с нами со всеми, идут по ступеням рабочие семьи. Едва отбелел вестибюльный карниз, жена говорит, удивившись: - Спускались-то мы по лестнице вниз, а очутились, по-моему,выше! Похоже, что вскоре начнут облака с колонн и балконов свешиваться..., А зала вся, как стакан молока, сияет утренней свежестью. Плитки - белейшая великолепь! О них говорить не устану хочется плитку намазать на хлеб и смаковать, как сметану.[...]
Fonvizinskaya (N. I. Shumakov), 2016, Moscow
Szent Geller Ter (Sporaarchitects), 2014, Budapest
Mosmetrostroy, again a slaughter. Forward, forward, forward, Not seeing the daylight, You dig forward yourself There is no end to the tunnel.
Semyon Kirsanov: “M”
Семен Кирсанов: “М”
Zyablikovo (Metrogiprotrans), 2012, Moscow
(Rem Koolhaas about Coney Island. In: Mogens Rüdiger, The Culture of Energy, 2008 Cambridge Scholars Publishing)
Monseñor Eyzaguirre (Burmeister), 2019, Santiago de Chile
Towards 1890, the commissioning of the electricity permitted to create a second day: electric lightning was arranged at a regular space along the beach and as a consequence, we could have the sea according to a system of perfectly underground metropolitan. This artificial extension of the day was not seen as a third rate experiment. On the contrary, its artificiality had become an attraction: Artificial had triumphed over the real.
Matinkyla (Arkkitehtitoimisto HKP Oy), 2017, Helsinki
THE TUNNEL: VARIATIONS
Although the metro belongs to the reality of the metropolis, underground space is experienced in a different way than ordinary public space. Its main peculiarity is that it has no exterior, it consists only of an interior. It is probably impossible to imagine the enormous course of tunnels and halls beneath the surface of the city, that reveals its existence only through tiny punctual entrance pavilions. The metro infrastructure is a sort of parallel artificial world where people incessantly hurry in all directions, it consists of a spatially and aesthetically autonomous space, and it is a reign of artificial light par excellence. Metro stations and electric light are bound together much further than the obvious dependence of the underground space from artificial light sources. As I would like to explain with this essay, from their earliest simultaneous development both phenomena represented common historical ideologies and aesthetic tendencies. Ever since, before such things as electrical lightning and transportation existed, architecture throughout the centuries has resulted as a symbiotic interaction of form, i.e. mass, material substance, and the light of the sun. A prior task of the architect was always to master the way the light of the sun penetrates into the interior, and therefore defining on one side its relationship to the outside through interruptions in the volumetric mass, on the other defining the way and the amount in which the material substance is revealed by light. Light, daylight at first, is a tool to create space, similarly to physical substance, or, in other words, it “clears” the space, it makes room. The polarity of Day and Night which governed the cosmos since the outset of time was put upside down as electric light conquered our cityscapes throughout the last century, allowing the birth of an Architecture of the Night (in the original German terminology Lichtarchitektur, i.e. “Architecture of Light”). The combination of glass and electric light turned buildings into giant lamps, ideologically supporting a utopic faith in technique and indirectly in Consumerism, encouraging the enlightenment of commercial spaces and advertisement as landmarks in the night but also making possible spectacular manifestations such as Albert Speer’s Cathedrals of light (ger. Lichtdom) during the Nazi rallies, or those of the World Fairs, where nations achieved
Мосметрострой, опять забой. Вперед, вперед, вперед, Не видя свет дневной, Ты роешь пред собой Конца туннелю нет.
LIGHT AND RITHM
Arthur Schopenhauer: Die Welt als Wille und Vorstellung, (Band 1 1819, Band 2 1844) [Bd. 1, §43], 3 Bde. Frankfurt am Main 1986
Marienplatz (Alexander von Branca), 2006, Munich
Wenn wir nun die Baukunst, bloß als schöne Kunst, abgesehn von ihrer Bestimmung zu nützlichen Zwecken, [...] betrachten; so können wir ihr keine andere Absicht unterlegen, als die, einige von jenen Ideen, welche die niedrigsten Stufen der Objektität des Willens sind, zu deutlicher Anschaulichkeit zu bringen: nämlich Schwere, Kohäsion, Starrheit, Härte, [...] und dann neben ihnen das Licht, welches in vielen Stücken ein Gegensatz jener ist.
magnificent visibility and attractiveness through the innovative use of electric light. If classical Utopism wanted to construct heaven of earth, Stalinist culture constructed heaven underground. While in the USA and in Europe a new romantic nighttime-downtown was arising thanks to the diffusion of electric ligtening, starting from 1935 thousands of Metrostroishiki were excavating the soil deep under the streets of Moscow, realizing the most ambitious project of the time. Moscow’s Metro was an object of prestige and a tool of propaganda, and no expense was spared for the “palaces for the people”, the temples of communist ideology. The use of artificial light was an important factor in the perception of the new underground as something with an almost Utopian dimension. The name of the opera Victory over the Sun exemplifies the battle of soviet avant-garde for a new, artificial, electric light as an alternative to the old pre-revolutionary world, and the idea Nowadays Moscow is developing as a model 21st century city in a capitalist world. The incredibly massive expansion of the metro that is taking place since 2011 is a priority in the public agenda and the design responds to international references, more than to the own Russian tradition. The upheaval that affected Russia after the fall of the Soviet Union in 1991 radically changed the pattern of everyday life in the country, once again it was tabula rasa, the old values were to be overcame and the new ones inevitably came from the West. Economic considerations and interests of actors from different fields determine the guidelines that are prescribed for the design of the new metro stations. The most trendy and modern result has to be achieved with the least expense, whereas architects are not allowed to influence in any way the predetermined structural frame. In the Western world infrastructure in the past was mostly conceived in a very functional way, concertizing the ideal of a technological and efficient society. Nowadays as well citizens mostly experience the underground as a mere technical convenience, but nevertheless there are many cases where incredible effort has been put in the design of the metro. In Rhyadh, in Saudi Arabia, station are treated as iconic buildings, with names like Zaha Hadid and Snøhetta advertising the spectacularity of those projects. Some stations, mostly layed not much deep under the pavement, get natural light from huge openings and glazing of the monumental entrance pavilions. Differently, in Naples worldwide famous architects and visual artists designed the stations of the deep-layed Metropolitana dell’Arte as a fantastic, immersive Gesamtkunstwerk, an underground contemporary art museum serving as a tool of urban revitalization for the respective neighborhoods as well as a touristic attraction. Light is used to all effects as an artistic tool that not only changes completely the infrastructural space, but becomes a phenomenon and a thing itself to be admired. Helsinki’s new line Länsimetro legitimizes its costly design through a recall to natural elements, whereas the elegant nordic sobriety takes here the place of exuberance. Lamps are installed as fine, often hidden elements, that enhance the textural and reflective qualities of noble materials such as the bronze ceiling of the Aalto Univerity station. Award-winning stations from all over the world distinguish themselves on magazine’s rags, especially and not by chance for what concerns interior lighting solutions. Hamburg’s Hafencity is one of the most well-known examples, with its gigantic cubic LED lamps being autonomous sculptural objects hanging from the line of the ceiling and emitting differently colored light. Metro infrastructures share the same tubolar form, the ever-present tunnel changes its face through added layers of materiality, the linear space is manipulated through rhythmical, scenic or diffuse lightning, while only variations of vaulting determine the subdivision of the tube, prioritizing a more monumental axiality of the hall or the duality of the tracks of an ideally endless tunnel (which indeed continues as purely transitory non-perceived space). Under the dictum of the tubular space the architect’s task in the underground is primarily a matter of manipulation of the linear form through light. Since there is no exterior face, the interior can only be approached in a fully artificious way, fully designed as an autonomous and imaginary space, suspended from the coherence and reality of the city. Natural light is mostly seen by architects as the only one truly capable to reveal and prove the qualities of architectural space, it’s regarded as more pure and superior than the electric one, and the latter is relegated to interior designers and technicians. In most of cases it is added at last like an element of furniture and does not have an impact on the design of the space. But nowadays, as all the technical means are available to dominate and use electric light it as
Wilhelm-Leutscher Platz (Max Dulder), 2012, Leipzig
REIGNS OF ARTIFICIAL LIGHT - THE METRO
Aalto Univesity (ALA Oy + Esa Piironen Oy), 2017, Helsinki
CONCAVE LANDMARKS
A. Kolybelnikov: (dedicated to Kolybelnikov Ivan Petrovich, sinker SMU-8)
Elektrozavodskaya, 1944
1940-50 А. Колыбельников: (посвящается Колыбельникову Ивану Петровичу, проходчику СМУ-8)
DANCECLUBS
ART INSTALLATIONS
Work during the preparation of the space. Before getting into the bright space the visitor passes through a black box covered of seamless black pvc foil on every side.
The wooden frame consists of modular L-shaped elements wich carry the weight of X? m2 of textile and 32 tubolar LEDs.
The interior is a sensual and formless space. The textile is everywhere and the roof hangs in such a manner as to hide the light sources and create indirect light.
The space consist finally only of an ‘inside’, like the space one experiences when going undeground.The ‘oustide’ collapses and reaveales the bare system of wood and light sources.