DIJANA MILENOV
m. arch candidate
fall 2014
DIJANA MILENOV
m. arch candidate fall 2014 07
MANHATTAN BLOCK
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DESERT
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HOTEL ON CENTRAL PARK
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MAPPING THE CITY
WOOD AND GLASS
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PLACES OF MOVEMENT AND STILLNESS
VERTICAL DATUM
THE RITUAL OF ROWING
materiality 11
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light 21
THE RITUAL OF ROWING. BODY AND SPACE Studying the process of rowing gives an insight in the idea of motion and the human form as the generators of space . It is the balanced action of the human body, its proportions and transformation, which moves the vessel and penetrates the forces of water and air. The boat acts as a constructed vessel which is there to holds and be held by body actions:b ending, c on t r a c t i n g , r e l e a s i n g a n d r e c o v e r i n g ; p u s h i n g , c o n t r a c t i n g , b r e a k i n g a n d m o l d i n g t h e s p a c e f o r t h e o p t i m u m r u n .
MOTION AND THE HUMAN FORM : physical measures of time and space
exploring the relation to the water and main site approches
CONTEXT: GAINESVILLE FL
PROGRAM: BOATHOUSE
DESIGN YEAR III
CRITIC: BRADLEY WALTERS
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PERFORMATIVE PROGRAMS: ritual of preparing the boats. 1: 2: 3: 4: 5: 6: 7: 8:
Due to a dualistic nature of the program, there are two components of the boathouse and two main entrances: one for the public and the other for everyday use by the athletes. The ritual of an individual preparing for the rowing practice is embodied within a set sequence and prolonged itinerary. There is a transformation that happens where an individual becomes a part of a team; and when the private, intimate spaces unfold into community areas.
LOCKERS AND SHOWERS ERG ROOM OFFICE CLUBHOUSE BOAT STORAGE UNLOADING DOCK LOADING DOCK WASHING STATION
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ROWING CYCLE AND WATER SURFACE : space created by the action of rowing
horizontality
timing
penetrating
progressing
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private approach
DUALITY OF THE PROGRAM:
public entrance
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MATERIALITY OF FORM. Copper is a metal that can bend, fold and imprint the marks of time while keeping its strength and integrity. The texture, color and weathering properties of copper further represent the idea of time and permanence: a palimpsest of information held within the persistent and tenacious practice of rowing.The copper skin is experienced at different scales and targeted locations.It has a transformative and fluid effect when perceived from outside public spaces, not unlike the progressive and changeable nature of the body and water movement during the rowing activity. The pattern of overlaps and openings in the skin allows for different levels of privacy and light penetration in the private interior spaces.
light and copper DIJANA MILENOV O4
42.8 ° 43
°
16.5°
morning
noon
17.2°
openings’ shape due to sun angles: morning practice: 9 am, 42.8°-17.2° afternoon practice: 4pm, 43°-16.5°
afternoon
LIGHT ROOM: copper skin light diagrams: Illumination effects of oppenings and overlaps during the critical hours of occupancy. Changing room and showers are important part of the daily ritual of getting ready for the practice. The intimacy, warmth and sense of anticipation of this space are captured in the interplay between the the Sun
position and the copper skin pattern.
elevation
section
elevation
section DIJANA MILENOV
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VERTICAL DATUM.
PROGRAM: CIRCUS DE SOLEIL HEADQUARTERS
DESIGN YEAR II
CRITIC: LISA HUANG
FOLDING OF WALLS AND FLOORS
training rooms
production area
The sense of unity is fostered by the solitary of the core which holds all of the transitional spaces: it serves as a connecting datum which twists, folds and alters to accommodate the emergence of main destination spaces. This sequence and moments of pause are creating a morphing experience and choreography of its own. Circus de Soleil working environment: Dynamic collaboration and strong sense of unity. Their performances challenge the concept of space boundaries, occupiable edges and regularity of form. Thus. the spaces are perceived as a performance itself; costumes, masks and acts as means to animate, camouflage and make an observer a participant.
community gathering
performance space
interlocking, semi-open gathering space
performance space: branching off the core
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PLACES OF MOVEMENT AND STILLNESS. BETWEEN THE GROUND AND SKY
CONTEXT: PRAIRE CREEK CONSERVATION CEMETERY, GAINESVILLE FL
PROGRAM: GATHERING SPACE
DESIGN YEAR III
CRITIC: BRADLEY WALTERS
The variation and richness of ecosystems at the Prairie Creek Conservation Cemetery are driving the phenomenological experience of the site; they are creating a sense of tight and layered systems working together at multiple scales, forming broader fields and varying thresholds. The essential aspect of experiencing the site and these dynamic fields is movement; views, pace and itineraries are changing, overlapping and moderately wondering, conducted by the rhythm and dynamics of the surroundings. Thus, the particular aspects of the site are movement, promenade and networks of possible itineraries and layered experiences.
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Another specific characteristic of the Conservation Cemetery is the way the land is treated and intervened by human activities. The burial places are rather concealed and quietly placed within the site. However, the sensation of displacement and strain is evident. The burials are marked by found tree part that are displaced from neutral horizontal resting, into a vertical markers; these traces of human interventions give a distinct feeling of a constructed landscapes. The impressions and studies of the site have been collected into a triptych of experiential mapping, allowing the use of different spatial views and scales to enrich the analysis and create a network of experiences and new itineraries for the building intervention.
enclosing the loop and going back to the woods
gravemarks as vertical linear projections
three-line horizontal datum: the land, the mind and the sky
enclosure: trees’ boundary and the cementary ground
EIDETIC TRIPTYCHS: FEELING, FILTERING, REIMAGINING. sectional mapping of sequential nodes
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The intervention is placed so that it enhances a pull and transition from the mapped path into a wide field and further, into more enclosed, intersecting spaces of the woods. That is a location where the rhythm of plants and tries is dramatically changing, becoming more vibrant and pliant comparing to the open field. The small tight spaces created by bulk trees are also a turning place back to the road and the main itinerary. This further emphasizes the condition of multiple ways of interacting and wondering through the site: despite the hierarchy of the paths, there is a sense of a loop movement, a network, which encloses all of the possibilities. POSITIONING WITHIN THE TERRITORY:
intervention as a threshold: tilting towards the existing paths; organizing public and private approaches; sectional opening
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CEREMONY SPACE TRANSITION SPACE RESTROOMS PROMENADE REFLECTION SPACE PORCH
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The whole intervention is consisted of multiple slits and possible routes. The interaction between those creates the sense of architectural promenade. The performance presented by architecture opens itself in a sequence of the itineraries, as the perspectives unfold and overlap. The play of light and shadow produced by the enclosing screen adds to the dynamics and climax of the experience. Moreover the sense of promenade is enhanced by the phenomena of slip-passing itineraries; while going up on the ramp, one experiences the disjunction from the adjacent pathway.
EIDETIC TRIPTYCHS: FEELING, FILTERING, REIMAGINING. plan view analysis
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WOOD AND GLASS.
CONTEXT: GAINESVILLE FL
VESSEL CONSTRUCTION
secondary structuaral system
PROGRAM: BUSS STOP
DESIGN YEAR III
CRITIC: LEE-SU HUANG
visual effect of the overlaping structural elements
glass system- protection and seating
glass system - the ribs glass rib
SECTIONAL SHIFTS:
overall woden rib
2. alternating wooden members betwwen the two sides: controling the level of visual connection
1.merging with the stairs
3.reclining seat: on a more secluded side of the pavillion
The bus stop is perceived as a threshold between the high traffic road and an open, vegetated field and pedestrian zone. It is consisted out of two main complementary geometries: one facing the Museum Road and opening up the view towards the traffic; the second one deviating from the stairs which lead to the road in order to bring in passengers’ movements in a private part of the pavilion which looks over the loan. Wood and glass assemblage is used to create a perception of vessel which holds and accommodates body’s form. The ribs are costumed to follow occupants approach and the line of seated body. Their thickness and distance create different levels of transparency, vision and privacy between the two main zones of the bus stop. Glass sheeting serves as a protection from rain and as an opportunity for visual connections. Thus, the duel character of the form and materials of the bus stop allow for an individual choice and a moment of pause within the urban fabric. DIJANA MILENOV
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MAPPING THE CITY. PUBLIC VS. PRIVATE
CONTEXT: CHARLESTON, SC
PROGRAM: DANCE THEATRE
DESIGN YEAR III
CRITIC: STEPHEN BELTON
RELATION TO THE STREET: approach views
CITY MARTIX: traffic speed vs. pedestrian movement DIJANA MILENOV 12
The site of the building intervention is a corner with a transitional character, mediating the differences between the surrounding public spaces: a very populated pedestrian itinerary going from the Market Street to St. Philips Church is passing parallel to the cite and it is intersected by a car oriented street.
STREET EDGES AND TRESHOLDS: Charleston Market Street
FRAMING THE VIEW: Charleston alleys
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MAIN VOLUMES:
TECTONICS: residences offices
secondary enrtance & secondary performance space
primary enrtance & primary performance space
studios
structural core & circulation
policarbonate skin
TRANSFORMING AND OPENING: carving out the itinerary
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PERFORMANCE SPACE: framed views and policarbonate egde of the circulation path
A: B: C: D: E: F: G:
LOBBY CAFE GALLERY LIBRARY DANCE STUDIOS MAIN STUDIO CHANGING ROOM
The corner of the site has a transitional character, connecting the differences between the surrounding public spaces: a very populated pedestrian itinerary going from the Market Street to St. Philips Church is passing parallel to the location of the intervention and it is intersected by a more car oriented path. DIJANA MILENOV 15
LEFT: 2nd floor
A: VIDEO GALLERY B: CAFE C: MAIN PERFORMNCE SPACE D: SECONDARY PERFORMANCE SPACE E: CONFERENCE ROOM
RIGHT: 3rd floor A: B: C: D: E: F:
STUDIOS BALCONY OFFICES FITTING ROOMS RESIDENCES INDIVIDUAL STUDIOS
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PRESENCE OF THE CULTURAL INSTITUTION ON THE STREET: activating the facade by interior activity
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HOTEL ON CENTRAL PARK. PRIVACY AND EXPOSURE. Located at the intersection of 6th Avenue and Central Park South, this hotel embodies the experience of New York City through framing the most contrasting aspects of its context: the dense activity of Midtown and the release provided by Central Park. The promenade through the hotel pulls from the dense grid of Midtown into the public spaces of the hotel with a sequence of turning back to face Central Park. The hotel begins to filter the overwhelming stimuli of the city by inverting exposure to the city through the use of transparencies. The most public spaces are the most enclosed to create an internal experience provided by the hotel with specific framed views control the stimuli of the city. These public spaces create a core of stacked overlapping boxes that slide between two main private volumes. Once the guests have experienced gone through the progression of public spaces, they return to their rooms while offer the most exposed views of the city. The rooms are removed from the congestion of the city so the guests can become observers of Manhattan.
public - private
shifting creating views
circulation core-visual relation to the atrium
public core
CONTEXT: CENTRAL PARK,NYC
PROGRAM: HOTEL
DESIGN YEAR IV
CRITIC: ALFONSO PERES
PARTNER: TRACEY WEISMAN
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VASTNESS.
CONTEXT: SAHARA DESERT
PROGRAM: MUSIC RETREAT
DESIGN YEAR II
CRITIC: LISA HUANG
THE PROCESS OF MAKING MUSIC
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A: INDIVIDUAL PRACTIVE ROOMS B: DINING AREA C: PERFORMANCE ROOM D: MEDITATION ROOM E: OBSERVATION AREA F: SLEEPING SPACES
Desert is approached as a land of progression, constant changeability and fragility, which ultimately creates a vast whole. This concept is connected to the process of making music. In particular, Steve Reich work is used as an inspiration: the use of loops and phasing patterns, repetitive figures, slow harmonic rhythm and canon are typical for his compositions. Similarly, the music retreat is imagined as a composition of modular and their progressions leading to the main, culminating spaces. Most of the areas are underground or strongly related to the condition of the desert surface edge. The contrast and projection created by the exposed, above the ground rooms holds and encloses the retreat area as a unity.
DIAGRAMING STEVE REICH COMPOSITIONS: exploration of rhythm as a generator for the pavilion organization
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OPENING THE DESERT SURFACE : the performace space
The modular units hold several small sleeping and meditating rooms, as well as medium size music practice spaces. They serve as overall organization of the pavilion. These rather simple, frugal and dim individual spaces are gathered in several clusters that create a sequence of thresholds leading to the common areas. Moreover, the idea of transience and changing character of music and unstable grounds as deserts are, is explored; thus, the retreat is perceived as a promenade where the full experience is created by the combination of changing movements and all sensory perceptions. The common space area is immerging at the intersection of the projected smaller space clusters, as the culmination of the promenade. It contains the main eating area, small library and reading space. These rooms are rather enclosed and protected spaces, serving as a shelter from the heat and sun yet closely connected to the biggest common space where the musician gather after dinner to perform what they have practice during the day. This is the main social space for the artists to share their creations. It is imagined as an underground space with an open top so that the sky and the moon light would be visible. From here there is a small passageway to the outside, observation areas where individual can go to interact with the surroundings. DIJANA MILENOV 20
EDUCATION AS A CATALYST. M T HAEN HP ARTOTCAENS SB LOOFC MK .U S I C M A K I N G
CONTEXT: WEST CHELSEA,NYC
PROGRAM: UNIVERSITY
DESIGN YEAR IV
CRITIC: ALFONSO PERES
PARTNER: TRACEY WEISMAN
The project aims to solve the problem of the university within the city. Due to the density of New York City, the university can provide a landmark within the city, creating a sense of identity in West Chelsea by making a place specific to the school and encouraging community activity. The ideas of exposure and transparency are used to make for an open environment that fosters interactions between many different types of people and develops community in the city.
TOWERS ORIENTATION: opening views and visual connection between the dorm community areas
MAIN CIRCULATION: core of the institution and interactions
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An axis is created perpendicular to the High Line, which provides the energy to activate the public spaces within the school. The entrance to the university is marked by a plaza located on W 27th Street. The plaza becomes an important space within the school because it makes up the “face� of the school that houses the prominent programmatic spaces that define the institution. These spaces, such as library, student union, and auditorium provide opportunities for engagement with the city at certain moment and allows the public to interact with the most exposed parts of the school.
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core - intitution
comercial / retail
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PRIVATE HOUSING:
DORM COMUNITIES:
1 -duplexes
1- collective terraces
2 -micro units
2- one communal space
3 -family apartments
per two floors
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100+M0+ 4 5
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2
residential towers
The classrooms, which pull off of the core that runs through the school, remain very transparent in order to create an open learning environment and encourage students to engage with all of the activities occurring within the school. Small communal spaces are located within the core, with connections across that unite the zones of classrooms while still allowing them access to natural light and views. The act of exposing the internal activities of the school creates an environment that promotes learning through interactions.
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100% TOTAL SURFACE AREA
100+M0+
100% HOUSING
7 6 9
100+M0+
100% UNIVERSITY
55+45+M 55+40+M 95+5+M 55%
40%
5%
university institution
housing
public
36+64+M 36%
1 private duplexes micro units family housing
60+40+M 60%
private 3 classrooms 4 offices 5 reading rooms studios labaratories
36+64+M 64%
2 dorms comunity housing
60+40+M 40%
open to public 6 gallery 7 theatre 8 library media library 9 auditorium
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DIJANA MILENOV dijana.milenov@gmail.com 1220 SW 1st Avenue #303 Gainesville FL 32601 (352) 328-7137
education
scholarships and awards
2010-14
B. DESIGN
2008-10
2010-14
SHELBY DAVIS SCHOLARSHIP
2008-10
UNITED WORLD COLLEGES PHYSICS SCHOLARSHIP
2013
JAMES F. MACLEAN SCHOLARSHIP third year student award for design and academic excellence
2012
MR. MARTIN GUNDERSEN, SR. Scholarship,second year student ard for design and academic excellence.
University of Florida, US
IB DIPLOMA
United World College of the Adriatic, Italy
Ranked as number 1 student for placement into upper division of School of Architecture, UF
UNIVERSITY SCHOLARS PROGRAM Research on Critical Regionalism in Serbia, Prof. Stephen Belton,UF SKETCH 2013 Exhibition, Fordham University, NYC work experience
UF ARCHITECTURAL HISTORY I UPS position, class reader Prof. Donna Cohen, UF
UF DESIGN COURSE I Teaching Assistant Prof. Bradley Walters
DESIGN EXPLORATION PROGRAM Teaching assistant Prof. Martin Gundersen
LECTURE SERIES ASSISTANT OPS position for posters design, UF
UPS position to assist curating and installing the student and faculty exhibition for the NAAB accreditation visit, UF extracurricular activities
2013
AIAS, VICE PRESIDENT COUNG NHU, martial arts club secretary
2010
UWC project CHALLENGING EDUCATION FOR ROMA CHILDREN IN MONTENEGRO Teaching Assistant, Prof. Henry Thomas
2006-08
ZRENJANIN GYMNASIUM
2006
VUK KARADZIC AWARD Student of the generation, Dositej Obradivuc, Serbia
Mathematics department, Serbia