E shulgina portfolio

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an s t c e j o pr rk ina g c o l i u w m Sh e e c d a s i Aca Pract tition by Elen e Inp rks o m w er Co h t o d an

Citizenship: Russian Federation

Junior architect. Graduate Master of Science in Architecture

Address: 128 Mauritsstraat , 5615 RZ Eindhoven, Netherlands Contact: (+031) 6 16 39 54 19 elena.shulgina@yahoo.nl

Selected Portfolio Works Recent academic design projects 2011 - 2016 1.

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Final thesis Complexity China Architectural Engineering MIO. Energy neutral Hoofdgebouw TU/eindhoven Bachelor graduation project

2016 2015 2014 2014 2011

Academic research and analysis 1. Production and Parts. Architectural Engineering

2011

Works in practice 1. Minvody expo 2. Minvody expo Checkpoint Pavilion

2012-2013 2013

Competitions 1. Keep Up with the time. Urban Redevelopment (Europan) 2. Cloud Bridge (Prix W 2016 )

2015 2016

Drawings and explorations 1. Brilliance in the city 2. Plasticity and Morphology

2015 2014

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academic design project Responsibilities on the project

Graduation Thesis project

Type:

Cultural building with all-day access by public

Scale:

33 000 m2

Programme:

Night Club | Opera House | Retail | Catering

Ambition:

To create the public realm on the borders of the high-culture and low-culture venues

Collaborators:

-

Location:

London Kings Cross

Year:

2015

Colliding Cultures

Essence collage of the public space on the borders of an Opera House and a Night Club The aim of the graduation studio was to create a meaningful political architecture through the critical approach to the architectural strategies and theories. The goal was to re-examine the term forum and define the space that could become a Contemporary cultural forum.

Theory was a strong feature of this project, whereas the position of the architecture in the city life and the possibility of political architecture was explored.

The study of criticism and analysis of the urban environment of the contemporary metropolis have revealed the crisis of public domain. The expansion of the metropolis and the growth of building volume forced ‘the street’ and ‘the square’ into the building volume. Hence the role of the street and the square as a public domain is diminished in the contemporary metropolis (Hajer M.A., Reijndorp A., 2002). Moreover, the cities of high cultural diversity exploit the streets and squares as places for tourism and shopping.

On the other hand the precedent study of the places for music culture showed that the places for music are typically enclosed in themselves and are oriented towards certain type of user. Such places take up a lot of space in the city, but do not contribute to the everyday life and often are build as the landmarks.

Meanwhile, music is the type of culture that is surrounding us in everyday life. Therefore the place for the music culture can become a substrate for the emergence of the new type of public domain. In order to ensure presence of the different social groups the main functions of the project are the night club with the capacity of 1200 people and the opera house with the capacity of 1500 people.

The location of the project is the spot where different flows of people meet - Kings Cross Train station in London.

The building comprises out of volumes of opera house and the night club positioned against each other to generate the public space with defined character, and shared borders.

Design considers the operating needs of night club and opera house. But at the same time the vibe of the going out is exposed in the public space trough materiality and tectonic expressions. People create meaning out of spaces through the sensory impression and kinaesthetic experiences (Tonkiss, 2006), (Casey E. , 1979). Hence the sense of belonging to the space is generated through the routing to the venue, scale of the entry space along with the materiality in the interior public space.

Night Clubs Area of reach ^ Bars Area of reach ^

Theaters and concert halls Area of reach Cinemas Area of reach

Central London - the high culture and low culture in city fabric

Fields of the areas of pedestrian reach of the venues of high and low culture

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Site Location

London Kings Cross lines of movement for students employees and tourists

Offices Tourist Attractions Site location

Universities Metro stations

Such signals are hard to spot in the urban conditions of the metropolis, whereas it is ‘hard to make sense of the city as it insists at you from all angles.’ (Tonkiss, 2006) The archetype of the public space is the Forum Romanum, and it still persists within the smaller urban structures, but has lost its function in the metropolitan cities.

The urban public space has been moved onto the inside.

This transformation has happened during periods of modernity, post-modernism and is reflected in the contemporary architecture. Efficiency, and ambition of producing the image of the success were the main objectives of mid 20-ieth developments as according to Rem Koolhaas. (Koolhaas, 1994 ).

Hence the building became an all-encompassing volume under the economical considerations and the strive for the image of success.

As according to George Simmel the socialization in the modern cities are dominated be the economical considerations(Siimel, G., Frisby, D., Featherstone, M. , 1997, p. 176).

Hence the public space is dominated by trading function. Actually, the shopping mall is considered to be the new type of social space as according to Hajer and Reijndrop (Hajer M.A., Reijndorp A., 2002). But on, the other hand, such condition is not regarded as public domain by Sorkin, exactly because the shopping mall is the space for consumption, and is regarded as the neutral space, that is designed to avoid any kind of social confrontation (Hajer M.A., Reijndorp A., 2002).

Nevertheless the spaces that we encounter are becoming the part of our identity (Grotz, 2001, p. 59). Therefore an attempt of a public space within the cultural venue has a potential to become a Public Domain within the contemporary society.

London Kings Cross lines of movement for local residents

Schools Local amenities Site location

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Analysis of the Transformation of the public space Public Space Office Retail Culture

Forum Romanum

Rockefeller Plaza

Rockefeller Center

Tivoli Vredenburg Music Center.

Conventional Public Space Public Space Symphony hall Pop Venue Transformable Pop venue Jazz Club Chamber music hall

The network of inner squares.

The full composition of volumes.

The public space loop

The composition of the venues

Circulation and chamber spaces.

Two performance venues.

Taipei Performance Arts Center.

Transformed public space Public Space Grand Theatre Poscenium Playhouse

Cada da Musica Music Center

Multiform theater Shared backstage

Public Space Small hall Large hall

Public Space Pop venue Classical Venue Public flow to the Pop venue Public flow to the Classical venue

Public Space

Vertical

Conceptual mass exploration of the location of the

Interwoven public space

Horizontal

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Generation of the public space on the borders of the cultural venues I have analyzed the transformation of the public space at the edge of cultural venue.

Whereas in contemporary examples the space for public is recreated within the building volume and interwoven with the main cultural function or is created on the edges of the venues.

But in existing examples the looping route or continuous circulation have resulted in the luck of control and necessity to restrict the access during the non-event hours.

Hence the social space has failed to exist.

In order to prevent constrains I have experimented with the configurations of the volumes of cultural venues and the resultant in-between spaces. Whereas the latter is to become a host of the public domain.

With the design i aimed to achieve: • natural flow of people into the building • the routes to different venues should touch each other but not necesseraly intersect • the space should be functional during nonevent periods • the space should be tempting in the design to cone back to during the day.

Therefore after exploration of different configurations I have merged two concepts, one with horizontally organized intermediate space and another with interwoven intermediate space.

Public Space Tectonic explorations

Public Space Pop venue Classical Venue Public flow to the Pop venue Public flow to the Classical venue

Public space configuration

Access and outside view

Top View

Vertical

Interwoven

Horizontal

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3 dimensional section

Sequence of spaces of the movement in opera house (above) and in the pop-venue (below) Public

SemiPublic

SemiPrivate

Private

Sequence of spaces transformed in the design

Public

SemiPublic

SemiPrivate

Private

Public

East Facade

SemiPublic

SemiPrivate

Private

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4. Glassing to public and rehearsal areas

3. Catering and retail facilities Catering Retail

2. Main Functions

Service and circulation

Circulation Services Catering and Retail

Underground delivery

Main Functions ‘Popular’ culture venue Performance Backstage Staff

1. In-between space and the access routes Flow to the high culture venue Flow to the low culture venue

Evacuation strategy

Main Functions ‘High’ culture venue Performance Venue Backstage Staff

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Interior visualisation of the main hall - view from the kine of access to the high culture venue The space is recognized and experienced through the sequence of the spaces. Here, the symbols are not only pictorial, but also ‘sequences, sets of objects, concatenations of bodies’ which have become analogous from the personal or collective knowledge about the space (Lefebvre, 1991). The two

The visualization of the ‘Prince Igor, Act II: Aria. Ni sna ne otdykha [No sleep, no rest]’ by Ildar Abdarzakov with the White Cap visualizer

The design of the opera house foyer ceiling

sequences of the spaces that were established according to the typology of opera house and the pop venue are merged at the point of foyer - point of generation of the in- between space. The entrances are plugged to the lines of pedestrian movement, And hence the entrances to the both venues are branching out from the street and these branch meet at the almost at the in-between space, whereas the both foyers are visible almost immediately at the point of entrance.

Except for the spatial sequence there is a need of symbolic meaning within the space, this can be reinterpreted through the use of light and patterns. The place affects identity if it contains a symbolic meaning, represents group of personal memories (Hague & Lappegard, 2007) In the conventional opera venues the direct symbols are medallions and with bare-liefs of the composers or the statues of the mythical creatures. The in direct symbols are in colour texture and the light. The entrance foyers are always

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Interior visualisation of the main hall - view from the kine of access to the Low Culture venue full of light and the flooring is using the reflective material.

The spaces are normally filled with the chandeliers, which were designed for candle light.

Those symbols are recreated within the interior of the

The visualization of the song ‘Rammlied’ by Rammstein with the White Cap visualizer

The design of the pop podium foyer ceiling

in-between space. The candles are reflected in the shape of light chandeliers. The glossy floor and the carpet are both recreated with the use of the black polished concrete with the brass golden coloured inclusions for the finishing of the floor along the route to the opera house and the finis of the threads of the stairs.

The ceilings above the foyers for pop podium and the opera are finished with the 3 dimensional representations of sound-waves that are generated by popular music and opera music respectively. Both of the ceilings hide the ventilation systems and wiring. The opera foyer ceiling is composed out of the timber panels. The ceiling over the pop foyer is designed out of foam acoustic cones, that are supported on the suspended ceiling, The light fixtures are hidden in-between the teal cones.

elena.shulgina@yahoo.nl

academic design project Responsibilities on the project

Infrastructure analysis

Type:

Master plan proposal for the Global Shindler Awards.

Access to Urbanity: Designing City as a recourse and design of a supporting infrastructure

Scale:

250 Ha

Programme:

Knowledge exchange center/ Business high rise quarters / Commercial high rise quarters / low rise residential and mixed use / Vehicle exchange Hubs

Ambition:

Promote districts with sustainable transportation and expansion of these districts. Mixed life is promoted, whereas every area has its own identity.

Collaborators:

Rodj Ommar, Carlo Van de Velde, Jan Wouda, Xin Xin Piaw.

Location:

Sunggnag Qingshuihe, Shenzhen, China

Year:

2014

Infrastructure tower design 3d-modelling Diagramming Rendering

Grounding Altitudes Shenzhen is an internationally relevant border city between Mainland China and Hong Kong. It is one of China’s most prominent gates to the world. What was once a fishing village, is now a metropolis of more than 10 million people.

This growth, in both scale and speed is unprecedented, making the future development of the city and region difficult to predict, yet attractive for migrant workers. As a result, many of its migrant workers – without whom the region would not have become a rising economic star in Asia – still suffer from insufficient access to proper housing, mobility options and public amenities.

Despite its aspirations to reform, and move more towards Hong Kong model as an economic and commercial heartland, there are still areas left unattended for. Areas such as the Sungang Qinshuihe district, are being intervened by small developers, rather than by elaborate planning. Old warehouses are being developed as shopping centres for their own convenience whilst other local phenomena –such as the urban villages-, aren’t dealt with at all. This unattended area offers unprecedented opportunities for exploring the new ways of urban intervention.

Our project on the Dutch Design Week

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Pic 1 Restructuring of the existing quarters (residential)

Intervention with the CORE structures (business)

Refurbrishement of the existing quarters (mixed-use)

Refurbrishement of the existing quarters (mixed-use)

Refurbrishement of the existing quarters

Master-plan Overview The skyscraper typology is common for the new developments in densely populated china.

Instead of injecting the area with single autonomous skyscrapers the focus of this projects is on the transformation of the whole lifestyle without complete destruction of the current urban conditions.

The concept of high rise living is re-explored with a group of interlinked skyscrapers. The towers in the group function as a semi-independent community, whilst at the same time relying on the existing urban fabric.

The towers are connected with each other physically, as well as in their programs. This principle is repeated vertically throughout the group, creating multiple ground levels. So without going all the way down, occupants can reach convention facilities, shopping amenities, and parks.

However, the addition of new dense urban development inevitably brings along the congestion problem. A second “Ground level�, provides a number of elevated streets that are there for fast and sustainable transportation via bicycles and small electric vehicles. This will furthermore connect the high rise development elsewhere, without being limited by

(mixed-use)

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Traffic no-car zone VEX hub

Car traffic restriction diagram and location of the Vehicle Exchange Hubs the grid of the existing urban structure. The roofs of existing warehouses are to be treated in the same way as the conventional ground level; they are to be filled up by stores, cafés, small restaurants and even small scale parks.

Introduction of new ways of transport in the area, leads to the necessity of a unit that can provide vehicles for the visitors.Vehicle Exchange Hubs are structures located within the group of skyscrapers and serve the function of vehicle storage and exchange, as well as vertical transportation. The visitors and occupants will store their ‘unfriendly’ vehicle in a VEX-hub, and continue their journey throughout the area

Main core and refurbished warehouse area

Connection of the Public Transport to the Vehicle Exchange Hubs in a sustainable vehicle of their choice. This can either be an electric vehicle in the form of a “E-cart” or a bicycle.

The functional and physical connections of the high-rise group repeat themselves in the VEX-hub.

These high rise groups introduce a new type of mobility levels whilst stimulating the development of the existing buildings. The insertion of high-end development will not interfere with the local character of ground level, allowing the city districts to preserve their identity. The implementation of this concept can be based on the existing fabric elsewhere.

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Pic 1

Schools

name

Local amenities

name

Site location

Metro stations

Schools

name

Local amenities

name

Site location

Metro stations

Vehicle Exchenge Hub 3dimentional section

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Storage towers and Rapid Access to towers

Rapid vertical circulation to the Fast track level

Schools

Green Core

Fast Track Core

Rapid vertical circulation to the VEX garden level

name

Local amenities

name

Site location

Metro stations

Schools

name

Local amenities

name

Site location

Metro stations

Storage towers and Priority Levels

Multimedia Core

Rapid vertical circulation to the Multimedia Level

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Structural Build up

1. Structural cores

4. Cantilevers and top shell structure

Schools

2. Floor bearing structure, structure spanning to the neighboring buildings

3. Trusses that support the car garage structure

5. Floor and bridges

6. Facades and bridges shell.

name

Local amenities

name

Site location

Metro stations

Schools

name

Local amenities

name

Site location

Metro stations

Main core and refurbished warehouse area

elena.shulgina@yahoo.nl

academic design project Type:

Residential building

Scale:

Small

Programme:

Cellar, Kitchen, Living room / Bedroom

Ambition:

Concrete as the material that can improve the life in vernacular settlement

Collaborators:

-

Location:

Kirov area, Central Rusia

Year:

2014

Concrete and vernacular living The project explores a way to use concrete, that would satisfy the vernacular living conditions and be adopted to the vernacular aesthetics.

Smaller towns and vernacular villages are degrading in the urbanised and globalised world. Nevertheless these small places are the nucleus that keep the traditions and origins of nations. The projects of village revival are currently appearing in Europe. One well known example is Swiss village revival

by Gion A Caminada. The other, much less known is Nikola-Lenivets architectural festival on Ugra river in Moscow area. Both projects are museum-like and are enforced on the villagers. Also the timber is the major material for both.

Nevertheless the traditional materials, that used to keep the warmth in and moisture out - such as natural stone are becoming inaccessible to villagers due to high cost. Such durable materials that need to conduct and store heat can be replaced in the vernacular house by concrete, when it will be adopted for vernacular living.

But the use of the material should fit the standards of vernacular living: • be bonded with the tradition and local identity • be self sustained • center of household is a hearth • be bonded with landscape trough building material • locally available techniques

Hereby the functions of the material shall be reinterpreted to fit the possibilities of the concrete: • combination of the concrete with the traditional materials / use and adaptation of the traditional patterns and expressive elements • thermal mass properties are perfect for the hearth function • use of local stones and sands / rammed earth in the concrete production • use of locally available construction techniques and products As a case study of exploration, I have taken the site in Russian village. The local vernacular architecture features timber log house construction with the brick basement and plinth. The central place in the house due to climatic conditions and lifestyle is given to the hearth. Hearth provides the warmth and also acts as a stove, whereas the basement provides protection to timber from melting snow water floods and rains. The brick structure is the conventional method, but due to the high-temperature differences brickwork tends to crack and mortar in the brickwork gets destructed. These deformations cause water penetration to the basement and heat loss in the hearth. Whereas with the use of concrete these problems can be avoided. It is particularly important to use construction techniques that are locally available and at the same time adopt concrete to vernacular aesthetic, so that the local dweller could relate to the appearance.

water transmitting layer

Source of radiant heat

Cold room

Hot and Cold areas diagram

Floor plan diagram

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Approach to the private house

Use of un-edged

board as a formwork will give shape to the concrete wall that references to the

traditional log construction method

Section 1-1 @ 1:100

construction of the

Double leaf concrete

insulated concrete

wall is constructed

wall

till the bottom of the window.

Place Window Component -

Place the rest of the

prefabricated concrete

around and finish the

frame with window

rest of the wall

frame pre-installed as this is a sencetive element of the construction.

un-edged board

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Faรงades

South Facade

East Facade Fragment

West Facade

North Facade

East Facade

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West Facade Fragment

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First floor plan diagram Detail @ 1:8

Detail @ 1:8

Detail @ 1:8

elena.shulgina@yahoo.nl

academic design project Type:

Educational

Scale:

m2

Programme: Ambition:

Design of the building that promotes integral design and seres as an image of sustainability for TU/e

Collaborators:

S. Boonstra,R.P.J Van der Sand, N. Stojmanovska

Location:

Eindhoven, TU/e campus

Year:

2014

Responsibilities on the project

Monitoring of the interdisciplinary changes throughout the project

MIO. Energy neutral Hoofdgebouw TU/e MIO master project is held as a part of Master in Architecture course at TU/e Eindhoven. Project process was based on the principle of Integral design, where the team of four students from different departments (Building physics and services, Structural Design and Architecture) were working together to find optimal solution for renovation of the Main Building (Hoofdgebouw). The result of four month’s teamwork is a project, that uses combined knowledge to create comfortable and lively environment for students and university staff, as well as makes a main building an image of the whole campus of TU/e.

The building envelope is designed to maximize the natural daylight in the indoor environment, without causing overheating. Large parts of the façade consist of transparent glass, allowing natural daylight. An additional greenery layer with transparent solar panels protects the west side from the direct sunlight. The north, east, and south façades are equipped with external movable sun shading. The workspaces are located near the façade, maximizing the use of natural daylight and thus improving productivity.

Every floor is constructed as a single fire compartment, making the fire compartments roughly 3400 m2. Sprinklers are installed to achieve permission to increase the compartment size.Various Ozone simulations have been made to guarantee the safety of the building occupants.

The TU/e has one of the largest aquifer in the Netherlands. The heat and cold from the aquifer is used to warm and

• Direct access to Hofdgebouw central point form the city center.

cool the building. The temperature of the cold source (8 degrees C) is low enough to directly cool the building. The high heat source temperature needs to be raised before it can heat the building. This is done with a chiller, which is connected with a boiler. The cold and heat is distributed by a climate ceiling which is using the principle of integrated (steel) panels.

From the architectural point of view the main transformation of the building is made in the low rise with basic intention of broadening for the educational facilities of the departments and opening the space of the existing ground level for public functions.

Having in mind the ambition of TU/e for Green Campus 2020, we have expanded the green walking area and developed the idea of continuous green line which starts with the green hill that covers the low rise, than green terrace that expands vertically.

In facade design energy generation and overheating prevention were our priorities. West and South facades are covered with louvers that carry PV cells. Louvers on both facades are oriented for the most efficient energy collection.

East facade is equipped with fully operable blinds, in order to ensure solar protection along with view provision for the workspace. Pattern created on the west facade references pattern of the Vertigo building facade, therefore has a chaotic character., while south and east facades are referencing hightech aesthetics of Meta Forum building.

• Middle of the Hoofdgebouw also becomes a center of the university bridge network.

• Expansion of the green belt onto the facade of the main building. Green belt is the social and planning core for TU/e campus

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Water collection and transportation from roof and facade to the plants

Facade and GF extentions

Solar panels are installed at 35 degree angle for the higher efficiency

Green roofs and facade

Facade filters incentive summer sunlight and lets the low winter light in

1 S-01_2

INDUSTRIAL DESIGN

LEVEL OF INTIMACY INCREASES

Initial Structure

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CONNECTION WITHIN CAMPUS

COMMON FUNCTION INDUSTRIAL ENGINEERďż˝ ING

PUBLIC Public private relationship within the building

Section through west facade fragment

2

Programm distribution

West facade fragment 1 : 20

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1 : 20

PUBLIC

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INNOVATIVE SCIENCE

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academic design project Responsibilities on the project

Type:

Art Research and Training Centre

Scale: Scale: Programme: Programme:

1 352 m2

Ambition: Collaborators: Ambition: Location: Year:

Contemporary Arts Research Centre, 8 artist studios, 3 research clusters. workshop, exhibition gallery, study cluster, cafe, reception Rise awareness of the local population in he contemporary art venues that are built in the area, provide area for the artist to create and make the work process visible to the public

Collaborators:

-

Location:

Gateshead, UK

Year:

2011

Mind The Gap. Gateshead ART. Mind The Gap project aims to improve the environment in the Gateshead Locomotive Depot area. Selected site is located next to the railway tracks Train station, that are abandoned since 1876, when railway was prolonged to Newcastle. The area has a high historical value, as station was the first Station in the area, and was a starting point for the development of Gateshead.

Introducing the GCART Centre to the area will create the link between residential areas, town center and Quays area both physically and socially. Quays area is recognized artistic cluster both for Newcastle and Gateshead residents, but despite the facts that cluster is located on territory of Gateshed it is hardly used by locals; due to lack of interest in art (the fact was discovered during pubic questioner by students of Newcastle University).

By introducing research and educational facility locals will get a chance to discover the facilities that were built on the territory of their home town, but were not addressed to them. The Centre will not only provide research spaces for practicing artists and art researches, but also will provide study facility for local children and adults.

1911

2011

Proposed

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Concept developement

Mass Study

Morphology Study

Materiality

Developed Concept

artists private studious

1:50 Sectional model

atria artists private studious

semi-public hall

research cluster

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Section @ 1:150

8 mm copper zinc plate 60/60/3.6 mm galvanized steel SHS beam 100/60/6.3 mm galvanized steel RHS beam 160 mm pressure resistant thermal insulation Plasterboard 300/250 reinforced concrete beams

ventilation grating, galvanized steel coating

400 mm. insulating reinforced concrete wall

Areal View

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27 double glassing 10mm toughened glass 15 mm cavity 10 mm toughened glass 100/60 mm galvanized steel SHS beam 300/250 steel reinforced concrete beam 300/250 reinforced concrete beams

existing walls 500mm stone cladding

First Floor Plan

Ground Floor Plan

Basement

Public

Research / Semi Public

Reception / entrance Cafe Exhibition hall Educational Studio Classroom

Artist Studious Research Atrium Managing office Service Circulation

elena.shulgina@yahoo.nl

academic research and analysis Responsibilities on the project

Study of the building and further detail recreation on paper and in real materials in group with the teammates; taking photo’s on site and of the 1:1 detail model, collage making and 2d sectional and plan drawings

Type:

Analysis

Ambition:

First Study and then Recreate an interesting building detail

Collaborators:

Remco Ten Broeke, Natasha Stojmanovska

Year:

2014

Production and parts. Youth Center in Olsdorp

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The aim of this analysis project was to reveal the connection between the concept and the practical realization.

During the selection process we were looking for a building where: • Materials with different tectonic properties were used • The choice of the material was crucial for the perception of the form • The contrast between the space perception on the inside and on the outside We have chosen the Youth Centre in Olsdorp, Amsterdam. Here the contrasting opaque and transparent parts of the volume enclose the private and public spaces.

The main points of the concept by Atelier Kempe Thill Architects were to:

• Merge the building into the existing environment of the park secluded by the residential development; • Define social significance of the building as “visible and free standing building” ; • Define the contrast of the spatial qualities and requirements by use of two, opposed to each other, volumes; • Combination of creativity and economical approach • Create “public living room’ i that would be a part of public park Therefore building is split into two volumes - completely transparent and completely opaque. Transparent lower part demonstrates the openness of the center to the local society ; the upper enclosed volume on the other hand is reserved for the private activities of the social groups.

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Vertical Detail of the door

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UV resistant polyurethane coating Polyurethane hardfoam isolation Limestone blocks Vapor resistant membrane Timber battens Double plasterboard

Horisontal detail of the door - window corner

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Custom steel profile Powdercoated in black Sealant Glass 14-15-12 mm Sealant Composed hardwooden post Custom Aluminum cover Powdercoated in white HE 180 B profile Powdercoated in white

HE 180 B Waterproof membrane

Structural glazing Black opaque foil Custom steel profile Powdercoated in black Sealant Janisol 60 Steel door

Steel L-beam Aluminum cover Aluminum profile Sealant Batten Custom steel profile powdercoated in black Sealant Glass 14-15-12 mm Sealant Timber beam

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Welded plug attached to custom steel profile Fixation through steel door frame

Screed Polyurethane hardfoarm In-situ concrete Wide slab flooringsystem Acoustic spray-on paperbased plaster HE 180 A 35

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Custom aluminum L-profile powdercoated in white

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Detail Construction 1. Structural system of the building is a simple steel frame with concrete slabs.

The Ground Floor façade is comprising of structural glassing with steel framing.

Steel frame in turn is connected to the timber posts. Latter are placed at each corner of the building.

The First Floor wall construction is a limestone brick with polyurethane insulation and PV coating. The Insulation and PV layer form a continuous watertight envelope.

2. S profiles which frame the glassing are screwed to the timber posts and beams

5 meters long glass planes.

3. The door-fame is hidden behind the glass, making the door a part of overall facade. The glass is fixed on an L shaped profile, which in turn, is attached to the door-frame.

4. The “all- glass system” walls are designed with the same principle – the bearing frame is hidden behind the glass, which is held in place by 5cm z-shaped profiles, that are connected and frame

to the supporting frame

When studying the building we have concluded, that the most important detail is the corner of the building, where the door meets the edge. We found that it completes the essence of the permeability of ground floor, and emphasizes the contrast between two volumes. The presence of the door is crucial for the ease of access to the building, but a massive door frame might affect the overall essence of permeable façade. We found that the solution for this problem by Atelier Kempe Thill architects is very elegant.

The custom manufactured door is detailed so that the

glossy surface of the glass facade stays uninterrupted. The door is a full height of the first floor, and therefore has a minimal impact on volumetric perception of the transparent volume.

All the interior on the ground floor , including structural and sub-structural elements, are painted white. Hence the permeability and lightness of the ground floor level is emphasized – as the interior is perceived as a whole from the outside.

‘the culture of variety and all-inclusiveness requires spaces, which are able to accommodate the variety of activities in one place, but not the diversity of places. ‘ ‘The importance of the commercial in architecture was developed by the Hertzberger’s forerunners and was transformed into the conceptual and political tool for typological inventiveness’ ‘in the new project, Hertzberger peruses the possibility of a public building to perform the same logic as the urban structure does (Hertzberger, Articulations 2002)’

AJ The Humamniy of Herman Hertzberger

e completed in 1972, gave

gnised as one of the leading

hob for one of the most imhe Netherlands, the Vreden-

Hgue - 11 years to finish- he omplexity of his structurald adhered to since the early d to free himself from the ich everything had to fit.

n of dutch architecture and he postgraduate architectural e), his architectural style have act, he developed a steady rmal and spatial liberties he asse Theater and library in n, several housing projects in umber of schools in Amsterarge University in Utrecht,

as a temple of music, the seeks to be absorbed by the

heir capital-like heads they ablish an architectural ‘ ifferentiation between the

ccommodate a variety of utes to good listening le the round configuration dience closer together but and listener to a minimum. flected Hertzbergers learnnformal. the space, Hertzberger kept hall an intimate atmo-

and cosy seating areas. chic mes and as a manifesto of

Type:

Critical Article

Architect of the analyzed project:

AHH, NL Architects, Thijs Asselbergs, Jo Coenen and Co

Programme:

Multifunction music venue

Ambition:

Understand the transformation of architectural approach to the public space design under the pressure of the commercialization of culture.

Year:

2015

Published:

https://firstharvestehv.wordpress. com/2015/06/10/841/

The music venue in the contemporary culture.The transformation of Vredenburg Music Center by Herman Hertzberger.

with Aldo van Euck, Jaap n Schrofer and Gert Boon h insurance company to build

d act took place in the periut of step wiht the prevailthan a luewarm reception. eration of architects, a large Hertzberger. These young achievements of structurnd sometimes they showed soft social overtones and its

elena.shulgina@yahoo.nl

academic research and analysis

By the 1980 s the Structural approach of Hertzberger was beginnig to be seen as over-complicated, and the Brutalist materiality of his buildings had not aged well. Form in architecture had moved back into the spotlight, with an influx of renowned foreign architects winning public commissions and Rem Koolhaas proposing radical new building typologies and new generation of young practices, sharing a high level of conceptual and typological inventiveness and responding to the new global and political developments offered by the INTERNET and unified Europe, However their buildings also strong sense of communality and shared values, in part bred fom the Dutch collective ethos, but perhaps also as testimony to the influence of Van Eyck and Hertzberger.

The response of Hertzberger was to reinvent his architectural without compromising his social goals, His buildings employed a stronger collective framework to define the project on the larger scale, which in turn housed the individual elements in a more fluid form.

Charachteristics of the architect ( design team) The notion of Sructuralism and the concepts Influences : Le Corbusier and Aldo Van Eyck Academic career @ Berlage Influence: younger generation Spatial Qualities (acoustics, circulation, etc)

Polyvalence. The competence of form and space with regard - The more dimanic and uncertain the world becomes. to different interpretaion. architecture and structuralism: the more space we have to leave: space for other ideas, for the ordering of Space (nai 010 publishers. 2014 ) other the eventualities, for time. We therefore have to avoid excessively specific responses and instead concentrate on all aspects that are adaptable and thus capable of accommodating change.

- Architecture must always have that competence, availed as it were of an inherent charge that can generate specific responses to each new situation.

- This therefore presupposes, in contradistinction to the passive attitude to possible applications as in generic space, what is in effect an active stance that we call ‘ prevalence’.

The difference between multipurpose and prevalence is that in multipurpose the design is deliberately made to suit the different predetermined ends. whereas the notion of polyvalence is where it is not established beforehand how a form or space will act in unspecified situations, in effect providing it with a competence to be able to handle unexpected applications. ... to provide for unexpected.

-Instead of leaving out as much as possible, polyvalence Collective component defines the form and provides the entails introducing the greatest number of spatial conditions framework for individual components. Therefore the inthat can play a part in every situation whatever the function, dividual components are becoming to be concealed in the and can simply be put to use on each new occasion. generic form and get less importance as an entuty. Also the - intensive use of space raw, brutalist materials are replaced with contemporary -Generally polyvalence stands for quality that gives people glance surfaces a reference point and even incites them to turn their living environment into familiar ground while leaving how this is dome up to the individual.

- And it requires breadth rather than depth , for the space unit to be able to take up ever-new content and still remain itself: inclusiveness as a structure open to interpretation.

- concealed availability, to be discovered by users when they appropriate it.

- Unlike the per-programmed possibilities of appliances, polyvalent forms reveal their qualities with use, the way an instrument’s output depends on the input of the player.

Author: Wortmann, Arthur

Hertzberger: “ When a “crossove “ hall was added to the programme it seemed logical to look for fourth architect rather than to design it ourselves. Yhat task went to NL Architects’.

Cooperative interaction aiming all players had its advantages. Ultimately, each hall was to have its own signature while not being strictly limited to to one type of music

The Chasse Theater in Breda (1995) straatkaart.nl The Courtyard housing in Duren ( 1996) www.architonic.com

AHH Markant Theater Uden ( 1993 - 1996 ) www.ansie.nl

Form

old Vredenburg Grand hall NL Architects

Stilistic Qualities Function

Initial design: Herman Hertzberger 1970 Venderburg Concert

Transition to a ‘liberated’ space.

Transition from ‘structuralism’ to ‘polyvalence’

Characteristics of the architect ( design team)

Thijs Asselbergs

jazz centre SJU

Jo Coenen en CO

Tivoli + Ronda

Crossover

Author: Wortmann, Arthur

NL Architects: ‘ The sentral idea is to connect. The crossover hall reaches out to the other halls stretching in all directions, creating a kind of star shape, The main entrance is on top of the pop vernue. One of the balconies creates a direct link to the jazz hall. The foyers of the crossover and dhamber music halls can be connected to form one space.’

http://structuralisme.hetnieuweinstituut.nl/

Location: Utrecht Position against Central Staion Position against Historical Center Functional Context

Social context: the popular culture, mass culture, commercialization of the culture.

Author: Wortmann, Arthur Format: Journal Article Publication Title: Mark: Another Architecture Pages: 94 - 107 Date: 08/01/2014 Issue: 51

Less than 25 years later, Vanderburgh became a playing game of uncontrollable political eruptions, Emerging throughout the Netherlands around the rurn of the century were populist political parties that based their viewpoints not on ideology but on public opinion.

Plan for redevelopments of the area around the Utrecht train station.

The referendum offered voters a choice betwen wwo plans: a relatively inexpensive ‘practical’ plan and a more costly yet more ‘enjoyable’ plan. former - demolition - second - restoration

Author: Wortmann, Arthur Format: Journal Article Publication Title: Mark: Another Architecture Pages: 94 - 107 Date: 08/01/2014 Issue: 51

At the outset the various stakeholders in the new organization had concerns about the financial operations of the complex. The pop-music people didn’t like the idea of having ‘their’ revenues used to keep the traditionally unprofitable classical music afloat. As integration continues. however, such sentiments are fading. In an interview published in dutch newspaper, director Frans Vreeke stressed that Tivoli Vrendenburg would do everything possible to make classical music chip: “It won’t be long before youngsters know where to find this building. Well rein them in with pop music and then expose them to other genres during special events and festivals.”

New design: 2005 - 2015 New music place Design aspiraions Qualities imposed by the function: acoustics > form; public vs private; the scale ; monumentality.

Author: Anna Yudina Format: Journal Article Publication Title: Super Sonic Mark: Another Architecture Pages: 54 Date:?

Issue: 56

Spatial Qualities (acoustics, circulation, etc)

The greatest challenge was to ow ro bring these rooms, each with their own atmosphere and aesthetic finish, together in one building, while acoustically distinguishing them fromone another, as well as from the exterior.

Function How the commercialization of culture lead to the different architectural typology?

Stilistic Qualities Form

Author: Wortmann, Arthur

On the outside the new Tivoli Vredenburg liiks like a conceptual industrual accident.

It has a 45 - m heigh roof that seems to tie it all together - a gesture of coherency - but what about these volmes poping up here and there?

At a ground level, a large part of the old music centre completely escapes the sphere of influence cast by the high roof.

Author: Wortmann, Arthur

The complexity of he entrance hall is us a cibseqyance if he projects wqually complicated logistics Stacked one atop of another the fve musicvenues have to function individually and thus require an separate routing to a certain degree.

It also is aimimng at accomodationg different side events such as tv shows and receptions, therefore all the spaces are designed transformable with the furniturre brought into them.

The great hall has been conserved as best as possible. Ventilation fans ensured a consistent slimate during sonstrction necessary for the preesevation of the largely wooden structure of the roof and seation tiers. which determine te special acoustics. For the same reason, nothing could be built upon the old structure; the new halls. being box in box structures, are’ hung on two giant concrete cores.

Research and Analysis Structure Diagramm

Expression through volume and contemporary materiality

aasarchitecture.com

The diversity of the space is realized within a single building

Merge of the high and the low culture

tel: (+031) 6 16 39 54 19 Culture is changing with time, hence new types of cultural activities require unprecedented venues. According to Henry Lefebvre any social activity requires the space that makes the ‘rules of the play’ clear to everyone (Lefebvre 1991), the same can be said about the ways a building ‘speaks’ to the public.

With the change of cultural activities, the above becomes a complex issue.

Contemporary culture is characterized as eclectic and consumption oriented. (Strinati 2004). The culture of variety and all-inclusiveness requires the space to accommodate the variety of activities in one place, but not the diversity of places. The recently completed building of TivoliVredenburg Music Centre is a reflection of such transformation. The latter is very clear - the new building was commissioned to Herman Hertzberger - the designer of the old Vredenburg music centre.

The Vredenburg Music Centre is located in the proximity of the central train station of Utrecht, which has been undergoing a major transformation for the past decade. The initiative of the transformation was taken by the Leefbaar party in Utrecht at the beginning of the 00’s and was to create ‘new image’ (Wortmann 2014).

The preserved part of the concert hall is the commemoration of thoughts of the late 1970’s. Where the’ unit’ was a primary theme (Articulations 2002). Hence, Instead of producing a monumental solid volume, Hertzberger creates a multitude of spaces and subspaces, which wrap the solid volume of the hall. This spatial arrangement allows for a fragmented facade with the regular rhythm.

The rhythm of the facade on old Vredenburg music centre was adopted on the facade of the mixed-use building and the shopping centre which are located nearby. Despite its influence on the proximate environment and the cultural significance, the building of Vredenburg music centre did not fit the contemporary demands (Ramchum 2014). Whereas the new music venue was to produce the image and a commercially profitable space.

The importance of the commercial in architecture was developed by the Hertzberger’s forerunners and was transformed into the conceptual and political tool for typological inventiveness by Rem Koolhaas(Wortmann, A.,2014). The new flow have affected his view on the architectural design.

The form has to be accepting to the new undefined function, according to Hertzberger, rather than to be dedicated to one typology (‘Polyvalence’, Hertzberger, H. 2014).

Nevertheless, in the new project, Hertzberger peruses the possibility of a public building to perform the same logic as the urban structure does (Hertzberger, Articulations 2002)In the internal organization resembles the urban fabric. Meanwhile the exterior shell is designed to unify.

The way that the inside and the outside of the building are designed is inconsistent and this as well as the inconsistency between the old and the new parts of the building creates the feeling of an accident, rather than a thorough implementation of political and design intention.

Hence the unification and polyvalence are questionable architectural goals. The causes of such a transformation of the architectural approach as well as the results are further discussed in this article.

31

The Tivoli Vredenburgh Music Center (2014)

Extruded window volumes of the neighboring window

The rhythm on the shopping center facade

Resemblance of the structuralist ‘unit’ on the façades nearby

Generic volume of the Tivoli Vredenburgh Music Centre and its position in the urban environment

NL Architects Crossover

AHH Vredenburgh Grand Hall 1978

Thijs Asselbergs

Jo Coenen en Co

Jass centre SJU

Ronda

Volumes of the halls designed by different architects create and urban-like space

elena.shulgina@yahoo.nl

work in practice Responsibilities on the project

4

Space planing drawings under the supervision of chief architect.

5

6

6'

1

2

3

4

3

+0.000

2

Multi-functional Expo Centre: 5 conference halls; congress halls, press hall

4

Location: Project Stage Year: Involved:

phase stage

Узел 1

352 592 m2

Programme:

Offices

9

5

6

Mini - Hotel

Design Development, Working Documentation, границы теплого контура (козырек) Completion

Position on project:

Junior Architect

Location:

Minvody, Russia

10 6'

7

2 4 Узел 2

Узел 2

границы (козырек) Year:теплого контура 2012-2013 контур утепления стены -0.350

Узел 2 Узел 2

контур утепления стены

8

Position on project:

-0.350 on the construction Issue(козырек) of the detail correction границы теплого контура

1

Scale: Ambition:

Coordination with the subcontractors, such as Kalzip engineers, mechanical engineers, structural engineers.

Electric and communication networks management 2 3 Узел 2 supervision of chiefУзел Узел 2 under architect and engineer, Supplementary buildings design and detailing in coopконтур утепления стены границы теплого контура (козырек) eration with the parallel disciplines

Convention Center

7

Issue of the drawing documentation for the approval stage Detailed technical design

Type:

Узел 3

Узел 2 контур утепления стены

3

+0.000

2

+0.000

-1.200

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1

-1.200

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Minvody Expo. Стальные конструкции утеплить по контуру Rockwool 50 мм Утеплитель Rockwool 150 мм

Стальные конструкции утеплить по контуру Rockwool 50 мм Стальные конструкции утеплить of the project by state authoriumentation for the approval Rockwool 50 мм металлоконструкции ties. по контуру Утеплитель Rockwool 150 мм запенить утеплителем

During the Technical Design Stage I was responsible for coordination of information between the subcontractors, such as with structural engineer, HVAC engineer, Multimedia металлоконструкции запенить утеплителем equipment technologists. As well was responsible for the correction of the architectural part of the project.

For example, on the basis of the information collected from electrical engineers, HVAC engineer, plumbing engineer, multimedia technology engineers and under supervision of Chief engineer produced an overall scheme of communications in the screed of first floor (multi-functional hall).

Also I was responsible for the design and issue of the technical documentation for accompanied buildings: Engineering Block, Summer Cafe Pavilion and The Security Checkpoint.

С

Back facade. Under Construction.

Front facade. Under Construction.

Инв. N подл.

Подпись и дата

Взам. инв.N

Minvody Expo project was procured under the Design металлоконструкции as запенить Built contract.

The Different Perspectives Architectural утеплителем Design Solutions, Moscow was a Managing Contractor. Being employed as a junior architect at first and as an architect струкции утеплить later 50 on,ммI have took an active part in the project under the ру Rockwool supervision таллоконструкции of the Chief architect and the Chief Engineer. The project was commissioned for the Design, Technical Design нить утеплителем and Construction Design Supervision.

During the design stage of the project I have produces the floor plans, to define the major functional zoning according to the brief and initial concept design. These planning solutions were redefined in the process according to the comments and needs of the prospective operators and subcontractors.

Also I have participated in the preparation of the full doc-

С О Г Л А С О В А Н О PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+0.000

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11

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13

2

9

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3

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17

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18 6

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границы теплого контура (козырек) 1 границы теплого контура (козырек) Узел 2

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Узел 1 контур утепления стены контур утепления стены

контур утепле границы теплого контура (козырек) Узел 2 Узел 2

-0.350

Узел 3

Узел 2 контур утепления стены

+0.000

3

2

+0.000

+0.000

1

-1.200

композитные панели Etalbond на подконструкции (Ral 9005)

Стальные конструкции утеплить по контуру Rockwool 50 мм

телоизоляция Rockwool 130мм.

Стальные конструкции утеплить металлоконструкции по контуру Rockwool 50 мм запенить утеплителем металлоконструкции запенить утеплителем

Стальные конструкции утеплить предусмотреть зашивку50 на фронтальных частях, по контуру Rockwool мм так, чтобыRockwool сочленялась с кровлей Утеплитель 150 мм kalzip (Ral 9005)

композитные панели Etalbond на подконструкции (Ral 9005)

металлоконструкции запенить утеплителем

композитные панели Etalbond на подконструкции (Ral 9005) телоизоляция Rockwool 130мм.

телоизоляция Rockwool 130мм. профнастил h=18

телоизоляция Rockwool 50мм. подконструкция, размеры условные

подконструкция, размеры условные

профнастил h=18подк

телоизоляция Rockwool 50м

подконструкция, размеры условны

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

All images on this project is courtesy of Different Perspectives Architectural Design Solutions, Moscow

EDUCATIONAL PRODUCT

7

PRODUCED BY AN AUTODES 33

tel: (+031) 6 16 39 54 19

elena.shulgina@yahoo.nl

work in practice Responsibilities on the project

Security Gatehouse design in conjunction with the overall design of the Expo-Center.

Detail design.

Coordination with the structural designers

Type:

Service building

Scale:

25.5 m2

Project Stage:

Design to Technical design

Position on project:

Architect

Location:

Minvody, Russia

Year:

2013

Front facade. Render

Minvody Expo. Security Gatehouse umentation for the architectural project. The documentation included the detailed design, specifications of installations and furniture, material specifications and specifications of openings, windows, doors.

During the design of the Gatehouse I worked in coordination with the structural engineer and in accordance with the guidelines for the Working Conditions and Security points.

The Security Gatehouse project was a part of larger Minvody Expo. As an architect for this small project I was responsible for the full design of the project.

The Concept of the Gatehouse was to correspond the design of the main building and had to be confirmed with the author of the project.

After the confirmation of the main shape I was responsible for the detailed technical design and issue of the full doc-

ФАСАД в осях В-А. M1:50

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Архитектор Е.Шульгина

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- RAL 9016

insulated draining gutter Kalzip clip with thermo seal Kalzip vapor barrier membrane Kalzip seal

tel: (+031) 6 16 39 54 19 Canopy Detail Drawing @ 1:32

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carrier bracket AluWall Fixating Clamp Etem Bravo. E97103 sub-structure AluWall Line Mineral Woll Rockwool Light batts 100 мм., fix with welded pins @ 300 мм. plaster

steel angle

steel angle seal steel angle

Woll panel Rockwool Light batts board likeMineral alluminium 50 мм., with welded pins @ 300 мм.

Alu Wall Line fix (horisontal) drip Composite alluminium panels Etalbond RAL 7016 subframe AluWall Line seal lower jamb RAL 7016 Fixating Clamp Etem Bravo. E97103 boardMineral like alluminium panel Light batts Woll Rockwool Alu 100 Wall мм.,Line fix (horisontal) with welded pins @ 300 мм. cupping alluminium, RAL 9016 Mineral Woll Rockwool Light batts 50 мм., fix with welded pins @ 300 мм. steel angle - attach to plinth wall water barrier subframe AluWall Line glue- 10 mm. lower jamb RAL 7016 clinker tile 12 mm

steel angle seal

board like alluminium panel Alu Wall Line (horisontal) cupping alluminium, RAL 9016

steel angle steel angle - attach to plinth wall water barrier glue- 10 mm. clinker tile 12 mm

All images on this project is courtesy of Different Perspectives Architectural Design Solutions, Moscow

elena.shulgina@yahoo.nl

competition;s Responsibilities on the project

Site Analysis and Qualitative analysis

Competition host:

Europan

Collaborative ideas analysis and selection

Scale:

City district

Concept Development

Programme:

Urban Redevelopment

Rhino Modeling

Ambition:

Support the historical center unique identity, while sustaining the contemporary lifestyle

Collaborators

Yuliya Yudchenko

Location:

Leewarden, Netherlands

Year:

2015

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The parallelization in the ‘traditional’ urban block is defined by the economy and statute,but not the considerations of the social life1. On the other hand Mark Childs claims that the high quality urban setting contributes to the overall profitability of the area.Therefore the establishment of the high quality shared space within the block gives a bossily for a community living, but based on the social, rather than economical relationships.

The small scale urban block of the medieval is now to accommodate dwellings for professionals students and young families that are flexible in its size. The occupation of the whole block by one social group is very unlikely. The shared space within the building block will be maintained according to the various interests, and therefore will not be converted into gated community. Moreover the presence of small businesses adds up to the vitality of the entire block - ‘it not only has a value but also generates it’ 2. With addition of business and commercial activities the block stays active during the whole day. Piercing of the block with the paths gives a convenient access for the residents. Nevertheless the paths are narrow enough to avoid mixture between the commercial flow and the area of residential internal gardens. The commercial flow is accommodated within the sequence of arcades (new built and transformed).

As according to Henry Lefebvre, the capitalist city ‘a bureaucratic society of controlled consumption’, but ‘human beings also have a ‘need for creative activity, for the oeuvre (not only of products and consumable material goods), of need for information, symbolism, the imaginary and play’1. The space of culture were the social relationship between the wider slice of society occurs and reproduces.

The public places such as parking lots may be converted into the weekend cultural platform, this practice is common in relation to the weekend markets2. The space in front of the studied block, therefore is to be transformed into the stage for theatric activities and public gatherings, markets and exhibitions. Whereas, the existing features of the block can act as backdrop for the activities.While the brick wall creates a background for the activity and serves as an information source, the tower on the corner of the block is visual orienting ele-

ment. Therefore the combination of the existing elements of the block with the artwork and urban furniture will form a place with clear visual and functional identity. The community will monitor the whole space including the maintenance of it.

However the parochialism will be excluded due to the openness of the square.

1 Philippe Panerai, Jean Castex, Jean-Charles Dapaule, Urban Forms.

The death and life of the urban block. (Oxford: Architectural Press, 2004); Henry Lefebvre, The production of space (Oxford: Blackwell Publishing, 1991), p 51.

2 Mark Childs, Squares : A public place design for urbanists (University of New Mexico Press 2004) 13 Parker S. (2004) The Foundations of Urban Theory: Weber, Simmel, Benjamin and Lefebvre. Urban Theory and the Urban Experience. (London : Routledge, 2004), pp. 8-24.

2 Mark Childs, Squares : A public place design for urbanists (University of New Mexico Press 2004)

Qualitative analysis Building block in historical city center can be diagnosed as a composition of tree main typology: • Buildings have historical value and are city’s heritage • Buildings have a potential to become as valuable part for the community interaction by implantation of adaptable tools • Buildings have no historical value and block possibility for ‘healthy convalescence’ for the whole block where reorganization of those buildings can endorse the economical, social and cultural value of the historical center Method of identification: The ‘Historical analysis’ involves acknowledgment of listed monuments and the monuments that are of the historical significance to the city.

Aesthetic visual analyses the other hand, deals with the assessment of a different kind. Here one can see weather the buildings have characteristics, worth preserving, but were not acknowledged by the planning authorities. Aldo Rossi in his book ‘The Architecture of the city’, writes: ‘All great manifestations

of social life have in common with the work of art the fact that they are

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Analysis of the urban conditions and conclusions

Retail Zone. City Centre (current situation)

Sites of attraction and hospitality (current situation)

Every day people flow trough the site Touristic route (current situation)

Proposal for the overall district development

Cultural Spine Shopping Spine

are born in unconscious life’. Herein such a building if simply a structure, but an ‘urban artifact ... - … work of art” may become a pivoting point for social life and become ground for the vision of the place.

Qualitative analysis of the block

Buildings with no particular importance, with low character and low quality Buildings of socio-historical significance , monuments that were transformed beforehand Protected Heritage, national monuments and contemporary buildings of cultural significance

After the qualitative analysis of the block the further decision may be made on how the buildings on site are to be treated in order to preserve and emphasis the awe of historical city center on one hand, and sustain the quality lifestyle of the residents on the other.

The further action is taken according to the above assessment : Preservation, Demolition or Transformation.

1 Aldo Rossi, The Architecture of the city (Cambridge, Massachusetts: The MIT Press, 1999), p. 38 2 Aldo Rossi, The Architecture of the city (Cambridge, Massachusetts: The MIT Press, 1999), p. 33

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Transforming Elements of the Urban Design

Platform

Path

Light

Public Art

Instrument: movable platforms

Instrument: shortcuts within the block; playgrounds

Instrument: different scale street lighting

Instrument: art installations and pieces of art work

Goal: to set in motion the canal in the life of block and city where temporary and flexible platforms extend the area for public events

Goal: to create intimidate secure places for children from the block and interconnect block’s life from different sides by providing internal path circulation system within it

Goal: to identify the evening/ night place and frame spaces for forming outdoor communities’ activities

Goal: to provide new image and character for the district and increase the value of public spaces

Transformation of the building block

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Transforming elements of the Urban Design

Internal Garden Instrument: cleaning (demolishing) front facade of the ground floor with creating sheltered corridor between commercial part of the building and street

Goal: to accommodate the threshold between building and street where movement for exchange between people will occur

Roof Terrace Instrument: roof extension as new apartment block with system of roof terraces Goal: to give a new birth for old houses and open possibility to experience new quality of space where the top level of the city provides significant and magnificent landmark views

Arcades Instrument: trees, bushes and vegetable bed Goal: to value the importance of sustainable life and creation of sustainable communities within the block with growth of organic food

Transformable festive square

Instrument: street furniture, pop-up cafe and temporary car parking slots Goal: to renovate potential social hub for establishment new platform where temporary and contemporary communities will be organized around

Individual dwelling

Family dwelling

Workspace

Commercial

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competition;s Responsibilities on the project

Concept Design

Type: Competition host:

Rivet modeling

Scale:

Plans Sections and elevations 2 dimensional drawings

Programme:

Footbridge, Museum of food and trading

Ambition:

Food and Snack Store, Coffee and Pastry shop,

Position on project:

Marketplace

Location:

Restaurant

Year: Ambition:

prix w 2016

Tourist and Public Relations Offices Create a cloud bridge representative of Rungis food market - largest food market in Paris, that would at the same time become a public transport

Collaborators

Yuliya Yudchenko

Location:

Rungis, Paris

Year:

2016

Cloud Bridge Pondorly constitutes a strategic infrastructural ‘attractor’ for the city of Rungis and for the Marché d’Intérêt National (M.I.N.), which holds the status as the biggest food market in the world. This proposal reinforces and restructures the continuity and urbanity of the immediate surrounding. It challenges the design brief in terms of infrastructural programmatic activations by: • Augmenting publicness and accessibility • Reactivation the bridge path by providing a diverse public program with the focus on M.I.N. History and specialty • Integration of new green urban forest by adding a cloud like structure Section Fragment

The key concept of one main spine through the whole complex as a continued street with big varieties of public pockets reconfigures this infrastructural element as an interactive social interface; a self-sufficient urban platform. In doing so, our design creates possibility to be an attractive base for social interaction between different categories of people that offers: Observation tower with cloud garden: connectivity and sustainability • Programmatic activators: flexible, hybrid and diverse uses • Proxemic design: from public to personal scales • The main volume is a heart of the whole complex where all day long and night activities have a place

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Visualisation of the pedestrian bridge

4.13 mm aggregated polished concrete 65 mm screed 25 mm rigid insulation water proof membrane

Detail Section

5. waterproofing membrane x2 12.5 mm plaster fiber panel 150 mm rigid insulation leveling slope vapor brier structural concrete slab

1. 13 mm aggregated polished concrete with the addition of red powder 65 mm screed 25 mm rigid insulation water proof membrane 2. 13 mm aggregated polished concrete 65 mm screed 25 mm rigid insulation 3. raised floor with pvc panel finish 13 mm aggregated polished concrete 65 mm screed 25 mm rigid insulation

Elevation Fragment

6. Double glassing with red semitransparent film coating on 150 mm aluminum frame, connected with the steel angle to the existing slab 7. Double glassing with red opaque film coating on 150 mm aluminum frame, connected with the steel angle to the existing slab waterproofing membrane 75 mm rigid insulation waterproofing membrane 8. Mirror single layer on 150 mm aluminum frame, connected with the steel angle to the existing structure existing concrete wall 9. Steel angle separating the concrete finish types 10. steel angle supporting the glassing system

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drawing and exploration Project:

Sketching trip

Location

Porto, Portugal

Ambition:

To capture the brilliance in the city

Year:

2015

Brilliance in the City The sketch trip in Porto was dedicated to finding the brilliance in the City. Architecture in Porto reveals its brilliance in the Clean white and sharp volumes of built form of Siza projects. But at the same time one can spot brilliance in the sketchy old buildings of Porto.

Faculdade de Farmácia da Universidade do Porto by Alvaro Siza

The buildings by Siza demonstrate the sharpness of the exterior. Whereas the sharp corners and massive forms are emphasised by the strong contrast between light and shadow.

On the other hand the inner spaces of Pharmaceutical Faculty and Architectural University are softly lit by the dispersed light. Here light is softly reflected from different surfaces and transform the orthogonal space into the soft intricate play of half-tones. This controversy is depicted on the sketch ‘Above and Below’. The two drawings are made in grey pencil in order to concentrate on the play of light. One drawing is positioned above another in the same way as the Square is positioned over the corridor in the building. Hence the drawing depicts both inversion of form and inversion of light.

The contrast between softness and sharpness is what makes the city of Porto brilliant in it its Controversy

PType: orto Essence Collage Ambition:

tel: (+031) 6 16 39 54 19 Alvaro Siza Architecture University ‘Above and Below’

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Porto Corners

Secret Gate

Arriving at Porto

drawing and exploration Object 1.1 Object is demonstrating the way plasticity of the material can allow pattern transformation. The base of the object is a simple shape resembling the leaf and the sprout within one element. Both are made from thin plastic, and therefore have a high level of plasticity.

That allows for shape transformation, but within the given geometry, whereas the leaf ‘constraining’ geometry incorporates within it the sprout ‘active’ geometry. When these elements are grouped together they form a certain pattern, that can be transformed through tension and gravity. When weight is added to the middle of the sprout it is forced to be transformed under gravity. That in turn transforms not only the overall pattern, but also effects the amount of shadow the object generates. The shadow effect can be further explored as a part of space perception.

Plasticity

elena.shulgina@yahoo.nl Object 1.2 Object is demonstrating the way plasticity of the material can allow pattern transformation. The base of the object is a simple shape resembling the leaf and the sprout within one element. Both are made from thin plastic, and therefore have a high level of plasticity. That allows for shape transformation, but within the given geometry, whereas the leaf ‘constraining’ geometry incorporates within it the sprout ‘active’ geometry.

When these elements are grouped together they form a certain pattern, that can be transformed through tension and gravity. When weight is added to the middle of the sprout it is forced to be transformed under gravity. That in turn transforms not only the overall pattern, but also effects the amount of shadow the object generates. The shadow effect can be further explored as a part of space perception.

drawing and exploration The following form study aims at exploration of perception of the shape created with certain geometrical logic, but with different materials and different tectonic properties. By geometrical logic I mean the overall shape of the object and sculptural expression of the shape. Here the overall shape is an extended arch and sculptural expression is achieved through extrusion or pulled in the shape.

An arch is chosen as a basic shape for being a reference to one of the oldest shapes of architectural expression, it first appeared in Mesopotamian architecture. While the addition of extruded elements is due to the reference to one of the contemporary structural element - space frame, that was

Inversion: Form - Frame - Mold

tel: (+031) 6 16 39 54 19 thoroughly explored in mid 20th century by Buckminster Fuller as a form for architectural and structural expression.

The study is presented through three objects complimenting and opposing one another. The three objects are the: ‘positive’ gypsum form, ‘negative’ polymer mold and the aluminum frame. The three objects, when put next to each other demonstrate the difference in form perception, while having the same starting dimensions. Gypsum demonstrates the solidity and heaviness. The polymer mold, on the other hand, is perceived as a lighter object, in a way it disappears in the light. Wire-frame structure is different from the both objects, in a way that give both impressions of rigidness and lightness, being the most porous it defines a unambiguous form.