ATMOSPHERES ARCHITECTURE & ART by MIKHAIL FRANTSUZOV
MIKHAIL FRANTSUZOV FLUENT ENGLISH AND RUSSIAN, INTERMEDIATE SPANISH.
HELLO, My name is Misha. Most of my life I lived in Moscow, then moved to Madrid and currently I am completing my bachelor in architecture in Segovia, Spain.
TOOLS Photoshop
CONTACTS Age Email
Rhinoceros Grasshopper
Phone
TAIPEI RIVER CAMPUS Personal Art exhibition at Casa de la Moneda, Segovia
2017
Internship at VAMOS Architects, New York City
2016
Summer internship at M17 Architects, Moscow
2015
Private exhibition of my artwork in Madrid
2013
INTERESTS
+34 674 026 370
2017
2010 - 2013
Sketchup
frantsmart@outlook.com
EXPERIENCE
AutoCAD Vray
20 years old
BOROS
Illustrator InDesign
INDEX
SAN FERNANDO MARKET
Apprentice in a studio of a Russian artist Galina Grigorovich Completed a course ‘What is Composition? The art of sketching’ at MAMM Moscow
DIGITAL COLLAGES
EDUCATION ARTWORKS
Painting Drawing Sketching Cinematography Ice Hockey Boxing
2015 - now
IE University, Segovia Campus Bachelor in Architecture
2013 - 2015
Senior years at King’s College the British school of Madrid.
2008 - 2013
Secondary school in Gymnasium No. 1529 named after A.S. Griboedov in Moscow, Russia.
BOROS BUNKER GALLERY EXTENSION
THIS PROJECT WAS DEVELOPED AS A RESPONSE TO THE NEED OF THE BOROS BUNKER GALLERY IN BERLIN TO EXPAND. THE COURTYARD NEXT TO THE EXISTING WWII BUNKER WAS CHOSEN AS THE SITE OF A NEW BUILDING. THE DESIGN PROCESS RELIED ON A SEQUENCE OF SIMPLE BUT POWERFUL OPERATIONS:
THE FOUR VOLUMES
VS
LIGHT TRANSLUCENT SKIN
BOROS BUNKER
STRUCTURAL EQUILIBRIUM
BALANCING ON THE SUPPORTS
SUSPENDED VOLUME
1- THE VOLUME OF THE BUNKER IS DUG OUT FROM THE SITE 2- INFILL OF THE NEW VOLUME IS SPLIT INTO FOUR SMALLER LIGHT VOLUMES 3- THE FOUR VOLUMES ARE RAISED UP IN THE AIR TO METAPHORICALLY COUNTER-BALANCE THE MASS OF THE BUNKER
CIRCULATION
STRUCTURE
BALANCE
boros bunker
suspended volumes
elevator shaft
vertical access
(suspended ramp)
main access underground
LONGITUDINAL SECTION
tunnel
TRANSVERSE SECTION vertical access
(concrete ramp)
main access
PLAN
led screen
TAIPEI RIVER CAMPUS CREATING DENSITY
EXISTING DENSITY AROUND THE RIVER
TAIPEI IS A HIGHLY CONGESTED AND DENSELY POPULATED CITY. SOME DISTRICTS IN PARTICULAR SUFFER FROM THE PROBLEMS OF OVERPOPULATION AND LACK OF CONVENIENT WAYS TO RESOLVE THIS ISSUE. ONE OF SUCH DISTRICTS - WANHUA- IS ONE OF THE OLDEST PARTS OF THE CITY LOCATED ADJACENT TO THE RIVERSIDE. IN ORDER TO IMPROVE THE QUALITY OF LIFE AND RESOLVE THE PROBLEM OF CONGESTION, OVERPOPULATION AND POLLUTION, THE TAIPEI RIVER CAMPUS PROJECT PROPOSES TO CREATE A NEW POINT OF DENSITY THAT WOULD DRAW THE PRESSURE FROM THE WANHUA DISTRICT TOWARDS THE RIVERSIDE AND, SIMULTANEOUSLY, PROVIDE RESIDENTIAL, COMMERCIAL, LEISURE AND BUSINESS OPPORTUNITIES.
PROPOSED DENSITY ON THE RIVER
THE RIVER CAMPUS ALSO AIMS TO ‘STITCH’ THE TWO SHORES: TAIPEI CITY AND NEW TAIPEI, HELPING TO DEVELOP THE AREA AND IMPROVE THE COMMUNICATION BETWEEN THE TWO REGIONS. THE CAMPUS IS A COLLECTION OF CONNECTED STRUCTURES. LIKE A SMALL CITY ITSELF, WITH AN INTERNAL LOGIC OF POLITICS, POLICIES AND CIRCULATIONS.
STITCHING THE TWO SHORES
SECTION
THE PROJECT EXPLORES THE MEANING OF THE TERM ‘ORGANIC’ IN THE CONTEXT OF ARCHITECTURE. ALTHOUGH THE BUILDING IS PLANNED IN ADVANCE AND IS NOT FLEXIBLE IN TERMS OF ADDITION OF NEW UNITS, THE TWO MAIN IDEAS INCORPORATING THE ORGANIC NATURE ARE: 1- DEVELOPED INTUITIVE CIRCULATION 2- ABILITY OF CREATED SPACES TO ACCOMMODATE AND ADAPT TO DIFFERENT ACTIVITIES
INSPIRED BY SOVIET BRUTALISM AND SUCH MASTERS AS MARCEL BREUER AND PAUL RUDOLPH. ALSO, SIGNIFICANTLY INFLUENCED BY TADAO ANDO AND RICARDO BOFILL.
CHAOTIC NATURE OF THE STACKED VOLUMES IS MIMICKING THE TYPE OF LOCAL ORGANIC CONSTRUCTION IN WANHUA DISTRICT.
LEISURE
COMPLEX CIRCULATION IS THE CORE OF THE STRUCTURE: BOTH LITERALLY AND CONCEPTUALLY. COMMERCIAL
LEISURE
RESIDENTIAL
BUSINESS + RESIDENTIAL
EDUCATIONAL + BUSINESS
COMMERCIAL + BUSINESS
RESIDENTIAL + EDUCATIONAL
RESIDENTIAL + COMMERCIAL
ACCESS LEVEL
STORAGE LEVEL LEVEL 4 FLOOR PLAN
SUPPORTS EXPLODED FLOOR PLAN DIAGRAM
SAN FERNANDO MARKET 1. RESEARCH
GIVEN AN EXISTING FOOD MARKET IN MADRID, LAVAPIES AREA, OUR GROUP OF STUDENTS WAS ASKED TO EXPLORE THE MARKET’S ATMOSPHERE AND STRUCTURE. WHILE COLLABORATING IN PAIRS, WE STUDIED A CERTAIN PART OF THE MARKET AND DID OUR BEST TO TRANSLATE ALL THE SMELLS, COLOURS AND LIVELINESS OF THE MARKET TO DRAWINGS.
IN ADDITION TO THE RELATIVELY SUBJECTIVE DRAWINGS, THE ATMOSPHERE WAS ALSO CAPTURED WITH THE USE OF PHOTOGRAPHY, THAT ALLOWED FOR THE CREATION OF REALISTIC PHOTOMONTAGES. THESE MONTAGES WERE LATER USED TO RECREATE THE COLOURS AND TEXTURES OF THE PLACE- THE STRIPE RUNNING THROUGH THE DRAWING.
SAN FERNANDO MARKET 2. ZOOMING IN THE SECOND STAGE IN THE MARKET PROJECT WAS TO ‘ZOOM IN’ AND CREATE A CUSTOM STALL WITH A SPECIFIC PURPOSE. MY STALL SOLD VEGETARIAN, NATURAL AND GREEN FOODS.
AFTER AN EXTENSIVE MODEL ITERATIONS PERIOD, I WORKED OUT A SYSTEM OF REVOLVING WOOD PANELS, THAT, WHEN COMBINED, COULD CREATE OBJECTS AND SPACES FOR VARIOUS PURPOSES AND USES. THIS APPROACH TOOK ME TO MY FINAL DESIGNA SO-CALLED ‘COCOON’, OR A ‘GREEN CAVE’.
SAN FERNANDO MARKET 3. ZOOMING OUT
THE LAST STAGE IN THE MARKET PROJECT WAS TO ‘ZOOM OUT’ – TO CONCENTRATE ON THE SURROUNDING AREA OF THE MARKET, TAKE INTO CONSIDERATION VARIOUS INTERNAL AND EXTERNAL FACTORS, SUM UP WHAT I HAVE LEARNED SINCE THE FIRST STEPS AND REDESIGN THE MARKET.
THIS ITERATION HELPED ME TO COMBINE AND REALISE THREE IMPORTANT IDEAS:
1) CUT – OPEN ENTRANCE TOWARDS THE SOUTHERN PARK (SEEN BETTER IN THE SECTION) I DECIDED TO RELOCATE THE ENTRANCE, SO THAT THE MARKET COULD SERVE AS THE CONNECTION HUB BETWEEN TWO PUBLIC SPACES (A PARK AND A SQUARE). 2) NEW PROGRAM’S RELATIONSHIP TO THE MARKET. I PROPOSED A MEDIALAB AS THE NEW PROGRAM, A PLACE WHERE PEOPLE CAN LEARN HOW TO USE ADVANCED DESIGN TOOLS AND COLLABORATE ON VARIOUS DESIGN PROJECTS.
3) NEW FAÇADE. I GENERATED TWO LAYERED FAÇADE: THE INTERIOR STRUCTURAL ONE- VERTICAL PANELS THAT REPEAT ALL AROUND THE BUILDING WITH CHANGING DISTANCES; AND THE EXTERIOR LIGHT SUSPENDED ‘CANOPY’ FAÇADE, MADE OUT OF STAINLESS STEEL PERFORATED PANELS.
THE ENTRANCE CAN BE DEMONSTRATED IN THIS SECTIO N; I IMAGINED THAT PEOPLE WOULD COME UNDER THE SUSPENDED PERFORATED FAÇADE AND FIND THERE A STAIR LEADING UP TO THE MARKET. AFTER THE COMPRESSED ENTRANCE, THE VISITORS WOULD EXPERIENCE THE ATRIUM - PLAZA, AND CULMINATE THEIR JOURNEY EXITING THROUGH THE OPEN FAÇADE ON THE OPPOSITE SIDE.
DIGITAL COLLAGES CREATING ATMOSPHERES
I BELIEVE THAT THE ABILITY TO CREATE THE ATMOSPHERE FOR A YET NON-EXISTEN SPACE CAN BE A GREAT POWER.
WHEN USED APPROPRIATELY, A SPACE CAN GAIN A VALUE AND BECOME A PLACE. BELOW ARE SOME EXAMPLES OF THE PLACES THAT I IMAGINED.
. THE CHAMARTIN SITE IN MADRID IS A MASSIVE UNDERDEVELOPED AREA THAT ACCOMODATES AN IMPORTANT TRANSPORTATION HUB AND RAILTRACKS. THIS PHOTOMONTAGE WAS DEVELOPED AS A PART OF VISUAL COMMUNICATION OF THE CHAMARTIN AREA DEVELOPMENT PROPOSAL. FIRST HAND PHOTOGRAPHS AND INTERNET RESEARCH ARE THE BASIS OF THIS PHOTOMONTAGE, PHOTOSHOP PROVIDES ALL THE NECESSARY TOOLS TO STITCH THE IMAGES AND CREATE A NEW REALISTIC IMAGE.
FIELD NEXT TO THE RAILTRACKS, ALTERNATIVE ENERGY SOURCES
FOREST AND ELEVATED RAILWAY
PROMENADE OVERLOOKING THE RAILWAY
SECLUDED FOREST
CHAMARTIN DEVELOPMENT PROPOSAL EXAMPLES.
THESE PHOTOMONTAGES WERE CREATED DURING MY INTERNSHIP IN NEW YORK.
CONCEPT DAY/NIGHT APPEARANCE OF A FUTURE RESTAURANT IN LONG ISLAND CITY, QUEENS.
REALISTIC FLOOR PLANS REVEALING FLOOR CONDITIONS OF THE INDUSTRIAL BUILDING IN BROOKLYN NAVY YARD.
ARTWORKS PORTRAITURE
PLAY OF LIGHT STUDIES, OIL ON PAPER, 2015
“FLAMING JUNE”, OIL ON CANVAS 1X1 M, 2015
THIS PAINTING BELONGS TO A SERIES THAT EXPLORES THE EFFECT OF SUNLIGHT IN PORTRAITURE AND AIMS TO REPRESENT THE MOMENT THROUGH CAPTURING THE EVER-CHANGING PATTERN OF SUN AND THE SHADOW.
-THIS REPRESENTATION OF FREDERIC LEIGHTON’S “FLAMING JUNE” IS ALMOST AN EXACT COPY OF THE ORIGINAL WORK. THE PROCESS OF CREATING THIS WORK CONSISTED OF AN INTENSE STUDY OF FABRICS, SKIN TONES, COMPOSITION AND COLOR THEORY.
“PLAY OF LIGHT”, OIL ON CANVAS, 2015
ANOTHER WORK FROM THE SUNLIGHT SERIES, “PLAY OF LIGHT” EXPLORES THE INTRICATE RELATIONSHIPS BETWEEN LIGHT AND SHADOW, FEMALE BEAUTY AND PAINTING TECHNIQUE.
OIL PAINTING TECHNIQUE STUDIES, 2015
I HAVE COMPLETED A NUMBER OF STUDIES TO TEACH MYSELF THE OIL PAINTING TECHNIQUE OF THE OLD MASTERS. THIS PAINTING IS AN EXAMPLE OF THE PREPARATION PROCESS FOR A BIGGER PIECE.
“KIDS”, OIL ON CANVAS, 2016
PLAY OF LIGHT STUDIES AFTER SOROLLA, OIL ON PAPER, 2015 AT THE MOMENT I AM USING THE KNOWLEDGE GAINED FROM COPYING AND INTERPRETING EXHISTING PAINTINGS TO CREATE REALISTIC PAINTINGS SUCH AS THE ONE ABOVE “KIDS”. IN MY ART, I STRIVE TO REPRESENT THE ESSENCE OF MY CHARACTERS, THEIR TRUE NATURE, WHILE MAINTAINING THE AESTHETIC OF THE OIL PAINTING TECHNIQUE AND MEDIUM.
“JUDITH BEHEADING HOLOFERNES”, 2015
OIL PAINTING TECHNIQUE STUDIES AFTER CARAVAGGIO, 2015 HAVING STUDIED THE TECHNIQUE OF OLD MASTERS, I HAVE CREATED MY INTERPRETATION OF “JUDITH BEHEADING HOLOFERNES” AFTER CARAVAGGIO. IN THIS PAINTING, MY MAIN GOAL WAS TO REPRESENT THE ATMOSPHERE OF INTENSITYA MOMENT BEFORE THE CRUCIAL EVENT.
UNNAMED 1, PENCIL, 2017
“FEAR”, PASTELS ON PAPER, 2014
TOP
UNNAMED 2, PENCIL, 2017
UNNAMED 3, PENCIL, 2017 LEFT
ONE OF THE WORKS FROM MY EARLIEST SERIES “EMOTIONS”, AS THE NAME SUGGESTS, IT FOCUSES ON REVEALING HUMAN EMOTIONS THROUGH PORTRAITURE, THE USE OF COLOR AND COMPOSITION. I BELIEVE THAT ALTHOUGH PHOTOGRAPHY AND ART SHARE SOME CRUCIAL ASPECTS OF VISUAL ARTS, THE TWO ARE DRASTICALLY DIFFERENT. THESE WORKS SHOW HOW ART DERIVED FROM PHOTOGRAPHY CAN GAIN A DIFFERENT MEANING
SOLO EXHIBITION CASA DE LA MONEDA SEGOVIA, SEPTEMBER 2017
HTTPS://YOUTU.BE/NYKKYN1RFJM SHORT VIDEO OF MY SOLO EXHIBITION IN SEPTEMBER 2017
THANK YOU FOR YOUR TIME! for further information, feel free to contact me at any time: frantsmart@outlook.com +34 674 026 370
Mikhail Frantsuzov 2018