Ivan Sergejev - Selected Work

IVAN SERGEJEV email: sergejev.ivan@gmail.com profile: http://ee.linkedin.com/in/ivansergejev blog: ivansergejev.wordpress.com

SELECTED WORK

PÜHAJÄRVE EXTENSION

A winter view of the complex from the main access road.

ALVER ARCHITECTS, 2014-2015

TRYING TO MAKE THE NONEXISTENT SEEM REAL. VISUALIZATION

Pühajärve Hotel and Spa complex is situated in southern Estonia at a former manor house with a prominent park, right next to one of the most beautiful lakes in Estonia. Reconstruction of the resort complex has been an ongoing project over the last decade, gradually developing the complex from a seasonal winter sports hotel into a place that motivates people to visit all year long. The functions of the complex include accommodation, a conference center, a restaurant, a pub, multiple bars, a gym, wellness services and a bowling alley. The highlight of the complex is the SPA building deck. It is elevated onto an old horse stable foundation and provides a full panorama view of the park surrounding the building. The view of the seasonally changing landscape is framed by the structure of glulam columns and beams.

My responsibilities mostly included visualizing the new stage of the complex development: an expansion of the iconic Spa building towards the lake, and the addition of a new six-floor hotel volume.

A view from the 4th floor of the new hotel envelope.

Ivan Sergejev, Selected Work 2015

View down the main space of the expanded Spa building.

View of the complex from Pühajärve lake.

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View of the “gate” from the cruise ship dock.

TALLINN SEAPORT ALVER ARCHITECTS, 2014

DESIGNING A CITY GATE. MASTERPLAN

Urban situation plan

Conceptual diagrams.

Final masterplan drawing of the development.

Ivan Sergejev, Selected Work 2015

Despite being a seaside city, Tallinn is cut off from the seashore by a “belt” comprised of former industrial buildings and seaport infrastructure. The competition announced by the Port of Tallinn, asked to reimagine the site located on the artificial peninsula east of Linnahall.

Currently a “wasteland“, the area is situated right next to the main sea gate of Tallinn, and is passed by ca. 9 million visitors per year.

To resolve the brief, Alver Architects proposed: 1) Expanding the currently dilapidated, but historically significant Linnahall into a major conference center; 2) Introducing the “400 meters of culture” that would expand Linnahall’s area of influence towards the port; 3) Transforming the path from downtown towards the sea into a “pearl string” of diverse public spaces; 4) Defining the view coridor from the seaport towards the spire of the Oleviste Church as one of the three major axes; 5) Providing a clear visual connection between the downtown and the sea by pulling a straight line from the Admirality basin in the south towards the marina in the north.

Defined by only a few major “hard lines”, the proposal remains maluable formally, with a number of options for both the program distribution and staging.

Matrix of programmatic distribution.

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ChAD

View of the roof-scape from an earlier stage

OMA (OFFICE FOR METROPOLITAN ARCHITECTURE), 2012-2013 WHY FURTHER COMPLICATE ALREADY COMPLICATED THINGS? DESIGN

ChAD stands for Christopher Street Arts District - an area located in the Lower West Side district of Manhattan, right on Hudson river. It started off being a prison, turned into a market, an industial enclave and then an important spot in the history of the LGBT movement. In recent years it has seen some major luxury residential redevelopments, including the “Meyer Towers“. The site is comprised of 5 individual lots, two of them historically protected, yielding a large amount of unused buildable floor area.

In contrast to the earlier scheme, which placed the residential part of the development on top of the commercial, but got rejected by the zoning consultant, the new scheme put the two components side by side, automatically solving a number of zoning issues, and giving the scheme a distinct clarity.

COMMERCIAL

Continuation of 22’ Module

OFFICE

COMMERCIAL

OFFICE

RETAIL

The concept diagram of putting the two program components side by side - a move resulting in a commercial “loop”.

SITE AND PROJECT SCOPE

COMMERCIAL

BUILDINGS TO BE DEMOLISHED (15,762 sq ft)

Proposed Christopher St Elevation

22’

22’

22’

22’

22’

22’

22’

COMMERCIAL LOOP SPACES IN EXISTING BUILDINGS (TOTAL EXISTING RENOVATION - 45,405 sq ft)

A “foam” of the final scheme.

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130418 CHAD Book - LPC 11x17.indd 55

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COMMERCIAL LOOP SPACES IN NEW BUILDINGS (TOTAL NEW CONSTRUCTION - 50,332 sq ft)

COMMERCIAL LOOP

Conceptual model of the “greater loop”.

177 CHRISTOPHER ST LANDMARKED

183 CHRISTOPHER ST

Evolution of the elevation.

Ground Floor Plan

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130418 CHAD Book - LPC 11x17.indd 57

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Program Distribution

Big Box: Classical Vertical Atrium

Secret Garden

Performance

RESIDENTIAL USE

Little Box: Sculpture COMMERCIAL USE

COMMUNITY FACILITY

Entry: Cafe/lounge

Vertical Gallery: Contemporary

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Given the constraints, the project inolved producing a multitude of diagrams explaining the concept to the stakeholders.

130418 CHAD Book - LPC 11x17.indd 40

Internal Lobby: Cafe/store

Industrial Gallery: Large installations Existing Lift

Project Room: Video Installations

Final diagram of the “loop”.

Ivan Sergejev, Selected Work 2015

Ground floor plan.

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4/19/2013 7:37:29 AM

MACCOC

OMA (OFFICE FOR METROPOLITAN ARCHITECTURE), 2012-2013 STRATEGY FOR DEVELOPMENT. MASTERPLAN

Marina Abramovic has a long-standing relationship with OMA, and Rem Koolhaas personally. No wonder that when the government of Montenegro approached her with a proposal to help them establish a new Center for Performance Art with an industrial twist in the old royal capital of Cetinje, she sugested OMA as a masterplanner of the development.

The central premise of the proposal is its 50/50 programmatic division between culture and industry: culture would attract visitors and businesses, which will in turn finance the culture in a virtuous circle.

Marina herself would lend her world-famous name to the center and establish the second MAI (Marina Abramovic Institute) aimed at preservation of performance art on the eastern side of the Atlantic.

The site for the development used to be a large refrigerator factory OBOD back in the days of Yugoslavia, but became obsolete and eventually ran into bankruptcy later. Buildings on the western side of the site are kept, refurbished and used for socalled “brown-field” development, in this case offices and gallery spaces. The rest of the site is cleared and filled with “green-field“: hotel, Marina Abramovic Institute and a visitor center to the south, and a huge warehouse-like facility for hi-tech and creative industries, outfitted with a modern-day version of a “workers club”, and a theater to the north-east.

MArInA ABrAMoVIc InStItutE (MAI) For tHE prESErVAtIon oF pErForMAncE Art In HudSon, nEW YorK

dEMoLISH & rEStorE

Birds-eye view of the complex by Luxigon.

Further assessement of the exisitng site revealed many buildings that were declared unusable. Based on their high thermal qualities, structural integrity and architecturally unique characteristics, the concrete structures along the western side of the side should be restored, while the damaged and poorly insulated steel structures should be removed.

890m²

H = 3.3.m

9

H = 7.2m

2,660m²

10 5 4,080m²

8

H = 7.2m

2,400m² H = 6m

9

H = 8m

4,370m²

H = 6.7m

5

H = 6.7m

4

8

7,780m²

2,400m²

H = 7.1m

7

4

11

7,780m²

2,400m² H = 6m

5 4,080m²

8

H = 8m

4,370m² 11

H = 6m

H = 7.1m

7

2,200m²

2,200m²

H = 6.7m

4

H = 6.7m

6

7

6

2,610m²

2,610m²

H = 6.7m

10

H = 6.7m

15

2

860m²

15

9,600m²

H = 4.2m

13

6

2

860m²

H = 6m

9,600m²

H = 4.2m

11

H = 6m

3

12

3

4,350m²

4,350m²

H = 6.5m

3

H = 6.5m

1

1

5,235m²

12

H = 5.8m

1,980m²

Concrete Stuctures - 1970’s

H = 4.3m

14

5,235m²

12

2

H = 5.8m

1,980m² H = 4.3m

2,000m² H = 5.8m

13 620m²

nEW BuILd BLocK Greenfield

890m²

H = 3.3.m

9 2,660m²

10 2,400m² H = 6m

HIStorIc BLocK Brownfield

2,000m²

Metal Stuctures - 1980’s - 90’s

H = 5.8m

13 620m²

14

1

Refridgerator Factory

2

Freezer and Combined Refridgerator Factory

3

Luminaire Factory

4

Washing Machine Factory

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1

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Concrete Stuctures - 1970’s Metal Stuctures - 1980’s - 90’s

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Toolroom and Sheet Metal Cutting

1

Visitor Center &Event Space

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Electromotor Factory

2

MAI Tower

7

HOZ Warehouse

3

Hotel & Retail

8

Horizontal Freezer Factory (HOZ)

9

Final Products Warehouse

10

Warehouse

11

Warehouse

12

Restaurant

13

Conference Room and Offices

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Factory Gate

15

Heating Station

EntrY

pArK

dEMoLISHEd StructurE

concrEtE StructurE

StEEL StructurE

4

Brownfield Industry

5

Brownfield Industry

6

Art Parking

7

Communist Archive

8

Brownfield Industry

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Offices

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Cultural Bar

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Park

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Worker’s Club

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Greenfield Industry

Isometric diagrams explaining (from left to right): the current situation, demolitions, and the final locations of new programs on site.

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Film Studios

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Theater

35

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Untitled-2 32

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Untitled-2 35

4/21/2013 12:02:51 PM

1960’s - 70’s concrete Structures

1970’s - 80’s Steel Frame Structures

1970’s - 80’s Steel Frame Structures

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50%

Untitled-2 29

cuLturE

4/21/2013 12:02:38 PM

MAI HudSon MAIn pErForMAncE SpAcE

50%

InduStrY

Diagramatic site plan.

Untitled-2 1

tEAM VISIon

In addition to the cultural ambitions that extend from Marina Abramovic's mission, the vision for MAccoc was developed in with the Government of Montenegro and the old royal capital cetinje, whose aspirations for MAccoc emphasize its role as an important economic and industrial hub for cetinje and Montenegro.

MArInA VIEWInG tHE MAI HudSon ModEL Government of Montenegro

Marina Abramović

The 50/50 concept.

5 Untitled-2 5

4/21/2013 12:02:15 PM

MArInA WItH rEM KooLHAAS & SHoHEI SHIGEMAtSu

old royal capital cetinje

tHrEE zonES

the site is divided into three zones: one zone that preserves a block of the old factory, a park zone that preserves the green space running through the site, and a zone for the new structures added to the site. the original axis of the masterplan shapes a central park wedge that accommodates both expansive, large-scale events and initmate gatherings.

oMA Masterplan

MACCOC Stakeholders.

VISIon

4/21/2013 12:02:14 PM

tEAM VISIon

VISIon

Untitled-2 8

8 4/21/2013 12:02:23 PM

Three friends in charge of 7 the artistic vision.

Untitled-2 7

4/21/2013 12:02:23 PM rESpEct tHE orIGInAL MAStErpLAn AXIS

J.B.Tito inspecting the model of the oiginal OBOD. MAStErpLAn

tHrEE zonES

Ivan Sergejev, Selected Work 2015 Untitled-2 36

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4/21/2013 12:02:51 PM

Views of the complex. From above: sculpture park, workers club, art parking.

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AMO

OMA (OFFICE FOR METROPOLITAN ARCHITECTURE), 2012-2013 GREAT DESIGN IS ONLY HALF THE DEAL. BUSINESS DEVELOPMENT AT OMA

AMO is the applied research / branding / media / business development branch of OMA. Although most of AMO’s work is Rotterdam-based, I was lucky enough to get exposed to a number of Americas-based AMO initiatives, such as OMA*AMO’s submission for Times Square Midnight Moment, and the San-Francisco Central Market Design Charrette, among others. All work for AMO involved work on conceptual diagrams and collages, research and construction of narrative, later formed as pitch documents for potential clients or partners.

In case of the Central Market Design Charrette, AMO’s task was to fully organize, prepare and then deliver a design charrette for the stakeholders of the Central Market neighborhood of San Francisco. Among the stakeholders were local officials, real estate developers and community leaders. The manifold goal of the event was to foster communication between the stakeholders, identify and develop a common vision for the neighborhood, and of course to pitch OMA as a potential masterplanner/ architect for the various opportunities arising from this event.

Site 02

Market Street and its surrounds from 8th Street to mid-block between 6th and 7th Street.

Table 03

Site 02 Plan

Table 04

Section through Market Street looking east

INTERACTIONS

CENTRAL MARKET DESIGN CHARRETTE

Table 05

Street elevation on the north side of Market Street

Street elevation on the outh side of Market Street

Playing “Anachronism“ on the American Eagle billboard

Charrette preparation process INTERACTIONS The Times Square Midnight Moment is a coordinated effort by the sign operators in Times Square to display synchronized, cuttingedge creative content at the same time every day (3 minutes before midnight every night). The initiative is a collaboration of the Times Square Advertising Coalition and the Times Square Alliance, supported by participating signholders and artists.

AMO’s submission for this event included coming up with the idea for the piece, accummulation of the body of relevant research, preparation of necessary documentation, including a pitch document with collages showing off the vision.

Process photography: courtesy Philip Wong

Images projected onto Daffy Square RYTHM COMPARISON 1900

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1980

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START OF TIMES SQUARE TIMES SQUARE GOES PEDESTRIAN AND SMOKE-FREE

THE TERMINUS 1900

1910

1920

TENDERLOIN

1980

RED LIGHTS DISTRICT

1990

REBOUND

2000

2010

DISNEYFICATION

ABC TIMES SQUARE STUDIOS RESTAURANT RECTOR 1900

1910

ABC TIMES SQUARE STUDIOS 1920

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1960

HOTEL CLARIDGE

Gallery / Museum Responsive wall

1910

1920

1930

FIRST “SPECTACULAR” IN TIMES SQUARE

1900

1910

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1990

2000

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NATIONAL THEATER 1940

1950

1960

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CAMEL SMOKER

1930

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ABC TIMES SQUARE 9 RIBBON LED FACADE

1960

CAMEL SMOKER MOUNTED

1900

1980

NATIONAL THEATER

DIFFERENT ADS 1900

1970

1970

1980

1990

2000

2010

1980

1990

2000

2010

CAMEL SMOKER TAKEN DOWN

1960

1970

A PUFF EVERY 4 SECONDS FOR 25 YEARS

“Behind the screens“ - an interactive Times Square tour/app

Ivan Sergejev, Selected Work 2015

Analyses and comparison of rhythms existing in the Square: longevity of building stock vs. advertising technology vs. ad content, etc.

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MODELING AT OMA

OMA (OFFICE FOR METROPOLITAN ARCHITECTURE), 2012-2013 MAIAMI BEACH CONVENTION CENTER

CANTEEN

INDUSTRY level below

CONNECTION TO THE KITCHEN BELOW

INDUSTRY level below

WORKSTATIONS

INDUSTRY level below

INDUSTRY level below

COURTYARD

PLAZA AT SANTA MONICA

MEETING ROOMS

PARKING ACCESS

INDUSTRY ADMINISTRATION

THEATER / WORKER’S CLUB OPTION 1 LIBRARY

FILM VILLAGE

FLY TOWER

SOUND STAGE level below

WORKER’S CLUB LOBBY

VIEWING AMPHITHEATRE

SOUND STAGE level below

RESTAURANT BACK OF THE HOUSE BELOWE

BRAZIL RPJ

COAT CHECK / PUBLIC ROOMS

LOADING

CAFE - BAR INNER LOBBY

BACK STAGE

MAIN STAGE

AUDITORIUM

PREFUNCTION

OUTER LOBBY

FLY TOWER

MACCOC COURTYARD LOBBY

Ivan Sergejev, Selected Work 2015

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REHEARSAL

? ... - 1941

1941

2009

2025

THE NEW OLD CITY OF NARVA URBAN MARK ARCHITECTS, WORK PROJECT, 2009

THINK AGAIN: IS IMITATING YOUR LOST GLORY WITH CARDBOARD REALLY WHAT YOU WANT?

The city of Narva once boasted being one of the most beautiful examples of baroque architecture in Europe. Then the tragegy of the II World War happened and 97% of the city was lost. In the 50’s, the ruins of the Baroque old town were cleared to make way for typical Soviet housing: the new cityscape bore no reference to the medieval structure of the city, further removing the memory of what once existed in its place. Now, after decades of denial, Narva is frantically seeking strategies for redeveloping its old city, longing to rebuild the city in its original shape.

The project rejects this approach and, instead, suggests applying a number of organizational principles, e.g. reimposing the original city grid and plot patterns, in order to restore the typical fragmented structure of a medieval settlement without being a fake plaster copy of its long-lost glory. The area becomes a new focal point for the city, housing, among others, a university campus and a city administration complex. In addition, the basements of medieval churches are exposed and the existing 50’s housing is kept in a juxtaposition to the new, giving the city a point of historic reference it lacks.

Main town square with the existing Town hall as its focus, and the new university building by Kava-Kava Architects as a new public attractor.

Conceptual sketches/diagrams, which later made it into the planning documentation virtually unchanged.

Plan: from emptiness to medieval density in a few strategic steps.

Birds-eye view of the new old city.

Ivan Sergejev, Selected Work 2015

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A longitudinal section of the proposed medium-sized data center in NoHo, New York.

EXPOSING THE DATA CENTER VIRGINIA TECH, MASTERS THESIS, 2011-2013 MYSTERY: WHERE IS THE CLOUD?

Despite the rapid growth in the importance of the Internet, data centers have so far received very little, if any, architectural attention. Before – banks, churches and other important socio-economic institutions manifested themselves in magnificent structures. Now, as data is becoming the new money, memory and religion, data centers are on their way to become the “monuments” and “temples”, of the “network society”.

The thesis starts with a brief overview of the history of data centers and the Internet in general. After, it establishes a roadmap for the possible future development of the building type with suggestions of both strategic and tactical character. The work culminates in a design for an exemplary new data center.

Supported by intense research, the thesis aims to: 1) change the public perception of the internet as a non-physical thing, and data centers as purely functional infrastructural objects without any deeper cultural significance, and 2) propose a new architectural language for the type.

A horizontal section through the center, showing the structural buttresses inside.

A step-by-step modularity diagram of the server’s “braincenter”.

A visualization of the proposed medium-sized data center integrated into the environment of NoHo, New York.

Ivan Sergejev, Selected Work 2015

Just like Subway stops, data centers comprise a rhizomatic urban form, which follows the rules and logic of its own.

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View from Roanoke’s Market square - main public space of the city.

ROANOKE TRAIN STATION VIRGINIA TECH, STUDIO PROJECT, 2010

STATEMENT: A TRAIN STATION IS NOT A PAVILION!

Being located on the intersection of two transcontinental railroad lines, Roanoke, VA, has historically enjoyed the status of an important logistical node. Unfortunatelly, in the last few decades, the city has been in decline. As a part of a new revitalization strategy, the city aspires to build a new passenger train station. Given its history, for a city like Roanoke, a railroad station in the form of a pavilion would not be enough - instead, it should become a multifunctional hub.

With this in mind, the proposed design channels the different modes of traffic into a single “Transit Canyon” between Shenandoah and Norfolk Avenues and throws a bridge over them, thus allowing for the public space of the station to be a totally traffic-free, pedestrian-friendly environment. In addition to transit functions, the new complex also accommodates an office and conference center, cafes and shopping spaces. Given its scale, the main promenade can be used for fairs and markets, thus acting as an extension of Roanoke’s urban public space, reconnecting the presently torn-apart city center. Along with the station itself, both sides of the railroad tracks are developed into urban plazas, with adjacent buildings designed to accommodate cafes and galeries. This way, instead of being a pavilion, the new station becomes exactly what it is supposed to be - an urban pump!

Site plan.

The project received an honorary mention in the student category of the “2012 AIA Blue Ridge Design Awards”.

Conceptual Diagrams, left to right: functions, “reconnector”, public spaces, logistics.

Longitudinal section.

Ivan Sergejev, Selected Work 2015

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ACADEMY OF ARTS

ESTONIAN ACADEMY OF ARTS, STUDIO PROJECT, 2009 CHALLENGE: WHAT IF THERE IS ONLY THAT MUCH TO SPARE?

Given its prominent location in the center of Tallinn, the new Academy aspires to play an important role in the cultural life of Tallinn. Because of a tight budget, the new building should allow for multistage construction, save as much of the old building as possible and find ways to squeeze the whole programm (initially ca. 24,000m²) into a congested 18,000m².

The proposed solution extrudes the outline of the site directly from the ground, thus keeping the bulk of the building low and taking advantage of the horizontal organization of functions, with the central atrium solving the problem of insolation and acting as a focal point of the building. The lack of space is dealt with by monitoring temporal programmatic occupancy of the building as well as mixing the functions of spaces. Due to this, the building becomes a dense, programmatically interwoven structure, facilitating interaction and synergy between students, faculty and fields of study - a concept that finds its ultimate incarnation in the system of passageways of the atrium, which combine transit with temporal functions such as lecture theatres, seminar spaces, studios, etc. On the lower level, a number of voids carved out of the solid extruded block provide public access and acommodate city-wide public functions.

View down the atrium - a public space for both the school and the city.

Plan of the fourth floor.

Location: on the border between the Medieval and the “new” cities.

Diagrams, left to right: massing, temporal management, passageways.

Ivan Sergejev, Selected Work 2015

View of the main entrance.

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View from the intersection of College Av. and Main St.

EDGE

VIRGINIA TECH, STUDIO PROJECT, 2010 QUESTION: IS AN EDGE A LINE OF DIVISION OR CONTACT?

The relationship between Virginia Tech and the town of Blacksburg has always been symbiotic: Virginia Tech provides Blacksburg with 35,000+ people to keep the local businesses going, getting in exchange the illusion that it is not actually in the middle of nowhere. The border has always been invisible, but with the rapid expansion of the school, both entities have recently decided that they needed a clear demarcation of their territories.

The border will receive its most prominent manifestation at the intersection of Main Street and College avenue - the main streets for the town and for the school respectively.

How does one design a border between two entities that cannot exist without each other, but still want to manifest their identities? How does one design a clear border without it becoming a local version of the Berlin wall?

To solve this conundrum, the intervention becomes a permeable boundary: a clear brick wall, which twists and turns to allow for access and habitation by the “dwellers” of both camps, becoming a stair in one place, a gate in the other and a stage in yet another. Although clearly being a wall, it is a line of contact and a ground for interaction.

Is an Edge a line where matter ends?

...or is it a line where matter begins?

Birds-eye view of the Edge.

The Edge was designed almost entirely in Grasshopper, with only a few lines and one point marked in the Rhino environment for orientation and coordination.

Location: between Virginia Tech in the north-west and the town - to the south and east.

Ivan Sergejev, Selected Work 2015

“Dancing” section.

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RUBIK’S CITY INDEPENDENT PROJECT, 2012

CURIOSITY: WHAT WOULD AN INTERSECTION IN A THREE-DIMENSIONAL GRID LOOK LIKE?

View of the Rubik’s City from afar.

A sketch of a “Broadway“ cutting through the grid.

Sketch of the geometric structure of the view on the right.

Ivan Sergejev, Selected Work 2015

A drawing of a three-dimensional intersection with views open in all directions, where the notions of “up” and “down” or “left” and “right” do not exist.

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PROCESS

IVAN’S DESK, COWGILL HALL, VIRGINIA TECH SUMMER 2012

Ivan Sergejev, Selected Work 2015

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