ARCHITECTURAL PORTFOLIO Mariya Anishchenko
Mariya.Anishchenko@gmail.com +39 346 502 64 97
MARIYA ANISHCHENKO
Nationality: Russian Date of birth: 01/01/1991 Mariya.Anishchenko@gmail.com +39 346 502 64 97
ACADEMIC BACKGROUND Since 2015
2008 2014
Politecnico di Milano, Italy Master degree in Architecture Average 27,5 of 30 Ivanovo State Pilytechnical University, Russia Bachelor Degree in Architectural Restauration Average 4,8 of 5. Graduated with honours
COMPUTER SKILLS Autocad Revit
Advanced Medium
Archicad
Advanced
Rhino + Grasshopper
Advanced
Maya
Medium
3dsMAX + V-Ray
Medium
SketchUp
Advanced
Adobe Suite
Advanced
PROFESSIONAL BACKGROUND
LANGUAGES
apr 2015 - Arena-2018 sep 2015 www.arena2018.com Architect Worked with working documentation of projects of football stadiums and their adoptation for the 2018 FIFA World Cup.
Russian
Native
English
Fluent
july 2014 - FUDES. Design and construction mar 2015 www.fudes.ru Junior Architect Interior design of office spaces. Worked with full cicle projectes: design, working, construction documentation, construction control. july 2012 - Sochi-2014 Olymic Games Organizing Committee dec 2013 Intern (till nov 2012) CAD-operator (since nov 2012) Worked with drawings of residences for athletes and masterplans of Olympic Villages. (later stayed till march 2014 working as Allotment Manager) Jun 2011 - P&R Engineering Aug 2011 www.prengin.com Intern Worked with architectural and urban planning projects as a part of a team. Prepared project documentation and albums.
Italian German
Intermediate Beginner
IN BETWEEN STONE AND AIR PROJECT OF PRIVATE MUSEUM OF SCULPTURE WITH RESIDENCES FOR ARTISTS ON THE TOP OF THE FORMER MARBLE QUARRY 2016. Architectural Design Studio Critic: Francisco Mangado Ricardo Mazzoni Roy Nash
Work on the unique site like former marble quary is at the same time promising and inspiring, but also challenging due to unusual problems and limitations like Isolation, extreme climate, wild environment. From the beginning we saw the quarry as a place with a unique charm already into it. For this reason we were not only interested in the high point of view to a far landscape but also in the physical and visual contact with the quarry itself. The movement inside and outside of the building that allowed or forbades the views and shaped the experience not only of the visitors interested in the exhibition, but also of the constant users: the artists. Another argument that was matter of our attention was to establish a clear contrast without being disrespectfully outstanding compared to our great basement: existing mountain platforms. With a sharp cut through one of the marble platforms, the establishment of a pure, abstract shape in this irregular and in continuous change context provides a rule that will set the physical strategies of the project. The path that precedes the architectural project gave us the opportunity to start thinking about the rooftop as a sort of main facade and conceive it in a way that would be the first thing one sees when is approaching this centre. The main entrance to the building is a long marble ramp that extends from the platform and guids people’s view from the top -the horizontal facade of the building- while immersing them into the deepness of the internal space.
GROUND FLOOR PLAN
SITE TOP VIEW
The first internal frame of the landscape is the welcome point: a central patio that distributes the spaces around it and constitutes the only opening in the flat concrete cover.
that later become the whole language of the facade, in an open-air way leaving room for air and light to enter in a particular way.
Two main spaces constitute the internal exhibition. The hidden one, cave-like, gets its charm from being surrounded by rough marble, with low amount of light, provided only by the patio and a subtle gap between the covering and the platform.
Ateliers are also part of the general exhibition, as their distribution -in a row, with the dormitories on top in order to provide appropriate privacy- allows visitors to watch works in process or already completed in their very origin, having at the same time a look through the artists’ environment and workplace, as it’s important to establish a connection between the creators and expectators of the sculptures.
The biggest exhibition space is permeable from one side and impermeable from the other, packed with rows of columns
SITE SECTION
PAVILION OF ICELAND PAVILION FOR EXPO2020 IN DUBAI
2017. Building Technology studio Critic: Ingrid Paoletti Claudio Del Pero Giuseppe Crespi
With its theme “Connecting minds, Creating the Future� EXPO2020 will bring global focus on one of the most transformative times of humanity; a time when our human potential is completely transformed by physical and digital connections. Starting from this topic, we analyzed and studied customs and traditions of the country we were working with, and realized that the main trademark of Iceland was its nature. Starting with an abstract natural pattern of basalt mountains, we arrived to the idea of pavilion which is itself sort of alive organism, reacting on environmental and internal changes. The project concentrates on the idea of integration of modern kinetic technology with classical architectural principles in order to create a connection between human beings and space, building and environment, human mind and computer technology. The first experience for visitors starts from the outside where people can observe the moving facades. Glass facades of the building are surrounded with suspended prismatic elements, which move depending on position of the sun creating shading when it is needed or opening views for visitors. The experience inside the pavilion starts from a big waiting area where people can observe exotic northern nature. From there groups of people go up using lifting platform
which brings them to an open space of the first floor. Here starts the main experience. The main exhibition area is equipped with kinematic modules on the ceiling connected to the movement sensors on the floor. Upon the arrival of visitors, the ceiling starts moving, leading people to special meeting points where they can learn about Iceland from the projections from the elements with built-in projectors. The second pat of the scenario starts when the selfpresentation of pavilion finishes and elements start moving to the groups of people. Here we imply the idea of gathering people together. As part of the experience visitors should come up to the idea that the ceiling will follow them only if they will stay together. The exit from the pavilion is organized through the external ramp, where visitors can ones again observe the pavilion from the different point of view. As a product of builiding technology studio, the project was supported with detailed calculations of engineering aspects, including calculations of structural elements, ventilation system, energy efficiency of the building. In order to neutralize the electricity usage by all the in-build devices and cooling system, the building was equipped with polivoltaic panels which could cover the electricity demand on 90%, making the pavilion almost zero energy.
AXONOMETRIC DETAIL OF INTERNAL ELEMENT
SCENARIOS OF INTERNAL ELEMENTS MOVEMENT
Scenario 1 The ceiling modules converge to a single point to attract visitors while projecting information on the floor. This point of convergence moves along a pre-programmed path.
Scenario 2 The modules begin reacting to the movement of people below. The ceiling converges to multiple points, where the density of visitors is maximum.
AXONOMETRIC DETAIL OF EXTERNAL ELEMENT
SCENARIOS OF EXTERNAL ELEMENTS MOVEMENT
West facade. 9AM The sun is shining from oposite side. The facade is open.
West facade. 1PM The sun is shining from the top. The shading level is medium.
West facade. 5PM The sun is shining directly to the facade. The elements move closer.
PARALLEL CITY NEW URBAN PARK ON THE SITE OF DISSMISED AREA ALONG THE CHANNELS IN MILANO
2016. Urban planning design studio Critic: Stefano Boeri
The aim of the project “PARALLEL CITY” was to make a proposal for the city of Milan, which addresses the issue of biodiversity development within city borders considering its natural background and original geological conditions in order to bring nature to the city. We’ve chosen system of Naviglies as the Natural corridors which may serve as natural way to enter the city. The area on which the project focuses starts from the old construction by Aldo Rossi for the new San Cristoforo station, and arrives closer to city center. It is dismissed and is framed by water from one side and railway from the other. After studing natural benefits, topogrphical, geological situation inside the area we discovered five opportunities to create five different environments in which a path leads the multisensorial learning experience by changing position. Inside each one of the micro climates, a device will help the enhancement of the experience and the contact with nature to allow people to get closer to nature. Regarding the edges, no artificial meanings will be used, since nature will be its own border and protector: it will act as a barrier against the railway noises and life; as windbreaker and temperature regulator. The project contains deep study of treatment of each area, vegetation for each microclimate and animal species which may occupy all the environments. The idea to let animals have the control is represented by the reversed zoo. Animals will not approach humans unless they see no danger and a safe attitude. So while humans mantain a superiority belief and don’t try to walk in the animals’ shoes, they won’t be allowed the contact with them. They must have first a change of perspective, literally and figuratively. The space is primarily aimed at children, in order to accomplish a learning process from a very young age. The aim is to teach respect and right distance, introduce biodiversity to them, provide education in terms of nutrition and equality with animals. This is the reason why, inside the project, spaces for humands are confined. In this way, protection is guaranteed to animals that allows them to wander freely and get as close as they decide to humans whenever they want. The idea of the learning process in the project is represented by the distance, provided by the path that will work as a guide, physically changing humans’ positions along the thickness in order to change also their points of view until they’re able to see things as animals do.
MASTERPLAN OF THE AREA
CROSS-SECTION OF WETLANDS AREA
CROSS-SECTION OF WOODS AREA
SCALO FARINI NEW URBAN PLAN FOR DISMISSED AREA OF FORMER TRAIN STATION IN MILANO
2017. Intensive workshop MIAW Critic: Oliver Thill
This project was done as a product of 7-day intensive international workshop. Considering small ammount of time we have decided to concentrate from the first days on working with phisical models, considering also model to be perfect exponants, which can talk for themselves. In this project we were thinking on organic integration of new masterplan of residental area for 4000 apartments within the morphology of Milan, while simultaneously trying to preserve what is the ultimate quality of the site: emptiness. The project therefore proposes a strategy based on the combination of continuous urban fronts and free standing towers with generous views and accesses to a new urban public park. The project combines linear types of 7 floors with a terraced profile toward the park with free standing towers of 16 floors. As a part of masterplan plan proposal we also created models of prototype typology for the buldings.
MATSESTA HARBOUR PROJECT OF REVALORIZATION OF REGIONAL HARBOUR “MATSESTA” SOCHI, RUSSIA
Diploma project, 2014 Critic: Saprykina Natalya First prize winning project for a competition of diploma projects in Ivanovo State Polytechnic University; Third prize winning project for an exhibition “Sochi peshkom” in nomination Urban Planning; Diploma from the Ivanovo Regional Department of Russian Union of architects.
Harbour “Matsesta” is located on cost of Black sea, not far from city Sochi in Russia. It was built in 1930s by the request of Stalin, who had house nearby and wanted to have a direct connection to the city center by sea. Harbour used to be a part of regional system of small harbours, but in the end of 1980s it was dismissed and since then stayed abondonend. Nowadays the sea coast is being developed and this harbour will be a part of the entire programm of reopening of regional sea transportation system. This project was aimed to make a project of revalorization of the harbour. The first problem I faced was the fact that a harbour with modern requirments cannot fit the historic building anymore and the strict form of rotonda doesn’t allow to add any new part nearby as it will destroy the original architecture. Going underground was also impossible due to weak soil and close location to water. The second problem was a small train station that was built right behind the station and caused the increase of railways. As a result the railways were too close to the building and it was decided to dismantle the historic stairs of the harbour, that blocked the access to the terrace. Considering these problems I decided to raise the historic building up and build an extra ground floor in stylobate and combine in new building both harbour and train station which at the moment is present as a temporary structure. Relocation of the building allowed me to make an accent on a hystorical building, adding additional spaces and helped to protect the historical constructions from sea water. Another solution was to prolongate the new ground level creating the bridge above the railways and creating revreational area above the new ellings.
BLUE SILUETTE SHOWS THE HISTORIC LOCATION OF THE BUILDING
Thank you! Mariya.Anishchenko@gmail.com +39 346 502 6497