VA D I M MISHCHUK
A r ch i t e c t u r e Po r t f o l i o
U C B e r k e l e y A r ch i t e c t u r e a n d O t h e r S e l e c t e d Wo r k s
ARCH STUDIO: SPRING 2015
A CONCRETE HOUSE (1) POLI HOUSE ANALYSIS (7) POLI HOUSE ADDITION (8)
ARCH STUDIO: SPRING 2014
GOOD FOOD (10)
ARCH STUDIO: FALL 2013
POTRERO HILL LIBRARY (15) DOUBLE NEGATIVE (19)
PROFESSIONAL WORK
FERNAU AND HARTMAN ARCHITECTS: THE ADAPTABILITY COMPLEX (20)
A CO N C R E T E H O U SE
This is the final project in a series that focused on studying architecture that is read monolithically, mostly through the use of concrete. While the form is read one way from the exterior, the interior is organized in completely different language. The house evolved through several layers of complexity that were added as the semester progressed. The first operation was to carve at a cube through its interaction with the site. This house’s geometry derives from the tension of two conflicting city grids found on the site. One is the regular grid aligned to 6th Street and the other irregular grid is aligned to Dwight Crescent. The cube remains in tact as long it is predominantly within the influence of the regular grid. However, once the is leaves that boundary, it redirects itself to align to the irregular grid.
1 A CONCRETE HOUSE
DW
IG
HT
CR
ES
CE
NT
SIXTH STREET
1
VADIM MISHCHUK
2437 6TH STREET BERKELEY, CA SPRING 2015
DWIGHT WAY
N
2
2
VADIM MISHCHUK
The site analysis revealed an asymmetrical fractal pattern. Once expanded, it established the placement of the elements on the rest of the site.
A CONCRETE HOUSE
3
3
VADIM MISHCHUK
The two floor levels exist in conflict with one another. The ground floor aligns itself to the normal street grid, while the second floor, the living floor, aligns itself to the irregular grid detaching itself from the normal. On each floor two double walls divide the pentagon into rooms forming a triangle, rectangle, and another pentagon. The intersecting points of the double walls of the lower and upper floors serve as opportunities for multi storey lightwells to create very particular lighting conditions.
A CONCRETE HOUSE
4
VADIM MISHCHUK
4
One last variable in the project was the introduction of a persona via two images. The house’s use and function was determined by this persona which was derived from an interpretation of the given images. The first image inspired the program of the house. The porcelain pottery established the persona as a potter. The second image determined daylighting conditions within the house. Fenestrations were placed to produce conditions of explicit direct sunlight.
A CONCRETE HOUSE
VADIM MISHCHUK
B-B
5
5
A-A
STORAGE/FIRING
LIVING/DINING
WORK/STUDIO B
KITCHEN
A
A
1’ B
GROUND FLOOR
SECOND FLOOR
N
5’
3’
10’
A CONCRETE HOUSE
BEDROOM
STUDY
6
6 A CONCRETE HOUSE
VADIM MISHCHUK
POLI HOUSE ANALYSIS
The studio’s focus was monolithic homes that are read as a solid objects divided internally. The Poli House begins as an rectangular prism primarily divided internally by two vertical crossed planes. A 1m wide perimeter holds the home’s service and circulation program, leaving the center to be open. This scheme is likened to a medieval castle in which the program is similarly organized. The home is perforated by square holes that act as windows. 3 of the 5 perforations continue through the spaces to the other end.
7
7
VADIM MISHCHUK
PEZO VON ELLRICHSHAUSEN COLIUMO PENINSULA, CHILE 2005
POLI HOUSE ANALYSIS
POLI HOUSE ADDITION
With the house analysis complete, the next step was to design an addition that would fit onto the original mass working with and complimenting its logic. The addition mostly follows the same rules as the original, but with some exceptions. Since the vertical dividing planes are manifested as interior single walls, they remain singular as they extend to form the exterior walls of the addition, despite the presiding 1meter wide perimeter wall logic. Because the cubic addition is introduced as an incursion onto the original, it begins to contend for the overlapping space. On the first floor the original remains in possession of this space because the existing stair’s orientation poses as an obstacle. On the next floor the space is shared as it serves as a connection to all bedrooms. Finally on the top floor, the addition occupies the overlap space since it dominates the roof deck with its walls.
8
8
VADIM MISHCHUK
COLIUMO PENINSULA, CHILE SPRING 2015
POLI HOUSE ADDITION
N
SOUTH
W
EAST S
NORTH
E
WEST
4
2
3
1
9
9
VADIM MISHCHUK
A
POLI HOUSE ADDITION
B
B
N A
B-B
1’
5’ 3’
A-A
10’
GOOD FOOD
The Good Food building is a compilation of many varied programs centered around a common set of functions. The program in general could be described in terms of food awareness and education, challenging the norms of mass food production, advancing food research, promoting and supporting urban farming and food production, and a general celebration of good, healthy, and local food. The challenge is to integrate the various programs into one center. Programs include: A food hall, an auditorium, twenty commissary kitchens, a gallery, an education center with roof gardens, and a research center with a hydroponics lab and greenhouse.
10
10
VADIM MISHCHUK
1315 MISSION ST. SF, CA SPRING 2014
GOOD FOOD
11
11
VADIM MISHCHUK
The form is composed of simple appropriations of the program into rectangular forms. These forms’ arrangements depend on the respective program’s classification as public or private use. The public spaces form the base of the complex while the private spaces form the two upper level wings. Through various model formal studies, a cohesive whole was formed linking many disparate programs into one collaborative mass.
GOOD FOOD
12
12 GOOD FOOD
VADIM MISHCHUK
A
A
COMMISSARY KITCHENS
AUDITORIUM
13
13
VADIM MISHCHUK
GALLERY
B
N
A
A
Section C B-B
N
GOOD FOOD
B
B
B
14
14 GOOD FOOD
A-A
1’ 5’
3’ 35’
15’
VADIM MISHCHUK
POTRERO HILL LIBRARY 1616 20TH ST. SAN FRANCISCO, CA FALL 2013
15
15
VADIM MISHCHUK
The library is designed with a concept of a cellular-like packing of geometry. The hexagonal polyhedron forms create spaces maximizing volume. Books are placed throughout the spaces utilizing vertical as well as slanted wall space on the perimeter of each given space. The packing of the cells creates a condition for eleven small libraries within one. Each cell, though very similar to the others, has its own atmosphere and programmatic focus.
POTRERO HILL LIBRARY
Programmatic Volumes Optimal Arrangement
Initial Hexagonal Polyhedra Tessellation
Center Points Extracted from Volumes
Circulation Placed Inside Void
Hexagonal Polyhedra Tessellated Along Linear Paths
Geometry Form Contained Within Programmatic Boundary
POTRERO HILL LIBRARY
Points connected by Lines
16
16
VADIM MISHCHUK
Geometry Offset to Create Void
17
17 POTRERO HILL LIBRARY
VADIM MISHCHUK
18
18 POTRERO HILL LIBRARY
N
VADIM MISHCHUK
DOUBLE NEGATIVE FALL 2013
19
19
VADIM MISHCHUK
A negative plus a negative equals a positive. The double negative project is an exploration of solid and void. The goal is to create a condition where two negative spaces come together to create a positive space. The interpretation of a negative and positive space open to the student and must be clearly expressed in the design. With the given dimensions of a 4”x8”x16” box, I chose to take an interior approach with an ordinary exterior that houses a non-ordinary condition.
DOUBLE NEGATIVE
THE ADAPTABILITY COMPLEX EAST COAST, UNITED STATES AUGUST 2015 - MAY 2016
FERNAU + HARTMAN ARCHITECTS
parate programs: an extreme sports facility and a disability awareness center. The two may have little in common, but the purpose of the pairing was to blur their dividing line. The complex provides youth with varying degrees of physical and mental disabilities an inclusive experience . It allows them to find their own limits. The complex focuses on adaptability rather than disability. -The project was a design collaboration between Richard Fernau and Vadim Mishchuk of Fernau + Hartman, and Mark Hogan and Ian Dunn of OpenScope Studio. -The work presented to the client and shown here was produced exclusively by Vadim Mishchuk. -The client and the location of the project are to remain undisclosed.
20
20
VADIM MISHCHUK
Fernau + Hartman was commissioned to design a complex merging two dis-
BMX TRACK
ROPES
VADIM MISHCHUK
WHEELS
21
21
CLUBHOUSE
FERNAU + HARTMAN ARCHITECTS
TERRAIN PARK
LIFE SKILLS
1’1’
5’ 8’
3’2’ Scale: 1” = 10’
20’ 38’
10’ 18’
The buildings were strategically placed to create a link between the plaza and the forest. The two courtyards formed between the three buildings alternate in their connection to either the plaza or the forest.
ROPES
ROCK CLIMBING
BOULDERING
OUTFITTING
S KER L OC
All three buildings begin with the same formal logic: create a connection between the plaza and the forest. The Ropes building’s form is most evident of this logic. The indoor rock climbing gym’s back end is widened and heightened to project the users into the forest. While the gable roof stays true to the regional vernacular, the transition to a shed roof works functionally to create greater diversity in the heights of the rock walls.
22
22
VADIM MISHCHUK
T FIRS AID
FERNAU + HARTMAN ARCHITECTS
LIFE SKILLS
GA L
LE
RY
CLUBHOU SE
LOUNGE
The decision to combine extreme sports with a disabilities awareness center, was essential in achieving the goal of the client to promote inclusivity. The challenge was to create a separate but not completely detached building from the rest of the complex. The program called for spaces used very publicly like a classrooms and a gallery to very private spaces like a clubhouse. The solution was to detach the clubhouse and place it further into the woods to create an isolated setting. A continuous ramp was weaved through main structure binding it with the clubhouse.
MEDIA LAB AWARENESS LAB
23
23
VADIM MISHCHUK
QUIET RM
FERNAU + HARTMAN ARCHITECTS
WHEELS LESSONS LOCKERS
OPEN SKATE
REPAIR
24
24
VADIM MISHCHUK
OUTFITTING
The Wheels building serves as an indoor skate park for beginners. Its centered location in the complex requires it to work as a mixer of all of the programs on the site. The openness of the gable forms are oriented to the either courtyard to create both a visual and physical connection to the various activities going on. As a staging zone for all of the activities on the site, a set of bleachers was attached to the front of the building.
FERNAU + HARTMAN ARCHITECTS
25
25 FERNAU + HARTMAN ARCHITECTS
VADIM MISHCHUK
THANK YOU