ARCHITECTURAL PORTFOLIO

2017 / 2020

Selected works from academic, individual, and work experience

PORTF OLIO

naumochkina.daria@gmail.com linkedin.com/in/daria-naumochkina

+447796163593 / +79037248047

191 Gloucester Pl, London NW1 6BU

NAUMOCHKINA DARIA A commercially aware and highly creative Architectural Design MA graduate from the University of Sheffield with the BA from the Moscow Architectural Institute and experience in architectural project management of commercial and residential spaces.Skilled in performing digital sketching, preparing 2D and 3D models, and developing interior designs. Background in evaluating projects and setting timelines, coordinating contractors and participating in various architecture and design competitions. Fluent in Russian and English.

CURRENT ADDRESS: EMAIL: PHONE:

Bogoslovskii 12A, Moscow

naumochkina.daria@gmail.com +79037248047; +447796163593

LinkedIn: https://www.linkedin.com/in/daria-naumochkina-765ba91a2/

KEY COMPETENCIES Architectural Design Project Management

Design by Research & Critical Creative Thinking

Adobe Suite (Ph, Ill, InD) AutoCAD, SketchUp, ArchiCAD

Social Design by Client Engagement

2D & 3D Modelling Drawing & Painting

E D U C AT I O N

MA The University of Sheffield – Sheffield School of Architecture | Sheffield, UK Sep 2019 – Jun 2020

MA in Architectural Design (1st Class) Core Modules: Environment and Technology in Design; Theory and Research in Design; Critical Spatial Theory

Harvard University | Online Theoretical Course Mar 2019 – Jun 2019

The Architectural Imagination on the basis of Architectural History

MARCH Architecture School – Universal University| Moscow, Russia Sep 2019 – Dec 2019

Intensive Course in Public Space Design by the local community ingagemen

BA Moscow Architectural Institute | Moscow, Russia Sep 2013 – May 2018

BA in Architecture (1st Class) Core Modules: Construction Technologies, Engineering and Architectural Structures, Management, History of Art, History of Architecture , History of Modern Architecture, Philosophy, Science

WORK EXPERIENCE

Studio Raboni Architetti | Moscow, Russia [A design studio for residential and public interiors] Architect Moscow, Russia Aug 2018 – Aug 2019

Managed small and medium-scale public and residential projects: prepared detailed project documentation, developed technical drawings, produced reports and completed site visits.

Generated and developed architectural and interior design concepts across all project phases.

Reviewed project goals and objectives with project manager, and assisted in setting KPIs and deadlines for contractors.

Coordinated consultants, engineers and contractors to ensure projects were delivered on time.

Nekrasov Architectural Bureau | Moscow, Russia [An architectural firm for commercial and residential projects ] Architect Assistant Moscow, Russia Jul 2017 – Aug 2017

Used design software (SketchUp, ArchiCAD, Photoshop, AutoCAD, InDesign) to deliver architectural drawings, including 2D and 3D modelling.

Prepared detailed documentation for a plant reconstruction project.

Produced presentations, which included the design of 2D drawings and 3D visualisations, and led meetings with clients.

Architectural Bureau Svesmi | Moscow, Russia [An architectural firm for commercial and residential projects] Architect Internship Moscow, Russia Jul 2016 – May 2017

Developed the design of interior space at the Polytechnic Museum in Moscow; prepared 2D drawings and 3D visualisations, using SketchUp, Photoshop, AutoCAD and InDesign.

Coordinated the design timeline with electrical, mechanical and civil design consultants.

SKILLS& OTHER Philosophy, Photography, Art, Architecture.

LANGUAGES

Russian (native), English (fluent), Italian (beginner).

SOFTWARE

AutoCAD

ArchiCAD

Vectorworks

MS Office

Ad. Creative Suite [Photoshop,

SketchUp

Autodesk Revit

Rhinoceros 3D

Corona Render

Illustrator, InDesign]

COMPETITIONS May 2020

INTERESTS

Finalist of 48H Floor Plan Battle Competition - Covid-19 Supermarket: drafted a floor plan using Adobe Photoshop and Vectorworks

Hornorable mentions in Site Mirador International Architecture Ideas Competition - designed the May 2020

landscape, using SketchUp, Photoshop, AutoCAD, InDesign, Corona Render

Dec 2019

SketchUp

Moskva River Time 2019 competition - designed ZIL 2.0 residential district, using AutoCAD, Photoshop and Open City 2018 conference - prepared and presented diploma project for the Cultural and Leisure centre in Moscow.

Dec 2018

The Exhibition of the Central Architect House in Moscow - developed mock-ups of public buildings [Comunity Dec 2015 – Dec 2017

Club, Student Theathre]

CONTENTS ARCHITECTURAL COMPETITIONS

01

TIMEFRAME Site Mirador International Architecture Ideas Competition May 2020/team work

02

THE CENTRUM THE TEMPLE International Architectural Ideas Competition October 2020/team work

03

PATH THROUGH redevelopment of Italian Piscina Mirabilis into the Contemporary Art Museum June 2020/team work

EDUCATUONAL EXPERIENCE

04

CULTURAL AND EDUCATIONAL COMPLEX PRO|SVET academic graduation project/individual work June 2018/Moscow Institute of Architecture

05

CULTURAL AND EDUCATIONAL CLUSTER THREE-S academic project/individual work/December 2018 Moscow Institute of Architecture

06

DRAMA THEATER academic project/individual work/December 2018 Moscow Institute of Architecture

07

MULTI-FAMILY RESIDENTIAL HOUSE academic project/individual work/May 2017 Moscow Institute of Architecture

08

RENOVATION OF THE HISTORIC PART OF THE PECHORA TOWN academic project/team work/May 2019 Moscow Institute of Architecture

09

LIVE PROJECT academic project/team work/May 2019 Moscow Institute of Architecture

10

MEDIATIVE BUFFER academic project/team work/May 2019 Moscow Institute of Architecture

11

POINT OF INCLUSION international competition/team work/October 2020

WORK EXPERIENCE

12

RESIDENTIAL APARTMENT ON TSVETNOY BOULEVARD detailed design proposal/team work/September 2018 Studio Raboni Architetti

INTERESTS

13

PHOTOGRAPHY photo collection 2020

14

GRAPHICS graphics collection 2014-2020

https://issuu.com/naumochkina.daria/docs/portfolio_naumochkina_daria

http://naumochkina.daria.tilda.ws

TIMEFRAME “The present, to turn into the future, requires yesterday.“ Joseph Brodsky

The project is focused on preserving the place, increasing its

subsequent spatial sequence is visible through the axis, embodying the metaphor

value and rethinking the complex of Zavial Battery ruins. In the project, this is

of perception of «the present» through “the past“. The buffer corridor is followed

achieved through an awareness of the individual’s emotional connection with

by a platform framing Baracks ruins from the inside, where a beholder’s view

place, as one moves through a series of carefully placed perception frames. The

meets the observation tower - the local landmark. The image of the tower has a

project was created in co-existence with the natural landscape, as a sensitive

reference to the historical defensive function of the complex, being a symbolic

response to the unique features of the place.

metaphor of “the past“. Movement from the bottom up-aspiration to the sources

Following the initial concept, the project is an axis, a pathway,

of time, to the beginning of the Universe. The openness of the landscape view,

a space of transition to the final point-the synthesis of human and nature. The

enhanced by the closed tower space, belongs to the gaze of a viewer. Lookout

path of a person symbolically begins with a pause, a mediator, a predetermined

point allows a viewer to orient on the site, providing awareness of what is around.

movement through and finally the boundary of the spatial intervention. The

6

2 3

1

4 5

1. Zavial Battery ruins - 18th century 2. Baracks ruins 3. Santo Ignacio Fortress - 17th century 4. Cliffs 5. Atlantic Ocean 6. Accecc path

SITE PLAN

1

3

2

5

Going to the ground level, a person moves to Zavial

Battery ruins integrated into the landscape, realizing the “present moment“

untouched by a human view, symbolizing “the future“ where human exists in the synthesis with the environment.

through the visual perception of the impact of time. In the ruins contour,

the path leads underground. Passing through a limited space, a beholder

a person with the ability to identify the surrounding, interpret it and guide

The combination of different frames of perception provides

finds him/herself alone with the horizon and the boundless ocean, feeling

further action being aware of his/herself in space physically and spiritually.

his/her fragility and vulnerability to the force of nature, and at the same

The project is a sensitive spatial intervention that seeks to bring identity

time inextricably connected with it. The impression here is reinforced by the

to the place, place to the viewer and viewer to him/herself in place,

previous experience of perception and immidiate sensory response to the

emphasizing the interdependence of a person and the surrounding context.

+30.00

3

+20.00

4

+10.00 5

+0.00

SECTION A-A

1

FLOOR PLAN

+13.15 3

+12.15

1. Entrance to TIMEFRAME 2. Information space 3. Tower - viewing point 4. Free function space 5. Axis - viewing point

2

2

+0.00

4

-3.90

PLAN

2

A

A

1m

5

5m

SECTION B-B

2m

2

1

10m

THE CENTRUM ‘‘The temple, in its standing there, first gives to things their look and to men their outlook on themselves.’’

Martin Heidegger, 1927.

4

The Centrum exists as a part of the ‘’Vera Cruz da Figueira’’ Fortress on the

south coast of Portugal, enhancing the value of the local atmosphere through the emotional connection with the context by staying in the sacred space of the temple. The Centrum looks towards the ocean representing a spatial landmark but also a symbol of harmony with the surrounding nature. The temple awaits those who seek to find silence, to contemplate the beauty of the place, being in coexistence with the site and preexisting ruins that essentially remain.

The existing system of paths forms a smooth transitional passage on which

the dialogue between the new and the existing can be appreciated. A doorway leads to a perimeter corridor, in which the visitor can choose the path to the central space of the temple, where the ocean and the wind gradually become quiet through the transition from light to shadow. The simple circular in plan volume symbolises the creation of the world, which comes from the centre, where the centre itself is an altar that reproduces the image of a sacred vessel containing the source of life.

The Centrum embodies a space of concentration inside the surrounding

context, understood as a portal to the place to which it belongs, being introverted like personal meditation. The projection of the Oculus in the altar water surface performs a physical embodiment of the transition of heaven to earth as the vertical axis “Axis Mundi” just as life flows from above with the sun and rain in the silent space of the temple. The altar preserves the integrity and meaningfulness of the space, and thus supports the potential of integrity and meaningfulness of being in it.

The sacred central space precedes the reunion with the context. Two

portals frame the exit from the sacred space to the preserved ruins on one side and the ocean on the other. The platform facing the ocean stands rooted to the local ground, allowing us to contemplate ourselves being confronted with a landscape. This is a place where to find yourself alone with a boundless horizon, feeling an indissoluble connection with nature through the space of The Centrum, which provides a double focus of attention from the outside in and from the inside out.

01

Site plan

100

Sectio

Floor p

A

Sectio

on A-A

01

10

on B-B

B

plan

B

A

PATH THROUGH

redevelopment of Italian Piscina Mirabilis into the Contemporary Art Museum/team work/June 2020

When designing the Contemporary Art Museum in the space

of Roman reservoir Piscina Mirabilis, the project was based on three main principles. The first is to ensure the flexibility of the exhibition space by transforming it for different scenarios of representation of Contemporary Art. In

the design solution of the project, this is expressed in the creation of a universal modular structure. The second principle is to provide different types of art

objects arrangement in response to its versatility. While the third is to provide a sensitive response of the new spatial intervention to the historical background of

the place concerning the existing structure. This is achieved in the project due to the minimal use of historical walls and the application of light modular design that emphasizes the uniqueness of the place. Besides, given the historic function

of the building, the floor level is covered with water, which is visible through the glass floor of the first storey. Thus, the synthesis of the existing structure of the

building and the new spatial intervention creates a flexible space suitable for a variety of uses.

https://reuseitaly.com/piscinamirabilis/

EXHIBITION SCHEME hanging frame for flat art objects

placement of exhibits on bollards standing in the water

placement of suspended exibits

We also developed a design module that carefully «wraps» existing columns and serves not only a structural function but also helps to make the space flexible and versatile. The module of the central part consists of double arches that encircle the existing columns.

Collapsible structures of the floor module are mounted in the grooves of the arches, on top of which the modular floor covering is laid. Such structural solution provides a system that can be quickly installed depending on the need.

CONSTRUCTION UNIT

CONFERENCE HALL designed for 83 people

TECHNICAL UNIT

EXPLOSION SCHEME

EX 1

the as a and

includes: office for 3 people, cash desk, storage with an elevator

EXHIBITION PATH

provides three possibilities of transformation

FIRST FLOOR

1s

includes: glass floor, cafe and bookstore in the center, toilets

MODULE STRUCTURE

repeat existing ruins, space transformation tool

WATER

tribute to history, expands light by reflections

ROMAN RUINS PISCINA MIRABILIS are left untouched

2n

XHIBITION

The exhibition is represented by the path that begins with a spiral passage up, skirting the fixed box of conference hall, and down in the opposite corner. The transformable passage between the two parts of the exposition acts a spatial buffer or resting zone between the two blocks of the exhibition (1), it can also become an exhibitional space (2) d serve as a full-fledged floor for events or a special type of exposition (3).

2

st FLOOR PLAN TOILETS

ENTRANCE

OFFICE, CASH DESK, STORAGE

nd FLOOR PLAN STORAGE

3

cONFERENCE HALL

CAFE

BOOKSHOP

WATER

SEATING AREA

EXIT

EXHIBITION PATH EXHIBITION PATH

CULTURAL AND EDUCATIONAL COMPLEX PRO|SVET MULTI-FUNCTIONAL CLUSTER IN MOSCOW

The

Cultural

and

Educational

Complex

PRO|SVET is located in Tagansky district of Moscow, within a business quarter (13.4 ha) on Gzhelsky lane.

The concept of the project is to create proper activity at the selected place, i.e. a new centre of attraction to ensure the self-reliance of the location. The urban planning part of the project requires the development of the territory and two quarters, where the PRO|SVET complex is a centrepiece. The entire intervention fits into the existing site and has thoughtful links to existing transport and pedestrian networks.

The PRO|SVET complex includes multifunctional exhibition space, a business sector, a library, public space, an educational sector, a shopping zone and a cinema.

academic graduation project/individual work/June 2018/Moscow Architectural Institute

Supervisor: Aleksey Shutikov avs260358@yandex.ru

CREATION CONCEPT GENERAL VIEW OF THE QUARTER

The planning solution arranges the volumes of the complex so

inspiration for this project, as the square has been the facilitator

that all parts of the structure form an inner SQUARE, which is a zone

of multi-functionality since the age of ancient cities. As cities

for spending leisure and rest, and also ensures comfortable transit

developed, functions of the square moved into separate buildings,

between various functional zones. The SQUARE concept was the

resulting in the loss of proper interaction between these functions.

the quarter encompasses many functions and ensures selfreliance of the surrounding territory

PUBLIC SPACE is a place of indefinite function, where multiple functions interact with each other.

A SQUARE is an incubator of urban development, a place to develop new activities.

ground elevation of the complex

accessibility zoning multi-functionality comfortable environment

SHIFT IN PRIORITIES: from a building of AMUSEMENT to PUBLIC space.

INTERNAL STRUCTURE

After passing under the cantilever, we get to the

.

A ramp leads from the ground floor to the exhibition

SQUARE, where we can intuitively read two major ways, one to

hall. It passes along the perimeter of the atrium space, through all

entrance to the exhibition space and the other one to the library.

exhibition levels revealing the way through the exposition. On the

On the ground floor, there is the entrance lobby of the museum,

next level, there is a a library with a reading hall and an exit to the

several cafes, common communicative space, lecture hall and

terrace. Upstairs, there is an educational sector.

shopping zone: functions that are must-have for a city.

INTERIOR OF THE EXHIBITION SPACE

,,

A ramp leads from the

ground floor to the exhibition, it passes along the perimeter of the atrium space through all

exhibition

levels

and

marks the way through the exposition.

,,

interior and layout of the exhibition space at elevation 8.100

INTERIOR OF THE LIBRARY

,,

CULTURAL AND EDUCATIONAL COMPLEX PRO|SVET

At the first level, there

is the reading hall with an exit to the terrace and a large staircase that may be used both as recreation space and as lecture space.

,, interior and layout of the library at elevation 8.100

CULTURAL AND EDUCATIONAL CLUSTER ‘‘THREE-S’’ THEATER COMPLEX IN BAUMANSKAYA STREET, MOSCOW

Cultural and Educational Cluster TREE-S is located in Basmanny

district of Moscow, within walking distance from Baumanskaya metro station. The territory of 3 ha has been largely vacant since the Baumansky market (built in 1977) was destroyed in 2006.

Multiple education institutions researched this territory and

discovered that it was a major thoroughfare for students of the Bauman Moscow State Technical University. Furthermore, these institutions discovered severe deficiencies in leisure entertainment facilities surrounding the university.

The concept of the project was to create a center of attraction at the territory for locals and students. Two theaters were chosen as the major centerpieces of the cluster, and a decision was made to include exhibition space, lecture halls, libraries, leisure areas for students and shopping area.

Three squares of different sizes were incorporated into the project

so that the existing routes of students to the university could be preserved.Behind the theater building, a residential district for students and teachers was designed to support the structure of the project.

academic graduation project/team work/October 2018/Moscow Architectural Institute

Supervisor: Aleksey Shutikov avs260358@yandex.ru

CREATION CONCEPT The required functions, similar to children’s toys, needed order and systematization.

As a uniting element, a network structure was designed to put logistics of inside motion ‘‘in order’’.

G E NGEERNAELR A L S O LSUOT LI O ON F OF UN TIO T H ET Q RT E R HU E AQRUTAE R

CAFC EAFE MAINTENANCE OF THE MAINTENANCE OF THE THEATER THEATER S O LSUOT LI O ON F OF UN TIO A R RAARNRGAENMGEENMTE O NF T OF T H RTEHERSEQ E USAQRUEAS R E S

E X HEI B X IHTIIBOI N TION S P A SCPEAS C E S L E C TLU ER CE T UHRAEL L HSA, L L S , L I B RLAI R , L UERIE ES N FE OSR FSO TR UD T SE N T S B IREASR I EESI S , L S UZO R EN ZO SE TN UD

O F FO I CFEFSI C E S T H ETAH TE EA R TS E R S

M A JM OARJ O D IRR E IO DCI RT E CN TION OF P TE R SI AT N OEFDPEESD RS IANS

S H OSPHPOI N PG PIA NR G EAARA EN A DA N D U N DUENRDGERROGURNODU N PA D RPKAI N RG KING

H O UHSOI N UG SING

M A JM OARJ O D IRR E IO DCI RT E CN TION OF P TE R SI AT N OEFDPEESD RS IANS

ORIO G IRNI A GL INAL S I T USA IO ON N ON I TTU AN TIO T H ET L PL HAENLDA N DOPT L O T

The first entrance square corresponds

for communication and ensures a zone for open

to the cross-roads on the corner of the land plot. The

lectures and film showings. While designing,

squares are formed by volumes of different functions.

different morphotypes of the surrounding buildings

The network structure has some reference to the

were considered. This principle was applied to insert

passages that ensure pleasant, covered free space.

the CLUSTER into the environment in the most

The amphitheater forms a favourable environment

harmonic way.

SOLUTION OF THE THREE SQUARES

сер. XVIV в mid-18 century

second half of theXX в. вт. пол.

20th century

first half of the пер. пол. XX в.

20th century

кон. XVIV в

end of the 18 century

DESIGN OF THE DRAMA THEATER A CULTURAL AND EDUCATIONAL COMPLEX IN MOSCOW

This design of the Drama Theater was made based on

the pre-designed square. The internal structure of the theater and its complex volumes in enclosed into a crystal cube. It is possible to see the internal structure and layout of the theater as an observers from the outside. The theater can set 750 guests and is suitable for opera, drama, ballet, and concert performances.

Over the entrance lobby, there is a high aerial space that

includes the entrances to the main hall and small halls and leisure areas. On the ground floor, there is a spacious hall, a cloakroom and a cafe. The structure breaks the theater into two parts. The first one is meant for the theater-goer, and the second one for the actor. Thus, routes of theater-goers and actors never cross. .

academic project/individual work/December 2017/Moscow Architectural Institute

Supervisor: Aleksey Shutikov avs260358@yandex.ru

CREATION CONCEPT THE NECESSARY COMPONENTS OF THE THEATER concert hall ways of communication

TRANSPERENT STRUCTURE

BEARING FRAME

technical premises

full glazing

spatial frame construction

coffe shop minor concert hall administration

34000

24500

17300

6300

1650

1 -4350

- 7600

cusure the rigisly additional bearing elements

TRANSPARENT STRUCTURE

The space and layout concept of the theater encapsulates the complex volume of the various spaces into a simple crystal box.

The crystallinity is reached through the use of a glass box with a frame structure bearing system. Intersections of frames and rope strings at the foundation level give the structure rigidity.

1.

9,900

6,550

3,250

0,000

-4,350

INTERNAL STRUCTURE

small rehearsal hall

large rehearsal hall

large rehearsal hall

small rehearsal hall

small auditorium

warehouse acting classroom

lobby of the small hall

wardrobes dressing rooms balcony of the main hall control rooms

1

dressing rooms warehouse

stage

artistic bay

stage of the main hall

administration

cafe cloakroom

7

main auditorium

warehouse bookstore cashier entrance

The main staircase and an elevator bring you

level, there are rehearsal halls. The project provides for a

from the hall on the ground floor to the entrance of the

comfortable actors’ zone with an entrance lobby on the ground

main hall and the balcony of the main hall. On the next level,

floor and with dressing rooms on the first and second floors.

there is the small hall and the acting school. Moving up one

DESIGN OF A RESIDENTIAL MULTI-FAMILY HOUSE 2.0 WITH A PRE-DESIGNED RESIDENTIAL DISTRICT ZIL2.0 IN MOSCOW

In the design consists of a residential building, with a varying

height of 4 to 13 floors. The building is located in Nagatinskaya Backwater, a recently redeveloped district. The land plot has an area of 120 ha and is in the immediate vicinity of the Third Ring Road and the Technopark and ZIL metro stations.The main idea of the district is to join public centers that occurred as a follow-up of the public boulevard of ZILART.

There will be a total of five buildings of this type in the district.

The buildings focus on is leisure of residents and visitors to the district.

The entire ground floor consists of public space which allows the building to accommodate the needs of the district’s general plan. For residents, there are many exits to the roof and to the private, central courtyard.

RESIDENTIAL HOUSE - academic project/individual work/May 2017/Moscow Architectural Institute RESIDENTIAL DISTRICT - academic project/team work/May 2017/Moscow Architectural Institute

Supervisor: Aleksey Shutikov avs260358@yandex.ru

DISTRICT CREATION CONCEPT

BLACK PLAN

TRANSPORT LAYOUT

designed buildings

surrounding buildings

FUNCTIONAL LAYOUT

administrative buildings educational institutions

industrial buildings residential buildings

cars

pedestrians

boulevard

LANDSCAPING LAYOUT

public buildings borders of protective zones

landscaping of the territory

pedestrian boulevard

The well-structured network on the main axis

forms quarters and public squares to connect the raised pedestrian boulevard. The number of floors ascends towards the squares to form the squares themselves and descends toward the embankment to ensure better insolation and views of the Moscow River. The pedestrian boulevard connects the vibrant public squares. Thus, pedestrians may move without crossing roads. Connecting bridges connect the boulevard with adjacent buildings. The river plays a great role in the project. Along the bank, the district is surrounded by a pedestrian park with various leisure zones.

The district’s buildings disintegrate toward the river, creating a common-scale environment for people near the bank.

CREATION CONCEPT INTIMATE ATMOSPHERE

COMFORTABLE NEIGHBORHOOD

CONVENIENT INTERACTION

NEUTRAL MATERIALS

Livadia, Italian Courtyard. 1968

OPEN TERRACE

COURTYARD

- place of interaction for

- place of interaction for

residents of the floor

residents of the entire house

- strengthening of

- house = society / community - private space without cars and bystanders

neighborhood relations - open-air private territory

COMMON FLOOR

COURTYARD

GREEN ROOF

- place of interaction with

- place of interaction with

- additional leisure zone

the city

the city

- increase of costeffectiveness - the building remains a part of the city

- guest parking lot - access to entrances - infrastructure for residents

Photo of Ricardo Bofill’s mansion; Odoardo Borrani, walk in the garden; Telemaco Signorini, Il ghetto di Firenze; Unknown author, Italy; Telemaco Signorini, Mattina di Settembre a Settignano

- greened square - view on the surrounding city

FORM MAKING

The space and layout of the building

provides various levels of interaction so that residents, visitors to the district, and those using public transport feel as comfortable as possible and do not interfere with each other. There are public services on the ground level: a guest parking lot, an entrance zone, and various leisure and shopping premises. The second level contains the private courtyard that can be accessed by residents. . On higher levels, there are the residential flats and green roofs and terraces.

GROUND FLOOR

STRUCTURE OF RESIDENTIAL BLOCKS

2

4 6

1 3

5

1. bedroom – 22.5 sq.m 120 2. toilet – 5 sq.m м2 3. cloakroom – 4 sq.m 4. toilet – 3 sq.m 5. hallway – 4 sq.m 6. kitchen / living room – 35 sq.m 7. bedroom – 12.3 sq.m 8. toilet – 4.2 sq.m 9. cloakroom – 3 sq.m 10. bedroom – 15.7 sq.m

7 8

1. bedroom – 12 sq.m 45 2. toilet – 3.3 sq.m м2 3. cloakroom – 3 sq.m 4. kitchen / living room – 24 sq.m 5. balcony – 2 sq.m

4 5

1. bedroom – 10.6 sq.m 2. toilet – 2.5 sq.m 3. cloakroom – 2.8 sq.m 4. bedroom – 10.5 sq.m 5. living room – 20.2 sq.m 6. kitchen – 10 sq.m 7. toilet – 5.5 sq.m

75 м2

45 м2

9

10

1

2

1. toilet – 3 sq.m 2. kitchen / living room – 20 sq.m 3. bedroom – 10.5 sq.m 4. bedroom – 10.5 sq.m 5. toilet – 4 sq.m 6. cloakroom – 3 sq.m

5

5

6

4

7

6

3 4

6

1 2 3 layout of the standard floor at elevation 8.100

1

2

3

STRUCTURAL PARTS

1

2

3

4

4

STRUCTURAL NODES 1

2

3

4

RECONSTRUCTION OF THE HISTORICAL PART OF PECHORY TOWN TOURIST QUARTER, PECHORY TOWN, PSKOV REGION

Pechory city is known for its Pskovo-Pechora Lavra, a

landmark object that plays an important role in the Russian Orthodox culture. However, this does not affect the economy of the city, since the historical center is not developed and cannot provide the needs of tourists at even a basic level. The Department of Culture of the Russian Federation received a request from the Administration of the city, as well as from the Rector of Lavra about the need to develop the infrastructure of the historical part of the city in order to provide accommodation and leisure for pilgrims. This, in turn, will serve as a stimulus for the revitalization of the city’s economy.

academic project/team work/May 2019/Moscow Architectural Institute

Supervisor: Aleksey Shutikov avs260358@yandex.ru

STAGES OF CITY DEVELOPMENT Pechory city plan of the XVII century CITY IN FIGURES

POPULATION

2055 hec

square

Unrealized Regular Plan 1785

population

10205 per

population density

496.5 per/m²

area of housing fund

273.800 м²

density of housing stock

26.8 m²/per

1825г.

925 per.

1939г.

4962 per.

1998г.

14100 per.

2019г.

10205 per.

TOURIST FLOW

~500 000 per/year

STRUCTURE OF POPULATION

Pechory city plan 1931

young age

18%

working age

62%

older then working age

20%

men

45%

women

55%

LOCAL INDUSTRY PAST WOOD PRODUCTS

LINEN

FRUITS

BAKERY

RURAL ECONOMY

CERAMIC PRODUCTS

BREWING

LEATHER PRODUCTS

the general plan of the city Petseri 1939

PRESENT CONFECTIONERY FACTORY

CERAMIC FACTORY

FOREST PROCESSING

DISADVANTAGES THE STATUS QUO CITY STRUCTURE

TRANSIT PATHS THROUGH THE CENTER CITIES

DIRECTION OF THE MAIN TOURIST FLOW

ПС КО ВС КА

Я

УЛ .

КАЯ УЛ. ЮРЬЕВС

PARKING

АЯ

СК

Ж

РИ

.

УЛ

PUBLIC TRANSPORT

CULTURAL CENTERS

ELEMENTS OF THE 1931 PLAN STRUCTURE

PRIORITY PEDESTRIAN CORE

CAR NETWORK

THE PROPOSED LOCATION NIA PARKING AND BUS STATION

RECONSTRUCTION PROPOSAL CII AND DEVELOPMENT

NEW TOURIST INFRASTRUCTURE

violation of historically developed limits of the territories

PROJECT OFFER

shortage and immunity of urban public spaces

insufficient tourist development with high potential of the place

ETHNIC CENTERS

«RUSSIAN CENTER»

PLACE OF UNION

«ESTONIAN CENTER»

ARCHIVE PHOTOS

THE STAGES OF CREATION

3

A sociological analysis revealed that the structure of the city has

two cultural ethnic centers: Russian and Estonian. Combining these centers and creating a common zone of attraction became the main idea of the ​​ project.

Currently, the expressiveness of the historical part of the city is lost. Identifying

2

a particular image of the area, which is distinguished by wood and pitched roofs, allows for the restoration of the unique originality of the space. One of the aims is to find a collective image consisting of elements of architecture in both

1

PROJECT PROPOSAL GENERAL PLAN

SITUATIONAL PLAN

AXONOMETRIC VIEWS

northern Europe, including Norway and Scandinavia, and Russian traditions.

This project solves such tasks as preservation of historical, cultural and natural heritage; ensuring sustainable development of the territory of the settlement; improving the quality of life of the local population; improving the environment infrastructure development; and improving the environment for tourists and pilgrims.

HANDICRAFTS WORKSHOPS + 18,300

+ 15,800

+ 9,700 + 9,200

+ 5,100

+ 3,200

+ 3,200

+ 0,150

+ 0,150

66 000

РАЗРЕЗ 1-1 М 1:150

SECTION 1-1 + 18,300

M 1:250

+ 9,200

of

images

for

civil

understand the Northern architecture, namely the use of wood as the main material for construction

+ 3,200

+ 3,100

+ 0,150

+ 0,150

48 150

РАЗРЕЗ 2-2 М 1:150

SECTION 2-2

ПЛАН 1 этажа М 1:150

search

2

In

architecture, a broad view is needed in order to

9 800

+ 9,700

+ 5,100

and a certain rigor in style in order to meet both the

16 600

natural and climatic conditions.

Currently, the expressiveness of

the historical part of the city is lost. Therefore, identifying a specific image of the area allows the

2

38 600

GROUND FLOOR PLAN

22 000

1

9 800

1

18 000

SECOND FLOOR PLAN

HOTEL

+ 15,300

+ 9,700 + 9,000

+ 4,200

+ 3,200

РАЗРЕЗ 1-1 M 1:250

+ 0,150

+ 0,150

42 350

РАЗРЕЗ 1-1 М 1:150

SECTION 1-1 АКСОНОМЕТРИЯ

creation of bright memorable accents and the

9 800

1

1

restoration of the unique originality of the space.

Since the existing Cathedrals of the historical part are widely spaced and the space between them

40 600

ПЛАН 1 этажа М 1:150

GROUND FLOOR PLAN

is filled with faceless architecture, I believe that I can afford to go on a search for local accents to develop the urban fabric that will revive the streets

1

13 100

and square.

1

42 250

ПЛАН 2 этажа М 1:150

SECOND FLOOR PLAN

REGENERATED LIFE ALONG THE SHEFFIELD CANAL

The project has been developed by a team of 15 students in collaboration with local community partners, or ‘clients’, as a

part of the «Live Project» programme at The University of Sheffield School of Architecture. The outcomes are diverse and include physical desing, sustainability strategies, strategic urban planning, online resources and participation toolkits.

As a participant in the project, I was working on the design of a strategy for the

development of public space along the canal in collaboration with «The Canal and River Trust» and locals.

During the Live Project, we realized how Sheffield has distanced itself from its

canal. We were trying to suggest a solution to put the canal back into its place within the city.

We aim to explore the potential for Victoria Quays to become a destination for health and wellbeing, the gateway to a network of recreational routes along the canal so that as many people as possible can benefit from the free and accessible source of prosperity on their doorsteps.

From our community engagement, we found a willingness to own a community hub building, but also an understanding that a permanent structure is a long term goal with social challenges, such as intruding on the existing living boater community. Consequently, our proposal is a flexible structure that includes four design scales.

academic project/team work/October 2019/ The University of Sheffield

Supervisor: Xiang Ren - xiang.ren@sheffield.ac.uk

THE EXPANCION OF THE SITE

TINSLEY MARINA

TINSLEY WOODLAND

VICTORIA QUAYS

OLYMPIC LEGACY PARK

The focus of the three year plan was to improve

eventually turning the canal into the green lung of the city and a

several sites between Victoria Quays and Tinsley Marina in

major landmark, instead of being left forgotten amongst the decay

accordance with the requirements of the Green Flag Award. This is

of the forgone industrial era.

an award the Sheffield Canal River Trust have applied for previously

in January of 2019 and hopes to win in the near future. We split the

clear that we needed to challenge the brief itself. This led to the

canal into four key areas; Victoria Quays, the Olympic Legacy Park,

rebranding of the project as the Quay Collective—a legacy that

Tinsley Marina, and an area of woodland between the park and the

could be passed on upon completion of the project.

As we worked through the project, it became

marina. The plan is to regenerate and reinvigorate these areas by

Formerly known as the Sheffield Canal Basin, dates from 1814.

Grain Warehouse opened.

1830

Railway reached Sheffield.

Canal’s business got hit.

1840

1851

Hilto

The canal company took River Don in 1895.

Park Station opened.

1814

Economic decline wildlife ourish and water quality improved.

Peak of canals goods services.

1864

1860

Victoria Quays ceased as a cargo port.

1895

1914

1898

1918

Canal fell into disrepair as barges were commandeered for use in the war.

1970

1980s

Shee a W re w

The navigation was taken over by the Manchester, Sheeld & Lincolnshire Railways.

Straddle Warehouse opened.

CLIENT: TOM STAKEHOLDERS

CLIENT: JADE

OFFICE

KER WO R

EN CLI

th nd ma hed a

the s to ack

T : JA DE

“We hope to appeal to a wider, younger demographic by upgrading the infrastructure of the canal, installing a community centre and attract new businesses like cafes and resturant”

“Working in the Quays is a real treat and I’d really like to take my family too, however, the lack of cafes and child friendly areas prevent me from doing so”

“We hope to apply “Upgrading the for the Green Flag towpath needs to be Award in 2021 after“Seeing more activity the first thing we changes are made” by the watefront, need to do, but a like local company Veolia canoeing, would be is prepared to put positivefor theforward overall£75,000 to vibe of the area fundand a future scheme that will be great for business!” environmentally beneficial to the entire area”

JUNCTION CLIENT: JADE CAFE WORKER

OFFICE WORKER

CLIENT: ANTHONY children bring their parents

“Working in the Quays is a real treat and I’d really like to take my family too, however, the lack of cafes and child friendly areas prevent me from doing so”

y e

ll d

The

“Having a new playground would be really cool!”

Quay

Collective

is

a

community network which fosters discussion

OFFICE and activity, ultimately connecting people WORKER

to the canal and sustaining a symbiotic relationship between the trust and the wider

CHILDREN engaging

parents bring

children

their friends

city of Sheffield.

friends bring their children

2019

Possibilities of the Canal and Woodland drive enthusiasm for leisure

on Hotel opened.

Improve the use of the Canal.

Restoration & redevelopment of area - new offices and homes

1992

1994

wayfinding 1997

Connect Communities to the Canal

1990

events & Community Engagement tap into the Canal’s heritage

eld City Council and British Waterways evitalise the waterway.

involve the Art community with the canal

THE QUAY COLLECTIVE

CORE THEMES OF THE QUAY COLLECTIVE 1901

1901

EST.

EST.

Establishing existing issues and aspirations led to us developing our project into various themes; community, well

1901

EST.

1901

1901

EST.

EST.

being, ecology, heritage and art. These themes then informed community

our 4 scales of production.

wellbeing

ecology

heritage

art

Our approach puts people first at the design, creates the space and vision for their lives to bring back and improve the accessibility and activity along the canal. We defined that public space is not only a space but the way of using a place, is a tool of community engagement.

Quay collective belongs to everyone yet is owned by no one, it has no home and exists in no permanent location. This distinct lack of ownership enables a diverse involvement across a variation of community groups where the collective acts as a catalyst for furthering ideas and discussions beyond our initial thoughts.

COMMUNITY BOX HUMAN SCALE Community

box

was

designed as a vehicle to connect people to people, people to place and place

Learning about benefits of outdoor fitness which can be done along the canal

to place.

Learning about activities that occur in the given location regarding art, heritage and ecology

Being unburdened by a fixed location, it can be used to exhibit

information, as

a

wayfinding point, as storage for volunteers working along the canal and for social activities such as providing a place for a tea break.

The mobile hub has multiple purposes (use as an educational ‘hub’ and as seats with a table.

The structure is built in a way that it can slot together into one box

The existing boat would be renovated using sustainable methods, prioritising a flexible space which could both be E ‘Snakes and Ladders’

covered and uncovered, sustaining a range of community reinturpreted F Yoga zone activities; a floating cinema, a bookshop, a place to host yoga G Floor trim trail

classes as well as a rentable event space.

H Wayflinding; The City Compass

C

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Pitsmoor

Pitsmoor Tinsl

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Tinsl

PAINTED PLAYGROUND

a

Marin

Tinsle

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Marin

Tinsle

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Stanley

Stanley Emmau s

Art Centre Space

Art Centre Space

boat

boat

Yorkshire

Yorkshire

Sports

Sports

Pond

Pond

rough Scarbo

rough Scarbo

Crucible

Crucible

Park Hill

Park Hill

The

The

Gardens

Gardens

Sheffield Library

Sheffield Library

Peace

Peace

Sheffield Train Station

Sheffield Train Station

City Farm

Park liffe Endc

Park liffe

City Farm

Heeley

Heeley

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squats

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trim trail

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25

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3

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20

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graffitti

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2

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Edge

2

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7

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3

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skip

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Blue

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balance

balance

hop

climb

hop

climb

devised to bring together wayfinding, fitness, art and play. The

Pax

20

Botan

Sheffi

3

2

Utilizing an underused area in victoria quays, a design was

hy

Dorot

bridge

4

Trust

River

te

1

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Junction

+

Canal

graffitti

2

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Castle

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5

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Walk

The Hilton

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rotatio

Pax

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Edge

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Junction

+ Canal

Skye

Island

Island

Wicker Arches

Centre

Castle

Cafe Victoria

Wicker Arches

Climbing

The Hilton Old Sheffield

Green

Loop

Foundry

m

Centre

hire Devons

m

Kelha

Climbing

Kelha

The

Foundry

Bolehills

Bolehills

alf jack

alf jack

Blue

Fields

Fields

The

SITE SCALE

Olympic Legacy Park

strategic location of this site connects to the wider context of the scheme and has the potential to increase footfall to the site.

WAYFINDING

Locations of Signposts

URBAN SCALE The final scale of production is an urban scale proposal, creating well-established routes between Victoria Quays and Tinsley Marina. These themed routes incorporate heritage, art, fitness and nature, which will result in increased use along the canal.

sle y

Tin rina

Ma sley

ers Tow

ley Stan s

Field Emm

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Walk aus

Centr

Loop

nd

Isla

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Wicker Arches

ry Climb

Blue

Found

ham

The

Kel pic Legacy Park

The Hilton

t boa

Yorksh

ugh

Sports

boro

Pond

Scar

ible

s

Park Hill

Garden

Sheffield Train Station

Peace

Sheffield Library

Cruc The

25

30 City Farm

H

35

Heeley

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ge

End

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Bot

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Gar

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10

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Loc

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Edge

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Victo

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Castle

Old Sheffield

Bolehills

Skye

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Pitsmoor

D

91 92 93 94 95 96 97 98 99100 90 89 88 87 86 85 84 83 82 81 71 72 73 74 75 76 77 78 79 80 70 69 68 67 66 65 64 63 62 61 51 52 53 54 55 56 57 58 59 60 50 49 48 47 46 45 44 43 42 41 31 32 33 34 35 36 37 38 39 40 30 29 28 27 26 25 24 23 22 21 11 12 13 14 15 16 17 18 19 20 10 9 8 7 6 5 4 3 2 1

Tin

for art

SOCIAL SCALE

Olympic Legacy Park

tage, art,

COMMUNITY BOAT

MEDIATIVE BUFFER ARCHITECTURAL CONCEPT PROPOSAL OF THE THRESHOLD SPACE ORGANUSATION THE PAVILION AT KELHAM ISLAND

The idea was born on the manifesto that

architecture forms the way we feel space, use it, live through it. Nowadays, we experience the violation of the balance between ourselves and the world around us that is in continuous progressive development.

All boundaries are shifting now, including limits of our perception, which are influenced by the current environment of stimulations.

MEDIATIVE BUFFER is the part of the

subsequent Thesis project, based on which I reveal the potential of the space ‘‘in-between’’ that is the point of synthesis of the viewer and surroundings, the place where to pause to look aroud and orient yourself.

Being located in Sheffield on the border

between the city, Kelham Island and the River Don, MEDIATIVE BUFFER is not designed for a specific target group. However, it contributes to reactivation the flow of life along the River Don.

academic project/individual work/conceptual design proposal/May 2020/The University of Sheffield

Supervisor: Catalina Moreno c.mejiamoreno@sheffield.ac.uk

PROJECT MANIFESTO

The localised Studio Project “Mediative Buffer” acts as a sensitive

response to the problem of a weak mental and physical connection between citizens and River Don. In the context of WaterWeavers Studio principles “Mediative Buffer” ensures the architectural reflection on the coexistence of water and land, and aims to reveal the potential of “spatial betweenness” and permeability, acting as “spatial buffer” between the citizens of Sheffield and surroundings. The design proposal provides visitors’ with a feeling of involvement into the context through the experience of gradual passage, The spatial intervention forms a threshold space on the way from the city of Sheffield to the Kelham Island Museum that preserves its History, enhancing the uniqueness and local character of the area through the sensitive response of the design to the context.

The beholders’ experience in defined space is represented by

powerful engines which are the following: mirror, glass and water reflections, framed view and deliberately extended passageway. The spatial volume exists as a mechanism of observation on the border between water and land, that defines the depth of immersion in the atmosphere to be found there. The gradual transition through a light-permeable space allows a beholder to define her/himself in the spatial context due to the ensured “pause” in which there are time and space to look around and recognise the surroundings. The space which is left almost empty is directed at the focusing of oneself in the area through stretching the experience of contemplation in transition.

THE CITY

SPATIAL INTERVENTION

MEDIATIVE BUFFER

THE CITIZENS

THE RIVER

Passing through the depth of space, a beholder becomes a boundary or rather an axis of the balance of the interactions of privacy and publicity, interior and exterior, nature and architecture, past and present. The experience of passage speculates on the dualism of perception, which combines material and spiritual, physical and mental, body and soul. Mediative Buffer combines the reality of the city with its water artery, where place, person, time and act form an invisible unity.

SPATIAL BETWEENNESS

MEDIATIVE BUFFER presents itself as a living form of connectedness, embodied presence and

significant pause or interval as interconnecting mediums between neighbouring places. Edging layers space clarifies differences and spatial relations between juxtapositions. It implies the potential of how gradual experience of passage might solve the problem of a lack of involvement; it might act as a buffer between what you have left behind and prepare for what you are experiencing ahead. The application and reinterpretation of its principle in the context of this work might be mapped onto various spaces where visitors’ adaptation to the surrounding is needed.

MAIN DESIGN PRINCIPLES One of the original goals was to feel the atmosphere of the site through the strengthening of local identity. As a result, during the analysis of possible techniques and characteristic features of the site, three most important elements of space organization were identified.

FRAMING

TRANSPARENCY/REFLECTION

BETWEENNESS

POINT OF INCLUSION ARCHITECTURAL CONCEPT PROPOSAL FOR THE DESIGN OF THE STUDENT COMMUNITY CENTRE OVERSEAS OASIS INTERNATIONAL COMPETITION Czaar Peterbuurt, Amsterdam

“The new city was still to me as though denied and the unresponsive landscape spread its darkness as though I were not there. The nearest things did not bother to reveal themselves to me. The alley climbed to the street light. I saw how alien it was.”

Rainer Maria Rilke

Rilke’s poem expresses the rejection of the individual by a place

that he is doomed to observe as if from the outside. This is the condition of ‘’existential outsideness’’ that Relph defines, while reasoning on the identity of places, as a feeling that involves a reflective uninvolvement, alienation from people and places, a sense of not belonging. The feeling of existential ‘’outsideness’’ can be found in each of us due to the uncountable stimuli caused by the modern epoch development.

However, the POINT OF INCLUSION aims to create a space

for international students who inevitably find themselves vulnerable in an unfamiliar environment. The conceptual architectural proposal provides an opening for a smooth transition from a sense of existential outsiderness to insideness, materializing a space for communication with residents and contemplation of the surrounding urban context.

academic project/team work/conceptual design proposal/ October 2020

THE DEVELOPMENT OF THE CONCEPT SPACE PROGRAMME ACCORDING TO THE DESIGN CONCEPT

The main conceptual goal of the project

proposal is to ensure the interaction between international students, context and its inhabitants. In the Student Center space, both communities have access to different zones: coworking and entertainment space, lyceums, areas for meeting and interaction, coffeeshop, student bookshop and spaces for independent work. In this way, the POINT OF INCLUSION embodies a community space that attracts and meets the needs of both groups.

The project offers a diverse design that exists

in intense contact with the surrounding context, providing a flexible multi-functional space that can be adapted to a variety of functions depending on the needs of the modern changing environment. Moreover, the design of the POINT OF INCLUSION is distinguished by its neutrality, which allows celebrating the cultural diversity of a multi-national community. In addition, due to its multifunctionality, the Student Community Centre combines educational facilities with entertainment, providing greater productivity in students‘ studies.

SPACE AS A CATALYST FOR INTER-COMMUNITY INTERACTION

The project aims to provide a space for interaction

between international students and the surrounding context in order to ensure a smooth inclusion of international visitors into the local fabric.

EXPERIENCED SPACE EXPERIENCED SPACE

PRINCIPLES OF SPACE ORGANISATION CONTEXT PERCEPTION PERCEPTION

CONTEXT

betweenness betweenness

permeability permeability

surrounding context filtered via senses and surrounding context filtered via senses and subsubjective variables, unique jective variables, resultingresulting in unique in perceptive perceptive experience of a subject experience of a subject

clarity clarity

In the context of the mentioned aims goals, the

experienced space to emerge and ensure the fundamental need to be

architectural proposal provides space shaping according to three main

involved in the surroundings, the smooth liminality enables the option

principles-spatial betweenness, permeability, and clarity. As a whole

to be filled, experienced and perceived by the visitor according to

these principles make for a smooth layered transition experience for

personal filters of subjective variables, such as the cultural background.

a visitor as a turn of ‘‘in-between being’’ to ‘‘being in’’, contextualizing

Thus, the POINT OF INCLUSION allows the feeling of existential

the visitor in loose space without imperative force. Thus, allowing the

insideness to emerge.

KEY CONCEPTUAL SECTION

The green perimeter, being the first stage of spatial experience, is followed by the two

openings that enable a visitor to enter the internal space. Approaching the dominant destination, a visitor is given the potential to observe, identify and interpret spatial order being less exposed. The park perimeter and Ń entral courtyard provide the experience of being in place through contemplation of connected spatial relationships that

betweenness

attract a visitor to pause. Pausing injunctions allow lingering and shifting of adaptation to cultivate relationships to the environment and its inhabitants before moving forward.

The permeable space enclosed in the courtyard continues in the glazed ground floor area, which

also serves for meeting and interaction. Although the surface of the courtyard and ground floor is separated from

permeability

a street space, there is a clear connection between the two because of the greenery, which is intertwined with a permeable intervention structure. The structure enclosing the courtyard passes into a sub console space followed by the ground floor and continues in the perimeter ramp. The passage along the facade gives visitors’ sensory organs plenty of freedom to observe the area inside and outside simultaneously.

The separated levels of the coworking zone, lyceums, individual workspace, conference halls and offices occupy two

clarity

A-A Section

upper levels and underground floor where the centre of each is always

TRANSITIONAL ZONE

INTERNAL RAMPS

EXTERNAL RAMPS

PARK

COMMON ZONE

MEETING ZONE

ROOF IN USE

ROOF IN USE

SECOND FLOOR

SECOND FLOOR

FIRST FLOOR

FIRST FLOOR

SITE GROUND FLOOR

SITE GROUND FLOOR

UNDERGROUND FLOOR

UNDERGROUND FLOOR

A

SITE PLAN

10

11

7

10

12

ЛЕСТНИЦА

6

8

9 4 5

1 2

3 2

IMG 2

IMG 1

1

A

1

2

SITE PLAN GROUND FLOOR PLAN

TRANSITIONAL AREA

space to “look around” space for pause and leisure

MEETING AREA

space to interact flexible space for events

COMMON AREA

1

5

25

58%

of the site area

60%

of the ground floor

11%

space to engage and work intertainment space

of the ground floor

service spaces facilitating working of community hall

10%

of the ground floor

1 - the perimetr of the park with walking paths and benches 1400 sqm, 2 - bicycle parking 20 x 4 sqm, ramps to the courtyard 64x2sqm 3 - inner couryard/flexible space for events 520 sqm, 8- common meeting area 100 sqm, 9 - glazed garden 20 sqm 6 - coffee shop 48 sqm, 7 - student bookstore 67 sqm 4, 5 - reception and entrance lobby with info desk 70 sqm, 10 - offices 7x2 sqm, 11 - public washroom 13 sqm, 12 - kitchen 13 sqm

ЛЕСТНИЦА

FLOOR PLANS A

Plans of the developed floors with functional zoning according to the design concept

ROOF IN USE 450 sqm

SECOND FLOOR 420 sqm 10

5

1

27

28

1

29 30

10

5

31

20

20 1

IMG 4

21

22

23

A

26

24

25 ЛЕСТНИЦА

A

A

A

32

FIRST FLOOR 420 sqm 5 1 ЛЕСТНИЦА

UNDERGROUND FLOOR 495 sqm 10

15

16

1

17 18

13

10

5

19 13

A

14

IMG 3

35

36

37

38

33 34

39 43

40

41

42

A

A

13

FIRST FLOOR 420 sqm

MEETING AREA

SECOND FLOOR 420 sqm

UNDERGROUND FLOOR 495 sqm

14 - common meeting area with book- 15% shelves 80 sqm

26 - common meeting area with bookshelves 15% 80 sqm

34 - common meeting area with bookshelves 80 sqm

space to engage and work intertainment space

13 - coworking space 220 sqm, 15 - con- 48% ference room 10 sqm

20 - coworking space 100 sqm, 21,25 - confer- 55% ence room 30x2 sqm, 22, 24 - conference room 15x2 sqm, 23 - conference room 22 sqm, 27, 28 - conference room 10/15 sqm

35 - coworking space 40 sqm, 37 - conference room 30 sqm, 38, 39,40 - lyceum 30x3 sqm, 41 - conference room 40 sqm

service spaces facilitating working of community hall

16 - common kitchen 15 sqm, 17 - public 16% washroom 13 sqm, 18 - staff room 8 sqm, 19 - office 15 sqm

29 - public washroom 13 sqm, 30 - staff room 8 10% sqm, 31 - office 15 sqm

33 - reception with info desk 60 sqm , 36 public washroom 13 sqm, 43 - storage boxes 20 sqm, 42 - staff room 60 sqm

space to interact flexible space for events

COMMON AREA

of the floor area

of the floor area

of the floor area

of the floor area

of the floor area

of the floor area

ROOF IN USE 450 sqm

17%

of the floor area

47%

of the floor area

17%

of the floor area

32 - common meeting area/flexible space for events 450 sqm

EXPLOSION DIAGRAM Spatial organisation of all levels of spatial intervention

represented as a meeting space. The perimeter ramp allows all of the levels to be walked around before being entered in response to the introduced perimeter spatial logic of the courtyard. Besides, a tree located in the centre penetrates the entire building as a manifestation of the presence of the exterior and smooth inside-outside shift. The ramp exists as a vertical connection between levels leading to the roof, that provides a completely open view and is supposed to be used as a common area for all of the visitors. Organized on the basis of three zones [ transitional, meeting and common], the space

ROOF IN USE

of the POINT OF INCLUSION is determined not only by building counterbalances but also by the sequence in which space is experienced. The revealed concept of ‘‘spatial betweenness’’ in the body

32

of the smooth liminality finds a place in the overlapping layers of the green perimeter, followed by a ramp and courtyard, whose spatial organization continues its presence at each level thanks to the ramp perimeter and central meeting area around the atrium.

27

Because of the accommodation of pauses and spatial interpenetration, space allows

28 29

prior exploration of adjacent domains, making orientation toward nearby settings possible, as a tool for comprehending an idea of space by immersion in it. In this context, POINT OF INCLUSION is separated spatially but still not detached from its surroundings. The combination of spatial betweenness,

30

20

SECOND FLOOR

26

21 22 23

permeability and clarity works as a space ordering mediator that guides a visitor from the perimeter of

24

transition to the centre of the meeting.

25

Thus, POINT OF INCLUSION, as a stepping stone, provides a multi-functional space for students and locals and facilitates the process of an international student inclusion into the city fabric.

15 16 17 18

13 14

FIRST FLOOR

13

13

SITE AND GROUND FLOOR

10

11

7 9 01

12

8

6

4,5

1

2 3

1

UNDERGR 35 38 39

36

40 34

33 43

41 42

COMMON AREA

space to engage and work intertainment space

01 GROUND FLOOR 6 - coffee shop 48 sqm, 7 - student bookstore 67 sqm 02 FIRST FLOOR 420 sqm 13 - coworking space 220 sqm, 15 - conference room 10 sqm 03 SECOND FLOOR 420 sqm 20 - coworking space 100 sqm, 21,25 - conference room 30x2 sqm, 22, 24 - conference room 15x2 sqm, 23 - conference room 22 sqm, 27, 28 - conference room 10/15 sqm 0 UNDERGROUND FLOOR 495 sqm 35 - coworking space 100 sqm, 37 - conference room 30x2 sqm, 38, 39,40 - conference room 15x2 sqm, 41 - conference room 22 sqm

MEETING AREA

space to interact flexible space for events

0

ROOF IN USE 450 sqm 32 - common meeting area/flexible space for events 450 sqm

31

01 GROUND FLOOR 830 sqm 3 - inner couryard/flexible space for events 520 sqm, 8- common meeting area 100 sqm, 9 - glazed garden 20 sqm 02 FIRST FLOOR 420 sqm 14 - common meeting area with bookshelves 80 sqm 03 SECOND FLOOR 420 sqm 26 - common meeting area with bookshelves 80 sqm 0 UNDERGROUND FLOOR 495 sqm 34 - common meeting area with bookshelves 80 sqm

19

TRANSITIONAL AREA

space to “look around” space for pause and leisure

01 SITE AND GROUND FLOOR 1 - the perimetr of the park with walking paths and benches 1400 sqm, 2 - bicycle parking 20 x 4 sqm, ramps to the courtyard 64x2sqm

service spaces facilitating working of community hall 01 GROUND FLOOR 4, 5 - reception and entrance lobby with info desk 70 sqm, 10 - offices 7x2 sqm, 11 - public washroom 13 sqm, 12 - kitchen 13 sqm

2

02 FIRST FLOOR 420 sqm 16 - common kitchen 15 sqm, 17 - public washroom 13 sqm, 18 - staff room 8 sqm, 19 - office 15 sqm 03 SECOND FLOOR 420 sqm 29 - public washroom 13 sqm, 30 - staff room 8 sqm, 31 - office 15 sqm

ROUND FLOOR

0 UNDERGROUND FLOOR 495 sqm 33 - reception with info desk 60 sqm , 36 - public washroom 13 sqm, 43 - storage boxes 20 sqm, 42 - staff room 60 sqm

37

TRANSITIONAL AREA space to “look around” space for pause and leisure

MEETING AREA

space to interact flexible space for events

COMMON AREA

space to engage and work intertainment space

service spaces facilitating working of community hall

58%

of the site area

12%

of the building area

15%

of the building area

55%

of the building area

18%

of the building area

IMG 1 View of the courtyard from the Park

IMG 2 The internal courtyard and the main entrance

IMG 3 Interior of the first floor, view of the meeting area

IMG 4 Second floor interior, view of the perimeter ramp

APARTMENT INTERIOR DESIGN PROJECT ON TSVETNOY BOULEVARD A RESIDENTIAL APARTMENT ON TSVETNOY BOULEVARD

This project involved the design of of a residential flat in the center of

Moscow, Tsvetnoy Boulevard.

A distinctive feature of the flat is its full glazing that has a wonderful

view of the historic buildings surrounding the building. Such a great advantage also has a substantial disadvantage. The team faced the challenge to create a cozy home for the future of a young family in the very center of a megapolis, where the rhythms of city life are visible day and night

.The main premises of the apartment was the common area

which included a kitchen island and a recreation zone - a place of attraction and communication.

The approach taken frees the common spaces and bedrooms from

clutter and concentrates storage and technical premises into the lightless parts of the flat.

interior design/team work/detailed project documentation/ May 2018/Studio Raboni Architetti

Supervisor: Andrea Fabbri, andrea.fabbri@fastwebnet.it

PLANNING SOLUTION

For this project THE CITY is a

huge area of luminous space, creating a special atmosphere of involvement in the surrounding environment.

1

2

hallway

kitchen dining room

cloakroom 3 m2

technical room

4 m2

living room 4,5 m2

bathroom

cloakroom

3 m2

70 m2

cloakroom bathroom

5 m2

8 m2

7 m2

cloakroom

bedroom 6 m2

bedroom

bathroom

29 m2

21 m2

1

ELEVATION VIEW 1-1

ELEVATION VIEW 2-2

2

MAP OF MATERIALS

DEPENDENCE OF THE APPARENT SIZE OF THE SPACE ON THE PENETRATION OF THE CITY

PERCEPTION OF THE ARCHITECTURAL PLAN

The key idea of this apartment goes beyond

an interpretation of the architecture as a technical tool.

On the way of determining by what means human beings occupy space, I detected a dependence of our perception on key aspects.

PRIVATE PART

PUBLIC PART

There is a great importance of the extent to

which we own space, where we are in a common or private area. Possession of space, in this context, is based on the number of people\communication with them [publicity] and the amount of glass [transparency] through which the surrounding penetrates.

This plan illustrates the separation of the

private and collective space of the apartment. Being almost entirely surrounded by glass, the space of the private part ceases to be private, since the city penetrates to it.

DEPENDENCE OF THE APPARENT SIXE OF THE SPACE ON THE NUMBER OF PEOPLE AND TRANSPARENCY

THE RATIO OF PUBLICITY AND TRANSPARENCY

RESIDENTIAL HOUSE OF NARKOMFIN 1928-1930 INTERIOR DESIGN PROPOSAL FOR CELL #4

The Narkomfin Building symbolizes the gradual

transition from the old family type of settlement to the new lifestyle, as the association of residential and community functions into a single complex. Residential cells designed for individual families are provided with the minimum necessary elements of everyday life. This principle creates an optimal living space through the introduction of innovative design and architectural solutions.

The concept of a ‘‘cell’’ apartment

was

developed as a model section in response to the shortage of housing in Moscow. The section was created in order to invent an approach that would make it cost-effective and comfortable to place as many apartments and a common leisure space inside a residential building as possible. The result of this work was the idea of a ‘‘cell’’ - a new type of housing, in which the value would be not only the area, but also the cubic capacity of the room.

Independent work/conceptual design proposal/detailed project documentation/June 2018

Assistant: Barkhanov George barhichs@gmail.com

The presented project brings to life the

restoration and adaptation of the interiors of the ÂŤKÂť cell, preserving the original planning solution. Details, elements, and finishing materials are divided into those that can be preserved and those that are recreated from authentic materials and adapted to modern use. The new design offer is created, taking into account the specifics of the ruined state of many elements of interior details. Besides, the project is restoring the historical lighting concept, window blocks and entrance following the preserved drawings. In the project, along with the preservation of historical, preserved fragments, materials are selected as close as possible in appearance, identical in colour, but qualitatively different in the properties of operation, as well as improving the comfort of living in a cell.

Element 4 Bathroom 5,8 m2

Bathroom 4,7 m2

Living Room/Kirchen 25 m2

Hallway

Hall

4,8 m2

7,9 m2

Conditioner 620x1150x200mm

Stairs

3 m2

Element 3 Element 6

Element 5 Conditioner 620x750x200mm

Element 2

Office 16,4 m2

Element 1

Bedroom 15,4 m2

Conventional Signs

Internal lignhtning of the cabinet

Individual joinery products

PHOTOGRAPHY

Ponte dell’Accademia bridge where the viewer is seen as well as the view that belongs to him for a while 10.02.2020, Venice

SYNTHESIS OF VIEW AND VIEWER It is the city of mirrors, the city of mirages, at once solid and liquid, at once air and stone.” Erica Jong The manipulation of two realities poduce something that is already outside of the logic of clear separation between inside and outside. Being transparent and reflective at the same time glass reflects the exterior and super poses it onto our vision of the exterior.

“The mirror is in the same plane as the window. The reflection is also a self-portrait projected onto the outside world.” Marie-Odile Briot

The frontier is no longer that separates, excludes, dissociatesa limit, rather it is a figure, a convention, its aim is to permit a relation has to be defined continuously. The reflection presuppose a new spatial model in which interior and exterior are no longer clear-cut divisions but are in the constant tradition being the blurred porous border of perception for a human being.Perception through the reflection occurs in motion providing the mergence of a difference sense of space. Reflection is a non-material substance that does not belong to anyone, and at the same time it corresponds to your exclusive perception at this moment. If you look away, it will be given to someone else. “ I exist in life only on condition that I see” Le Corbusier

Calle Giazzo, Venice

Fondazione Querini Stampalia Venice

Assicurazioni Generali, Venice

The garden of Fondazione Queri Formosa, Venice

IUAV entrance - entrance to the Architectural faculty Of Venice University

Giudecca Island, Calle Convertite

a, Santa Maria Formosa,

ini Stampalia, Santa Maria

eGino Valle , Venice

the territory of Venetian Arsenal

Ca’ Foscari Tour, Venice

Galleria Giorgio Franchetti alla Ca’d’Oro, Venice

PHOTOGRAPHY

ST. GEORGE’S BASILICA, DOWNSIDE, ENGLAND sauce, wet brush, eraser

Ability and capability to see is an extremely critical feature of an architect. However, not

just to look at, but rather feel the whole while peering into details. The architecture handles same human needs, as any art, it is associated with the wish to understand and to express feelings.

Feeling and emotion are an integral part of architecture, there is no soul without them and

no satisfaction. Creation process inevitably requires passion and obsession, otherwise it is just lifeless mechanical workmanship.

Master’s originality is quintessence of personality, aggregate of sensual experience

caused by reaction to the outside world. Exactly the context has special influence on the architect and that is why it is so important.

Ability to see, feel and realize the context of the environment defines an architect holding

the future human scenario in his hands.

work from a series of drawings devoted to light in architecture/personal archive/2017

PENNSYLVANIA STATION. NEW YORK

COPIES OF THE MASTER

dry sharpened stick/pen/drafting ink

analysis of the technique/dry sharpened stick/pen/drafting ink

VIEWS FROM ATTIC OF THE MOSCOW INSTITUTE OF ARCHITECTURE OVER MOSCOW Location of the Institute makes it possible to observe the historical center of Moscow through the window of the top floor; this is special atmosphere of interaction of the heart of the Moscow Institute of Architecture, where students like to come together so much, and of cozy old context with such a

passionate imprint of time These dashes with a fineliner were made at my favorite drawing lessons. They give sense, mood and versatility of the city by means of just one tool. The space is controlled here just by closeness and thickness of lines.

THANK YOU FOR YOUR TIME

EMAIL:

naumochkina.daria@gmail.com

PHONE:

+79037248047; +447796163593

LinkedIn: https://www.linkedin.com/in/darianaumochkina-765ba91a2/