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
D E
F
H
G
Pitsmoor
Pitsmoor Tinsl
ey
ey
Tinsl
PAINTED PLAYGROUND
a
Marin
Tinsle
y Tower
a
Marin
Tinsle
y Tower s
s
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
5
5
squats
h ua sq ts
h
Endc
5
5
p backs
hams backs p
hams
hip fle
hip fle
35
trim trail
3 4 5
6 7
yoga
yoga
1 2
6 7
6
7
25
30
35
s xor
sprint
play
trim trail
3
4 5
7
6 3
20
30
1 1 2
3
ste
4
10
15
25
ste
4
wall
bridge
5
te
5
graffitti
Lockga
1
Walk Affix
Fields
2
Loop
Edge
2
5 Skye
6
6
7
7
play
wall
3
3
4
4
5
5
skip
skip
sprint
Blue
s
1
1
2
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
gs trin tr
Junction
+
Canal
graffitti
2
3
s xor
Emmau
1
6
Castle
Cafe
Victoria
Lockga
h etc
4
2
7
5
6
h etc
gs trin tr
7
5
Old Sheffield
5
15
Garde
Affix
ical eld
10
Green
ns
Garde
Botan
Fields
ns
5
ns
5
ical eld Sheffi
Walk
The Hilton
hire
Devons
5 ns
rotatio
Pax
Dorot
Trust River
Edge
s
s
5
rotatio
hy
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
e
Walk aus
Centr
Loop
nd
Isla
ing
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
k Par fe clif
ge
End
i wall
Bot
ffie
She
G
graffitt
20
Gar
anic
ld
F
kgat e brid
10
15
Loc
s
den
al
5
Affix
oth
Dor
Trus
Rive
Can
Fields
+
y Pax
Cafe
t
r
al
Gree
Edge
ion
ria Junct
Victo
n
ire
onsh Dev
ire Art Centre Space
Castle
Old Sheffield
Bolehills
Skye
E
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/