PORTFOLIO/ALINA NAZMEEVA
a film in collaboration with Kyle Branchesi Molly Mason Helena Rong and Qianhui Liang
a project in collaboration with Max Moinian
Instructors: Liam Young and Alexey Marfn
Instructors:Rafi Segal, Alan Berger, Jonah Susskind
01 content
05 cities sea
in
speculative futures
media and urbanism
0 collective post-human
00constructing the virtual
06common
protocol design
SMArchS 2019 Thesis Project Advisor: prof.Rafi Segal
virtual space
user-driven design
data and memory
task
protocol design
final project at Strelka in collaboration with A Jariyaporn Prachasartta
questioning mapping
03 migrating vacancy
in collaboration with Francesco Grillo and Jung Seo instructors: Rafi Segal,Namik Mackic and Eli Keller
02 datascapes videogame instructor: Eric de Broche des Combes
04 quilt
independen Veracruz P Department
project team: Anna Kozlova, Alina Nazmeeva, Tanya Kozlova Ruben Arakelyan, Ayk Navasardyan
thesis project in MArchI Advisor: Ruben Arakelyan
09 bread
and circuses
07 urban
intervals
twork
nt work with Public Works t in Mexico
keywords: space in transition flow
vacancy
08 golden egg
project team: Alina Nazmeeva, Ruben Arakelyan, Ayk Navasardyan
reuse/reprogramming
10 anti-city project team: Anna Kozlova, Alina Nazmeeva, Alina Zyablikova Ruben Arakelyan, Ayk Navasardyan
#protocol design #speculative narratives #new media #gamespace/playspace #the social #the urban
01
CONTENT STUDENT PROJECT IN COLLABORATION WITH KYLE BRANCHESI,MOLLY MASON, HELENA RONG AND QUIANHUI LIANG INSTRUCTORS: LIAM YOUNG, ALEXEY MARFIN
link to a full video: http://tiny.cc/rsa86y
In a post labor society, CONTENT speculates on future worlds within urban and rural China. Extrapolating current trends of absurdity and exhibitionism in talk shows and apps like Kuaishou, this is a world in which entertainment is currency and attention is everything. In exchange for living in automated cities, citizens adopt jobs of producing social media content , sometimes leading them on inane adventures and ultimately forcing them to help construct their worlds in order to develop meaningful lives. The buildings themselves take on the need to share these stories, broadcasting the inhabitants to the streets below through embedded LED systems which ultimately change the atmosphere of the city itself. This is their city symphony. The factory of fun, the city, is powered by the feedback loop of data, social scores:hearts and likes, and the automation of production of non-content. The street becomes a stage and a space of consumption, as deterritorialized and fluctuating screen-tecture/texture becomes the context and the culture for the people. The interior: former home, refuge, shelter: mutates into a space for production, a cubicle of fun. Domesticity of the interior is confused with the workspace, as the production of fun is confused with labor. The city and the citizens are the manifestation of industrial entertainment complex, crowd-produced, crowd-consumed.
02
DATASCAPES INDIVIDUAL STUDENT PROJECT
INSTRUCTORS: ERIC DE BROCHE DES COMBES link to a demo video: https://vimeo.com/338290439
This game speculates on the future of the landscapes of data, the interplay between the Earth and its representation, and the relationship between memory and digitally stored information. This is the world, where the amount of data collected about the planet and the scale of storage space needed for it, covered the entirety of the Earth. Mazes of megadata landscapes replaced sublime and imaginary naturescapes. What is contained within these mazes is the memory of the Earth. As memory becomes information, that turns into data, that respectively becomes a representation of a memory on the computer interface (an image, a sound, anything digitally re-produced). Realtime access of the representation of memories is facilitated with planetary-scale datascapes. The Wanderer goes off to the maze in order to find his memory. This journey is a rediscovery of the anthropogenic sublime of the data space, of distorted memory (its representation), and the memory of the Earth. As the reality of the Earth is replaced with its distorted representation, representation of something what no longer exists. The data and the subject of data are undistinguishable. The data is stored, organized, categorized, tabulated. Everything is orderly. Memory and representation is fallible, imprecise, and perpetually changing. So data does malfunction. The map is not a territory, but the territory mutates into a map.
03
MIGRATING VACANCY WORKSHOP PROJECT IN COLLABORATION WITH FRANCESCO GRILLO AND JUNG SEO A PART OF MIGRATING THE CITY WORKSHOP IN BERLIN INSTRUCTORS: RAFI SEGAL, NAMIK MACKIC, ELI KELLER
All parts of the city undergo the ‘spiral processes’ of occupation and abandonment such as accumulation of different uses and opposed to it depopulation and lack of use, reconstruction and new development, demolition and preservation. The legal, social, or economic issues and affairs, unfolding for and by these processes further complicate the understanding of vacancy and occupation.
unoccupied construction site, surrounded by scaffolding, can produce potential for temporary shelter for one user, by providing an out of sight condition and basic weather protection. On the other hand, large-scale empty underused modernist courtyards become a site for private residential or commercial development, what makes them defacto vacant in the perspective of private developers.
We attempt to depict the present state of the city as it is related to the ‘vacancy wheel’. Our mapping proposes a new way of reading the city from the perspective of vacancy.
The multiplicity of meaning and the potentials that can be opened-up for different types of users reveal another crucial question related to the phenomena: whose perspective matters? According to whose perspective the specific site is considered to be vacant? Vacancy happens when the particular place is not used as it was intended or supposed to be used by design-- read it as it is not used at all; it also appears in ‘leftover’ spaces that are constructed by overlapping urban programs and specific land subdivision or intentional emptinesses such as designed buffer zones between several programs (railroad offsetting or others). In other words, vacancy for us is a latency
Temporal nature of vacancy produces different temporalities within itself, and these temporalities can reveal the latent potential of the space. Spots, located within specific spectrums of our ‘vacancy wheel’, produce particular spatio-temporal conditions that allow for certain uses, while others facilitate and invite other types of activities, thus catering to other types of users. A temporarily
of space to be occupied, a dormant potential, that is not yet activated. While we don’t address the reasons why the spaces are underused, we attempt to acknowledge two factors that may allow/disallow the temporary or long-term occupation or appropriation of vacant spaces: visual accessibility and physical (including physical manifestation of legal accessibility) of spaces under consideration. How do we shift the cultural attitudes of occupation projects? What does the knowledge of the vacant spaces within the city give us? Who has a right to access them and for how long?
This model spatializes the topography (the depth) of vacancy. The mapping itself becomes a project: a new way of seeing the city and the representation of the potential of space.
Can vacant space be perceived as universal people’s commons, open to be occupied by anyone if needed?
04
QUILTWORK
1616
PROFESSIONAL PROJECT WITH VERACRUZ DEPARTMENT OF PUBLIC WORKS 1616
This project is a strategy of reactivation of vacant property in historical center of Veracruz.
2000
2017
2017
The city of Veracruz was established in the beginning of 16th century and since then underwent a dramatic growth: first a strategical port and a trading point, it later turned to be a place for people to live and develop. However, recent dramatic suburbanisation of the adjacent territory exacerbated the shrinking in the historical center. Almost 34 percent of the buildings in the historical center are the objects of Cultural Preservation. Yet 18 percent of these buildings are abandoned, underutilized and in a dilapidated condition. The abandoned property makes for 9 percent of the built environment of the Historical District. The number of abandoned buildings tends to increase. This is a selffulfilling spiral, perfect feedback loop: As the people leaving the center they generate the abandonness, and the abandoned property instigates others to leave, reduces the economic opportunity, the reasons to come to the center, public safety and produces further dilapidation. On the other hand, public space of Veracruz is one of the principal bearers of culture and history: surrounded by Cultural monuments, public space preserves intangible heritage: music and dance, art and culture. However the spaces such as parks, plazas and pedestrian streets make up for only 5 percent of the total area in historical center. There is a dramatic assymetry: while 9 % of the built structures is an underutilized property, only 5 percent of the footprint of historical center is public space.
historic shrinking of public spaces in Veracruz
Abandoned buildings
Cultural Heritage before XX century
Green spaces
Cultural Heritage XX century
Abandoned Cultural Heritage
Vernacular Architecture
Abandoned property with no preservation status
footprint of "open" space, including streets
[1] ‘room’
[2] ‘surface’
[3] ‘building’
roof storeys window frames
access transparency
access
vegetation rubbish
flat empty surface pedestrian street
stable structure partitions/storeys
There are three main challenges for the vitality of the historical center: the dilapidation of cultural heritage, abandonment, and lack of public spaces. These three, I believe are intertwined and moreover are connected to other challenges, such as timespecific and narrow-focused economic activity within the area. The center is absolutely empty after 6PM: there arenorestaurants, bars or anything where people would stay beyond working hours. Moreover, there is an evident vanishing residential occupation -- people move out from the historical center -- and lack of public engagement--for the locals there is no point to come to the center. Conventionally, abandoned buildings are perceived to be an obstacle, an undesirable defect within the city. In case of Veracruz Historical Center this defect tends to expand, occupying more and more space. It is time to change the attitude, because these buildings can turn into an asset in order to resolve the challenges I previously described. And this project aims to reveal the immense cultural and
economic potential of these abandoned spaces, waiting to be adopted and adapted for new use. The experience of ‘activating’ abandoned and ruined property around the world proves to be successful. The reactivated abandoned property becomes meaningful for the community and newcomers, locals and tourists, public officials and private interests. It is important to recognize the architecture itself, in order to understand the program of the future intervention. It allows to estimate the funding, and with some of the spaces the intervention can be done at a very low cost and can be done very fast. This proposal, urban_quiltwork, is a collaboration between multiple urban actors, thus the mediation between these actors becomes very important for the project’s success. We need to establish a conversation with property owners, with the community, local artists and architects, and other municipality departments in order to make this project happen.
LOCAL ADMINISTRATION mediates the process, provides the platform for conversation
Connection between the businesses and owners of vacant property
property owners New Taxation Policy
1. Three main actors are involved in this process: municipality, property owners and business owners. the municipality plays a role of a mediator, providing the communication channel between property owners and businesses, especially young emerging businesses. By connecting potential tenants and the owners of the space the process of regeneration of this property can be established.
local business owners Revenue from lease
2.What are the additional incentives for the property owners? The previously mentioned revenue from lease, and the New Taxation Policy for the owners of abandoned property.
tax on decay
3.The owners of abandoned property in dilapidated condition indirectly reduce the value of historical center and damage the urban image. Thus, this project advocates for the so-called ‘tax on decay’ when the owners who do not maintain their property are required to pay to municipality to do it for them.
Profitable for both
local business owners
property owners local creatives Artists, architects and craftsmen
community cultural institutions Workshops, studios, classes Community markets Networking events Art venues Pop-up galleries Public Art
While the property owners are unwilling or unable to restore their buildings, the young businesses may not be able to afford to rent the space in the office buildings. With a low rent fee (or rather a percent of the income of the business) charged the property owners will be able to receive some revenue from their no longer empty property and the businesses will have a chance to grow and develop.
4. This project aims to increase the participation of the local residents in the decision-making related to their City. Who but them knows better the history of their neighborhoods, the issues and advantages of life where. The platform for communication, offered earlier (for the connection between property owners and business community) should be expanded with local residents, artists and architects, whose expertize will be instrumental for the project. 5. Last aspect of Urban Development, targeted by this project is the Culture and Education. With the help of cultural institutions, local educators and craftsmen, the formerly abandoned buildings can flourish as temporary workshops, classes, artistic spaces and galleries.
EXTERNAL SPONSORS LOCAL ADMINISTRATION
Administration plays a role of a mediator, provides guidelines and integrated larger scale vision for the Distrito Centro
STATE
NGOs
COMMUNITY CULTURAL INSTITUTIONS LOCAL RESIDENTS
Educational enterprizes, enhancing social capital, promoting new emerging businesses
Organization of various workshops, community markets and networking events
PROPERTY OWNERS
Connection between the businesses and owners of vacant property
Turn abandoned built structures into art venues, public and recreational spaces
LOCAL BUSINESS OWNERS
Design
LOCAL CREATIVES Artists, architects and craftsmen
With these simple low-cost interventions, Veracruz can increase the amount of needed public space while reducing the number of abandoned property.
05
NETWORKS ABOVE AND BELOW
SHORT TERM
HISTORIC Fort Hill
airport
HIGH RISE
Landmarked
vent
Condos Office buildings
CITIES IN SEA
I-90
INFRASTRUCTURE 1-90 Ventilation Building
JOINT STUDIO PROJECT AT MIT in collaboration with Max Moinian MCP 2018
public land castle island
BOXES 2-4 story large buildings
piers Studio Cities by Sea,taught byOnConvention Prof. Rafi Segal, Center 5-8 story large buildings Alan M. Berger and Jonah Susskind Innovation Building
higher ground
Military Base
I-90 ingress/egress ramps are inundated at 9 inches of rise
HIGHER GROUND
Other TOTAL = 23,000,000 ft2 Islands TOTAL = 2,350,000 ft2 1_245000 FT
16.5
The Fall 2017 studio Cities by Sea started with the challenge of defining the line between water and land; an ever changing border between a sea and its FUTURE ISLAND shore. In the context of Boston this imaginary border is conceived and constructed by extraordinary human endeavors over centuries. Yet the ‘line’ is a mere cultural construct and this project attempts to reveal it. The history of the city of Boston is a history of the perpetual negotiation between human interests and natural forces, a contest that is epitomized by land reclamation practices in and around Boston Harbor. The conventional divide between land and sea simplified the messiness of this process into lines on maps. These interdisciplinary artifacts-- maps -are reductive and subjective, and as they play a role of a scientific and investigative tool, they conceal as much as they reveal.
2
16.5
16.5
16.5
16.5
16.5
16.5
16.5
16.5
26.5
2_492000 FT2
16.5
16.5
DIGGABLE MENU
16.5
26.5
36.5
36.5
16.5
16.5
16.5
16.5
36.5
36.5
26.5
26.5
26.5
16.5
6.5
26.5
26.5
16.5
26.5
6.5
16.5
26.5
26.5
16.5
16.5
16.5
26.5
26.5 36.5
36.5
3_1284000 FT2
26.5
16.5
16.5
26.5
TIMELINE
BUILDING MENU
4_335000 FT2
This project is a speculative investigation into the reconception of marine boundaries, reversal of the conventional land-expansion practices, and an attempt to shift the cultural attitude on the issues of climate change and sea level rise. Environmental risk posed by climate change forces us to reassess the traditional practices of environmental demarcation, and further imagine new ways for the conception of urban development.
Total area_2356000 FT2
VOID + MATTER ABOVE
I-90 CANAL
BELOW
MATTER + VOID
original island
1630
seawall
INVERTED BOXES
DONUT URBANISM
LAND
filled sea
Summer I-90 Street Big Dig
wharfing out
1900
1960 1990
1950
elevated buried
HILL
ISLAND
v
5405209 FT2 14854513 FT2
5274364 FT2 Seawall/slurry wall
5405209 FT2 5405209 FT FT22 5405209
14854513 FT2
5405209 FT2 5405209 FT2
14854513 FT FT22 14854513
5405209 FT22 5274364 FT
14854513 FT2 14854513 FT2
1st phase 5274364 FT22 5274364 FT 19 century
2nd phase2 14854513 FT Seawall/slurry 20 century wall
3nd phase 5405209 5274364 FT FT22 20 century 5274364 FT2
Seawall/slurry wall Seawall/slurry seawall wall
2 original land 5274364 FT
I-90 FT2 wall Seawall/slurry 14854513 Seawall/slurry wall construction
Seawall/slurry wall
walls
5274364 FT2
The wharfing out processes shaped the contemporary landmass of Seaport. Fill, taken from other parts of the area, was comprised of anything that couldSeawall/slurry be strong wall enough to form a new ground, space taken from the sea. The area started as the industrial center of Boston, and as a port, which consequently evolved into the most significant shipping port of New England. Though in the end of 20th century, Seaport slowly devolved from Industrial Hub to a large-scale parking lot. Yet the turn of 21st century marked an outbreak of the development in the area. The South Boston Waterfront is penetrated with a crucial transportation artery of the city: the Big Dig of I-90 goes above and below the artificial and low ground of the Seaport, connecting Boston with the Logan International airport.
+ MATTER grade change grade change
drydockdrydock
ABOVE ABOVE ABOVE
a perpetual a perpetual construction construction site site
I-90 I-90I-90 CANAL CANAL CANAL
BELOW BELOW BELOW
MATTER MATTER MATTER the harborwalk ++ VOID VOID + VOID
ship from china
the harborwalk the harborwalk
ship from ship china from china
INVERTED INVERTED INVERTED BOXES BOXES BOXES
SHORT TERM
NETWORKS NETWORKS ABOVE ABOVE ANDAND BELOW BELOW
SHORT SHORT TERM TERM
indicator indicator of the invisible of the invisible
world trade worldcenter trade avenue center avenue
ISLAND ISLAND ISLAND
HILL HILL HILL
...with 9 inches of slr
Fort Point Channel bridge
...with 9...with inches9 of inches slr of slr
Fort Point FortChannel Point Channel bridge bridge
BUILDING MENU
BUILDING MENU
BUILDING BUILDING MENU MENU
VOID + MATTER HISTORIC
ABOVE
vent
I-90
I-90
I-90 CANAL
INVERTED BOXES
public land
In order TIMELINE
1960 1960
public public to dissect the flatness of thecastle maps, we land land island focus on depicting the networks above and 1630 1630 1630 castle castle below original theisland ‘land’ layer. Readingseawall thehigher island territory, island seawall ground original islandisland original and the land itself, as the evolving seawall relationship higher higher ground ground between matter and void, we intentionally remove the ‘flatness’ of the land, the ‘zero’ grade, from our mapping experiment, and see what is left above and below this grade. grade change
the harborwalk
elevated elevated drydock
1900 1900 1900
BELOW
world trade center avenue
1990
elevated
buried
1950 wharfing out
2
16.5
16.5
16.5
16.5
26.5
36.5
16.5
Fort Hill
HIGH RISE
Landmarked
2_492000 FT2
16.5
16.5
16.5
26.5
36.5
16.5
16.5 36.5
16.5
16.5
26.5
16.5
16.5
16.5
16.5
Condos Office buildings
16.5
16.5
16.5 36.5
26.5
26.5
6.5
26.5
36.5 16.5
26.5
16.5
26.5
36.5
36.5
16.5
16.5
16.5
16.5
36.5
36.5
26.5
26.5
16.5
16.5
26.5
36.5 16.5
26.5
36.5
16.5
16.5
16.5
16.5 36.5
26.5
16.5
16.5
16.5
16.5
26.5
36.5
16.5
26.5
26.5
16.5
1-90 Ventilation Building
16.5
16.5
16.5
26.5
26.5
26.5
26.5
16.5
6.5
16.5
36.5
3_1284000 3_1284000 FT2 FT2
26.5
city fill fillone onefill (wharfs) (wharfs) one (wharfs)
6.5
16.5
26.5
36.5
26.5
26.5
26.5
26.5
26.5
4_335000 FT2
26.5
16.5
26.5
16.5
26.5
16.5
6.5
16.5
36.5
I-90 I-90
INFRASTRUCTURE
26.5
26.5
26.5 6.5
water waterretention retention water retention
16.5
26.5
36.5
36.5
26.5
26.5
26.5
16.5
16.5
DONUT URBANISM
16.5
16.5
16.5
16.5
16.5
16.5
vent vent fill filltwo twofill (boston (boston blue blueclay, clay, asphalt, concrete) concrete) two (boston blueasphalt, clay, asphalt, concrete)
16.5
2_492000 2_492000 FT2 FT2 3_1284000 FT2 26.5
FILLING
26.5
16.5
26.5
16.5
6.5
16.5
26.5
26.5
16.5
16.5
public publicpublic island islandisland
HISTORIC 16.5
16.5
1_245000 1_245000 FT2 FT2
16.5
2
IslandsIslands TOTALTOTAL = 2,350,000 = 2,350,000 ft2 ft2
1_245000 FT2
Fort Point Channel bridge
BUILDING MENU FUTURE LANDFORM FUTURE FUTURE ISLAND ISLAND
Other Other Elevated ground=I-90 2,350,000 ft2 Islands TOTALTOTAL = 23,000,000 = 23,000,000 ft 2 ft Other= TOTAL23,000,000 = 2,350,000 ft ft
16.5
airport airport fill fillthree three (buildings, debris) debris)debris) fill(buildings, three (buildings,
...with 9 inches of slr
FUTURE ISLAND
1960
2
16.5
2-4 story large buildings On piers
Innovation Building On piersBase On piers Military Convention Center Convention Center
Other TOTAL = 23,000,000 ft2
filled sea
south boston beach
BOXES
2-45-8story large buildings story large5-8 buildings story large buildings Innovation Building Innovation Building On piers Military Base Military Base Convention Center 5-8 large buildings Innovation building
I-90 ingress/egress ramps I-90 ingress/egress I-90 ingress/egress ramps are ramps are inundated inundated at 9 inches atof99rise inches of rise are inundated at inches of water rise
fill fillfour four (waste) fill(waste) four (waste)
ramps to the I-90
1950 1950 1950
Convention Center wharfing wharfing out out out BOXES BOXES wharfing 5-8 story large buildings 2-4 story large2-4 buildings story large buildings BOXES
DONUT DONUT URBANISM URBANISM DONUT URBANISM
seawall
original island
buried
indicator of the invisible
1900
INFRASTRUCTURE INFRASTRUCTURE INFRASTRUCTURE I-90 Ventilation 1-90 Ventilation 1-90 Building Ventilation Building Building
1990
buried buried
I-90 I-90 I-90
SHORT TERM HIGHER GROUND HIGHER HIGHER GROUND GROUND
ISLAND
INFRASTRUCTURE HILL 1-90 Ventilation Building
I-90 ingress/egress ramps are inundated at 9 inches of rise
city city city
Condos Condos Office buildingsOffice buildings
LAND
luxury on water
filled filledsea sea filled sea
HIGHER GROUND
1630
1990 1990
1960 elevated
a perpetual construction site
ship from china
DIGGABLE MENU NETWORKS ABOVE AND BELOW NETWORKS ABOVE AND DIGGABLE DIGGABLE MENU MENU
DONUT URBANISM
16.5
vent I-90
16.5
MATTER + VOID
16.5
airport airport vent BELOW
16.5
CONTEXT
HIGH RISE HIGH RISE Condos Condos Office buildings Offices HIGH RISE HIGH RISE
Fort Hill HISTORIC Landmarked HISTORIC HISTORIC Fort HillFort Hill Fort Hill Landmarked Landmarked Landmarked
airport
FILLING FILLING FILLING
south boston south boston beach beach
LAND LAND LAND
world trade center avenue
SHORT TERM
TIMELINE TIMELINE TIMELINE
ramps to ramps the I-90 to the I-90
DONUT DONUT DONUT URBANISM URBANISM URBANISM
indicator of the invisible
Total area_2356000 FT2
NETWORKS ABOVE AND BELOW
CUT FILL
luxury on luxury water on water
4_335000 4_335000 FT2 FT2
public
water waterinfrastructure infrastructure water infrastructure
land land public
public island
fill four (waste)
new newwater water infrastructure castle new infrastructure water infrastructure island castle island
BOXES
fill three (buildings, debris)
2-4 story large buildings On piers Convention Center
higher existing existingexisting higher ground ground
5-8 story large buildings Innovation Building Military Base
fill two (boston blue clay, asphalt, concrete)
water retention
tidal tidalflat flat tidal flat
I-90 ingress/egress ramps are inundated at 9 inches of rise
Total area_2356000 FT2
fill one (wharfs)
HIGHER GROUND
water infrastructure
FUTURE ISLAND
I-90 I-90canal canal canal I-90
spatial strategy
Other TOTAL = 23,000,000 ft2
DONUT TOTAL = 2,350,000 ft2 URBANISM DONUT DONUT URBANISM URBANISM
16.5
2_492000 FT2
LANDLAND
HILLHILL
16.5
16.5
16.5
26.5
36.5
16.5
16.5
16.5
16.5
36.5
36.5
26.5
26.5
26.5
16.5
6.5
26.5
26.5
16.5
26.5
6.5
16.5
26.5
26.5
16.5
16.5
26.5
26.5
36.5
36.5
3_1284000 FT2
26.5
16.5
16.5
26.5
TIMELINE
ISLAND ISLAND I-90 canal
16.5
16.5
16.5
26.5
36.5
ISLAND
HILL 16.5
2
16.5
LAND 16.5
INVERTED BOXES I-90 CANAL I-90 CANAL 1_245000 FTINVERTED INVERTED BOXES BOXES 16.5
tidal flat
Islands
I-90 CANAL
16.5
SEE SEESEE LEVELS LEVELS RISE RISE LEVELS RISE
+ VOID MATTER MATTER + VOID + VOID
Total area_2356000 Total area_2356000 FT2 FT2
16.5
Rising water challenges the conventional new water infrastructure DIGGABLE MENU VOID land and sea. The constant divide between + MATTER flux betweenVOID them hard lines ofexisting this VOID denies the ABOVE + MATTER + MATTER divide. Boston is continuing its relationship ABOVEABOVE with land and sea, but climate risk, instability BELOWflip the logics of and impossibility of prediction MATTER horizontal expansion to the vertical axis. BELOWBELOW
4_335000 FT2
TIMELINE TIMELINE
SEE LEVELS RISE
1960
1990
elevated 1960
1630 original island 1630 1630 VOID + MATTER originaloriginal island island
1900
Total area_2356000 FT2
buried 1960
1990
1990
elevated elevated
buried
buried
1950
seawall
filled sea1900 1900
I-90
wharfing out 1950 1950
seawall seawall
filled seafilled sea
I-90 I-90
wharfingwharfing out out
ABOVE
FILLING
DONUT URBANISM
I-90 CANAL
BELOW
FILLING FILLING
INVERTED
BOXES DONUT DONUT URBANISM URBANISM
MATTER + VOID
DONUT URBANISM
LAND
HILL
ISLAND
city city Parallel vertical expansion of fillcityland and parallel parallel vertical vertical expansion expansion ofofland landofand and four (waste) parallel vertical expansion land and TIMELINE buildings buildings with withrise rise ofofrise sea sea of sea buildings with buildings with rise of sea fill fourfill (waste) four (waste)
Design as a perpetual process, not to design designdesign asasaaperpetual perpetual process, process, not nottotoanot a to a as a perpetual process, fixedpoint point fixed point a fixedfixed point
publicwater island Space below ground, below space spacebelow below ground, below belowwater, water, space ground, below ground, below water, above above air air and air above public island and andandabove air public island
fill three (buildings, debris) fill threefill(buildings, three (buildings, debris) debris) parallel vertical expansion of landfilland two (boston blue clay, asphalt, concrete) buildings with rise of sea fill two fill (boston two (boston blue clay, blue asphalt, clay, asphalt, concrete) concrete)
Max MaxMoinian Moinianand andAlina AlinaNazmeeva Nazmeeva design a perpetual process, not to a Max Moinian and Alina as Nazmeeva
fixed point
space below ground, below water, and above air
water retention water retention water retention
fill one (wharfs) fill one (wharfs) fill one (wharfs) new water infrastructure
Max Moinian and Alina Nazmeeva
water infrastructure water infrastructure water infrastructure
Phases of the Operation
The Cut/Fill process divided into several phases terraforms the new topography of the seaport district. The context for the project is the elevated grounds, connected with Summer Street which is 25 feet above ground. Phase one of cut/fill operation takes abandoned and underutilized land of the seaport. Right now these areas are just asphalt turfs. Second Phase takes the land which will be taken by the sea first.
t
ree
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The resulting structure then operates on a new ground level of rooftops connected with new elevated infrastructure. The convention center is turned into a water reservoir. The are connected with “water moving” system which is under the public space and infrastructure.
v
abo
CUT FILL
t
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sum
Phase Three uses the rest of the land around the island to elevate it. The building which now houses the district rises above the “island”.
Our strange ways of designing matter and void above and below ground produces a condition of man by sea, rather than in, under, or around.
This position has to change: water above the ground, above humans and their habitat: how does it alter us and our daily practices?
Resilience is not a measure of our ability to bounce back after encountering harm, but the ability to transform, evolve and alter in the perpetual urban process.
06
COMMON TASK
GRADUATE PROJECT AT STRELKA INSTITUTE OF MEDIA, ARCHITECTURE AND DESIGN in collaboration with A Jariyaporn Prachasartta website: commontask.ru
The technology and worship are mutually inclusive. Sometimes Science Fiction, theology and actual science can be combined into a quite comfortable whole. Drawing on one of such chimeras: Cosmism: a philosophical movement of late 19th century, this project imagines the implications of its popularisation in contemporary Russia. Cosmism combined the rigidity of Traditionalism and far-fetching speculations of futurism: religion, myth, space colonisation, immortality, memory. One of the core ideas of Cosmism is that the true 'common task' for humanity is to conquer death, resurrect previous generations and populate the whole universe. Now we have many ways to defeat death, or, rather to eliminate an erasure of an individual self after a biological death. Among these instruments is the quantified self movement. It creates you, your distorted image. As you strive to be quantified as much as possible, the image becomes tangible. The numbers, the content which represents a human transforms into a simulation which is, for 'common task' a possibility of afterlife.
Fragments of crystalline shell that covers the planet Distorted fractal patterns: generated by the author
Common Task is a film, a visual narrative and a hypothetical conspiracy that suggests a Neocosmism for near-future Moscow, one for which data quantification is not only an individual ritual, but also a path of communion with the whole of society. Neocosmists strive to overcome the human, bodily condition and eventually become post-human, that is to say virtual. They aim so by performing an extensive data gathering and daily backups in hope that one day their consciousnesses will be simulated and networked within a timeless, post-body society. The aggregation of data takes physical form in diamonds that in turn accumulate into a crystalline shell covering the planet. Once it is complete, an as yet unknown threshold will have been broken. Here the afterlife is a simulation, and so simulation —in the hard traces of data- is the afterlife. The aim of Common Task is not only to speculate about a possible alternative system that draws on a relationship between technology and religion, but to illustrate that what we perceive to be reality is just a matter of perspective and interpretation.
As a part of design of a conspiracy, we distributed these posters across Moscow.
Frames from the short film
07 MOSCOW_INTERVALS THESIS PROJECT AT THE MOSCOW ARCHITECTURE INSTITUTE ADVISOR: RUBEN ARAKELYAN
[VOID UNITS] While Moscow is spreading out from its structural borders- ostensibly due to limited room for new activities in the oversaturated center- something located in its heart is obscured from our view. For the last few years the city center has been going through many alterations – public spaces have been under renovation, pedestrian walkways have become broader, bicycle lines have been popping up everywhere, and asphalt covered embankments once dead and boring have turned into nice verdant parks. Yet walking through these new places you will notice something beyond the political gesture of hot and new green and sustainable publicness. Disheveled, almost ruined edifices, wastelands closed from the eye with high fences, derelict, disregarded structures; all literally in front of the well-kept parks and boutiques or cafes, within 10 minutes by foot from the Red square. It is a great contradiction if we look at it from far awaynobody uses these buildings and spaces despite their prime location. Everyone speaks of an intense city center, of a persistent shortage of land in Moscow, or that the value of land is inflated. While the majority of the architectural critics and practitioners focus on the periphery, I want to look into the heart of the city. The site of this investigation is the territory within the Sadovoe Ring: policically charged, economically overevaluated, historically and culturally intense, with radical urban spatial diversity and evident social inequality. Geometry of the research follows the geometry of the city. The research itself was conducted with an aim to reveal the zone of maximum concentration of the abandoned/unused places. With this concentration revealed, a solution was considered to rethink of this zone, by “galvanization’ of abandoned places, and the creation of a totally new program for their further [adapted] use.
My research on foot took 16 days. All the documented abandoned buildings/spaces/wastelands/buildings under reconstruction and other strange spaces are actual as of 15.10.2015 There is the new measurement unit – dead unit (d.e. further)
[VOID UNITS] Every place has its own narratives of the past and the future. Though every place is living in the present. What, then, is the abandoned/unused place for the city in such a paradigm? Could they be considered as particular gaps in time, as experienced and perceived space, invisible visibilities, which were formerly included to the in the life of the city, but now abandoned and undistinguished. Void units, these non-spaces, are rather the obstacles for the city than the objects included in it. The city as a dynamic system is passing by these objects. Only physical, spatial colocation takes a place here. Tracing the history of temporality in these spaces, I aim to identify new tensions and new narratives for them.
At any rate, now these buildings and territories temporarily do not exist, and their absence is expressed with their decay, green grid, contemporary rock paintings, rust and common feeling of wasteness and human’s absence.
[MATRIX] to define the grid which would help to evaluate the density of abandoned places, I've chosen the smallest and the biggest segments of circle to get an average area of a segment.
[RETHINKING VOIDS] The Russian word “time” [vremya] according to Fassmer’s dictionary originates in the word “pothole” [rytvina].Probably, there is also a connection with the word “whirl”, and pothole– it is a footprint of a wheel (something whirling and carving). A pothole of the wheel– it is an uninterrupted cut. The word “pothole” fits to the portrait of the abandoned space, as a space which doesn’t have its ‘now’, a particular interval in the urban environment. Are there some programs and examples of spatial use which are similarly out of the city’s environment? It is possible to assume that such spaces could be Foucault’s heterotopies. In contrast to utopias – which are imaginary spaces, heterotopias are real spaces featured with specific relationship between time and space, producing specific behaviors of fleshliness and subjectiveness. Abandoned spaces are heterotopias by definition, they are real and definitely have a distinguished relationship to what is outside. Could we keep this heterotopic and strange relationship between the void and what is outside the void while activating them? What if a space have had a mind? According to Cartesius works the crucial distinguishing feature of physical objects is their spatial extension, and mental objects are existing only in time. But is there a difference between mental and physical objects? Another crucial difference is that physical objects can be seen by everybody, unlike mental, which are shown only to their creator, a thinking person, reproducing them in one’s mind. Can a mind turn into physical substance? Or what if it already has one, and it is impossible to separate them and such assumptions are inherently wrong?
20
21
190
9
25
188
8 17
5
16
18 24
189 191
19 26
187
7
15
13 12
185 4 11
183
182
184 174 179
1
180
173
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33
32
172
166
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167 34
177 134
168 169
133
165 164
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136 137
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154
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155 157
255 152
147 151
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249
125 124
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103
40
105
47 45
114
102
46 95
58
57 56 48
109
101
75
43
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54
62 55
106 107
77 66
227
63
50
100
226
91
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60
64
52
98
74
86
73
90 84
83
81
89 67
88
MOSCOW
[abandoned buildings/edifices] 156 D.E 13 6 заброшенн ых зданий/ руин
195
268
194
193 266 265
267
196
197 198
199 260
200
264
261
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259
201 203 202 257 256 204
37
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270
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252 253
251 250
249 269
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229 228 234
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227 209
225 244
210 235
236
211 224
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212 213 217
214 216
220 221 219
218
215
[buildings/edifices under reconstruction] 79 D.E 79 зданий на реконструкции
186 14
6
28
10
3 2 29
30 31
23
22 162
35
170
161 135
141
153
140 142 143
156
144 38
128
145 127
123 116
39
112 42 115
96
238
59
111 110
44 108
94
49
78 65
93
79
53
92 99 61
87 97
72
85
80
71 70
82
69 68
[wastelands] 55 D.E 55 заброшенных/неэффективно используемых территорий/пустот
[2 squares with highest density of abandoned places] the one square was chosen because many territories of the second already have hypotetical future ( new projects and purposes).
TERRITORY WITHIN THE SADOVOE RING
[SOCIAL ACTIVITY MAPPING]
1000
weekdays
500 100 0 1000
weekends
500 100 0 9:00
12:00
15:00
18:00
21:00
[AREA RESEARCH]
[program zoning]
[ownership]
[age of the buildings]
[cultural heritage]
dwelling business/ administration governmental institutions education
territory/private possession buildings/private possession
universities schools kindergartens
territory/no data
library gallery
buildings/no data
culture
industrial
fire station factory metro pull station
dormitory hotels embassy
laboratory
buildings/ governmental possesion territory/ governmental possesion
1550 XVII XVIII XIX XX-1917 1917-1953 1953-1991 1991-2015
[TEMPORARY REUSE]
[EXAMPLES OF RELATION TO THE CITY]
In an infinite race for maximum productivity, industrialization, a person stops being engaged in hand labour. New appliances and services are coming out every day, absolving us from physical activities, allowing us to work exclusively in the intellectual, nonmaterial realm. And this phenomenon is mostly considered as progressive.
New York
spatial diagram
Hong Kong
spatial diagram
Moscow
spatial diagram
During the technical progress, it became much easier to go through everyday routine. Most of our work is sedentary and does not include physical modelling and work with spatial objects, and does not involve deliberate bodily activity. That way we are aware that intellectual and physical work are not interdependent. This condition affects culture in profound ways. All over the world there is a huge prejudice against vocational jobs. We are not only refusing to do labour work, we disdain it, considering it as low-brow. Moreover, most of the workers are just performers of the ideas proceeding from people whose only physical, bodily action during the day is typing and clicking. Therefore, creating mind is partly separated from the act of creation.
Pratt University
Polytechnical school
[DEVELOPMENT STRATEGY]
Inspite of making a closed autonomous territory of a new school there is a possibility of entrenching it to the city's fabric by using existing buildings.
Before the first Renaissance blueprints had appeared, the architect usually started his work on site. Nowadays most designers, architects and artists do not take a part in the physical creation process, while those that execute the creation are considered less than their "professionalized" and "ideating" counter-parts.
1st stage of the development_ Renovation of the crucial objects
2st stage of the development_ Active integration into the city
3st stage of the development_ New net is entrenched into the city
[approach/educational model]
student
intellectual labor
[student’s lifestyle] education 8.5 hours per day free time 7.5 hours per day sleep 8 hours
theory research experiments collaborations
handicraft art
practice research experiments collaborations
master
production
prototyping mastering skills
dwelling education research production adaptation exhibition sports food
[dormitory] [theory/practice studios] [auditoriums] [lecture rooms] [workshops] [laboratories] [library] [offices] [show-rooms] [fairs] [conference-halls] [museum] [sport areas] [kanteen] [cafeteria]
[RELEVANT CHOICE] In Russia, there is a prodigious scarcity of craftsman specializations as vocational schools have been closer or reducing their enrollment in recent years due to a minor amount of student interest. Perhaps the reason of the unpopularity of such schools is not that these vocational crafts are no longer viable, but instead that the schools do not offer curriculum that keep these craftsmen relevant to the contemporary market. Could traditional craftsmen grow to become independent creators in today's world? The strive to rethink labour profession and breathe new life in them is not near to a misoneism philosophy striving for the past, real or imagined. On the contrary, it is an attempt to refresh personal activity by making an artistic, creative process an inalienable component of intellectual work, where experiments with physical objects and prototypes could be
a tool for new inventions and theories.The new approach to vocational education should include a thorough analytical work, research and experiments, but not only work in front of the machine and performing. It comes to my mind again, the analogy with a Renaissance person, who has never neglected hand working to thinking, and all of the activities have been native extensions of each other. I do not think that an absolute can be found, a kind of universal system, which can fit every time and location. Temporality is a key word here. The new use of these buildings suggests the creating of only pop-up, light objects, which will be made only by students, so that they are creating their own environment, galvanizing abandoned places, and settling this new program into the city.
1
C
2
3
ИСТОРИЯ ВЛАДЕНИЯ
B
ИССЛЕДУЕМЫЙ ОБЪЕКТ НАХОДИТСЯ В ХОХЛОВСКОМ ПЕРЕУЛКЕ, 18/3. ТЕРРИТОРИЯ СОВРЕМЕННОГО ВЛАДЕНИЯ СФОРМИРОВАЛАСЬ В 1830Е ГОДЫ
3
D
6440
2
12800
6360
В 1873 ГОДУ ВОЗВОДИТСЯ 2-ХЭТАЖНЫЙ ОБЪЕМ ЖИЛОГО ДОХОДНОГО ДОМА И ХОЗЯЙСТВЕННАЯ ПОСТРОЙКА, ЗАФИКСИРОВАВШАЯ ЗАПАДНУЮ ГРАНИЦУ ДОМОВЛАДЕНИЯ ЗДАНИЕ ЯВЛЯЕТСЯ ОБЪЕКТОМ ФОРМИРОВАНИЯ ГОРОДСКОЙ СРЕДЫ. Sобщая_991,2 m2
C
1 3450
A
5900
Б
A
3000
2550
Г
3800
Д
5250
Е
B
3
ОТСУТСTВУЮТ ДАННЫЕ (ИНФОРМАЦИЯ ВЗЯТА С РОСЕЕСТРА)
ВЕРТИКАЛЬНЫЕ КОММУНИКАЦИИ
6440
2
12800
6360
ПУБЛИЧНАЯ СОБСТВЕННОСТЬ
18700
В
B
A
1 3450
A
THE HISTORY OF THE POSSESSION
1873 one-storey service edefice of the former mansion.
1873 ОДНОЭТАЖНОЕ ХОЗЯЙСТВЕННОЕ СТРОЕНИЕ ГОРОДСКОЙ УСАДЬБЫ, В КОТОРОМ РАСПОЛАГАЛАСЬ КЛАДОВАЯ И ДВОРНИЦКАЯ
The edifices A, B, C, D - a part of XVIII-XIX the wing of the Izmailov's mansion architectural ensemble of the end of XIX c. guest house dormitory of Communistic 1960-1970 the laboratory of the university clinic university, significant example of house - communе of 1930. Contemporary usage 1930 the dormitory of Communist university is a clinic of the arch. G. Dankman dormitory of linguistic university. significant architectural heritage The edifices A and E are currently abandoned. The reason of their 1960-1970 the 3rd supplementary floor is built emptiness is the fire happened 1960-1970 the passage is built more than 7 years ago.
public public possession possession
no data
1873 two-storey guest house
THE
HISTORY
A
5900
Б
B
18700
В
3000
2550
Г
3800
Д
Е
OF THE POSSESSION
1873 ДВУХЭТАЖНЫЙ ОБЪЕМ ЖИЛОГО ДОХОДНОГО ДОМА
1930 two additional floors, built for communal apartments 1878 laundry 1878 ДОСТРАИВАЕТСЯ ПРАЧЕЧНАЯ В ПОСЛЕРЕВОЛЮЦИОННОЕ ВРЕМЯ В ЗДАНИИ after 1917 there is a dwelling РАСПОЛАГАЕТСЯ ЖИЛЬЕ 1930 ДВУХЭТАЖНАЯ НАДСТРОЙКА, ПЕРЕФОРМИРОВАНИЕ ПОД КОММУНАЛЬНЫЕ КВАРТИРЫ
1995 full repair of the building The mansard added
1995 ПРОВОДИТСЯ КАПИТАЛЬНЫЙ РЕМОНТ И ДОСТРАИВАЕТСЯ МАНСАРДА
public possession A
The territory represents the former mansion which in the years after 1917 was perpogrammed into a communal apartments house. In 1995 there was a full repair with adding a mansard to the singlestory wing, but in the end the entire building is unused for more when for 5 years.
no data Б
В
Г
Д
E
15900.000
14100.000
12300.000
10500.000
8700.000
7200.000
5400.000
3900.000
2100.000
150.000
A РАЗРЕЗ С_С
Б
В
Г
Д
0.000
E РАЗРЕЗ D_D
3 РАЗРЕЗ A_A
2
ЖD
460
7150
Л
2 3024,9 2
2450
3
7150
0 915
A
4600
Н
З
И
В
C
Б
3 В
0
9900
715
K 8900
17490
0
М
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7590
85
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A
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Д
0
1
50 42
A
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5
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551
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7590
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4600
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25
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50 114
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280 0
0
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2
1
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5000
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1
2
A
4470
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1 2550
3 4
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A
5000
2 1
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3990
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2800
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А НК ЛЯ
1 4470
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2750
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ЭТАПЫ ФОРМИРОВАНИЯ ВЛАДЕНИЯ
2800
1
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2750
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0
165
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75
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165
165
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4
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1730-1750 КАМЕННЫЕ ОДНОЭТАЖНЫЕ ПАЛАТЫ/АРХИТЕКТОР НЕИЗВЕСТЕН
Л 0
915
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СТРОЕНИЕ В (ПОДКОЛОКОЛЬНЫЙ ПЕРЕУЛОК 4-6) ЗДАНИЕ РАСПОЛОЖЕНО В ЦЕНТРАЛЬНОЙ ДВОРОВОЙ ЗОНЕ УЧАСТКА. ТИПИЧНЫЙ ПРИМЕР МАЛОЭТАЖНОГО ДОХОДНОГО СТРОИТЕЛЬСТВА,2 В ОСНОВАНИИ СОХРАНЕНЫ КОНСТРУКЦИИ ДРЕВНИХ ПАЛАТ 1 ПОЛОВИНЫ XVIII В. Б 3 РЕЖИМ ОХРАНЫ ОТСУТСТВУЕТ E 1 СТРОИТЕЛЬСТВО ВЕЛОСЬ В 3 ЭТАПА В Г 1. 1730-1750 - КАМЕННЫЕ ПАЛАТЫ 1-ЭТ/АРХИТЕКТОР НЕИЗВЕСТЕН Д 2. 1866 - НАДСТРОЙКА 2 ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН 3. 1909 НАДСТРОЙКА 3 ЭТАЖА/АРХИТЕКТОР ХАРИТОНЕНКО П.И. ПРОГРАММА- ЖИЛАЯ 2 B
Н
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ОР НЕИЗВЕСТЕН ИЗВЕСТЕН ) ИТОНЕНКО ОВОЙ ЗОНЕП.И. УЧАСТКА. ОГО СТРОИТЕЛЬСТВА, В ОСНОВАНИИ ОЛОВИНЫ XVIII В.
ИЗВЕСТЕН ИТЕКТОР НЕИЗВЕСТЕН
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Р НЕИЗВЕСТЕН ИТЕКТОР - КАРНЕЕВ В.Н. ) ОГО СТРОИТЕЛЬСТВА 2-Й ПОЛОВИНЫ XIX АКТЕРИСТИКАМИ. ) ОВОЙ ЗОНЕ УЧАСТКА. РОГО НЕИЗВЕСТЕН СТРОИТЕЛЬСТВА, В ОСНОВАНИИ ОЛОВИНЫ В. В.Н. ИТЕКТОР - XVIII КАРНЕЕВ
ЙСЛЕР М.Г. ИТОР ДОМОВЛАДЕНИЯ. НЕИЗВЕСТЕН
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ОЙ ЗАСТРОЙКИ РУБЕЖА XIX-XX В.
C
B
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АЛЬНОЙ ЗОНЕ КВАРТАЛА 127, ВБЛИЗИ ХИТЕКТУРНОЙ И ОГРАНИЧЕНСРЕДЫ. С СЕВЕРА Й СОЛЯНКОЙ. Й ГРАДОСТРОИТЕЛЬНОЙ СРЕДЫ. ЕГО НТА СРАЗУ ДВУХ УЛИЦ - СОЛЯНКИ И
ЙСЛЕР М.Г. СТРОЕНИЯМИ А И Г АЖА МЕЖДУ ТОР НЕИЗВЕСТЕН
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АЛЬНОЙ ЗОНЕ КВАРТАЛА 127, ВБЛИЗИ И ОГРАНИЧЕН С СЕВЕРА Й СОЛЯНКОЙ. Й ГРАДОСТРОИТЕЛЬНОЙ СРЕДЫ. ЕГО НТА СРАЗУ ДВУХ УЛИЦ - СОЛЯНКИ И
ОЙ ЗАСТРОЙКИ РУБЕЖА XIX-XX В.
Н
Л
G
50
114
42
A
0
715
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165
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0
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СТРОЕНИЕ Б (ПОДКОЛОКОЛЬНЫЙ ПЕРЕУЛОК 4-6) ТИПИЧНЫЙ ПРИМЕР МАЛОЭТАЖНОГО ДОХОДНОГО СТРОИТЕЛЬСТВА 2-Й ПОЛОВИНЫ XIX ВЕКА И ОБЛАДАЕТ ГРАДОФОРМИРУЮЩИМИ ХАРАКТЕРИСТИКАМИ. РЕЖИМ ОХРАНЫ ОТСУТСТВУЕТ СТРОИТЕЛЬСТВО ВЕЛОСЬ В 2 ЭТАПА 4 1. 1863 ГОД - ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН 2. 1880 ГОД - НАДСТРОЙКА ТРЕТЬЕГО ЭТАЖА/АРХИТЕКТОР - КАРНЕЕВ В.Н. Б 3 ПРОГРАММА- ТОРГОВО/ЖИЛАЯ 915
50
50 30
30
75
32
A
551
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280 0
75
33
00 33
28
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0
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B G
551
75
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28
5
СТРОЕНИЕ А (СОЛЯНКА 7, "ДОМ С АТЛАНТАМИ") ЯВЛЯЕТСЯ ЦЕННЫМ ЭЛЕМЕТНОМ ИСТОРИКО-АРХИТЕКТУРНОЙ СРЕДЫ. ВЫЯВЛЕННЫЙ ОБЪЕКТ КУЛЬТУРНОГО НАСЛЕДИЯ АРХИТЕКТОР - КАРНЕЕВ В.Н. ДАТА ПОСТРОЙКИ - 1882 ПРОГРАММА- ТОРГОВО/ЖИЛАЯ
E F
E F
СТРОЕНИЕ Г (СОЛЯНКА 7) 1 РЯДОВОЙ ЭЛЕМЕНТ ИСТОРИЧЕСКОЙ ЗАСТРОЙКИ ДОМОВЛАДЕНИЯ ПЕРИОДА ЭКЛЕКТИКИ. БЫЛ ВЫСТРОЕН ДЛЯ ПОДСОБНЫХ НУЖД ДАТА ПОСТРОЙКИ-1882-1890 АРХИТЕКТОР - КАРНЕЕВ В.Н. ПРОГРАММА- ХОЗЯЙСТВЕННАЯ 1950-1960 - ПОСТРОЕН ПЕРЕХОД НА УРОВНЕ 2 ЭТАЖА МЕЖДУ СТРОЕНИЯМИ А И Г РЕЖИМ ОХРАНЫ ОТСУТСТВУЕТ
1880 НАДСТРОЙКА ТРЕТЬЕГО ЭТАЖА/АРХИТЕКТОР - КАРНЕЕВ В.Н. 1882 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР КАРНЕЕВ В.Н. 1863 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН 1882-1890 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР - КАРНЕЕВ В.Н. 1866 НАДСТРОЙКА 2 ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН
СТРОЕНИЕ Д(ПОДКОЛОКОЛЬНЫЙ ПЕРЕУЛОК 4-6) ТИПИЧНЫЙ ПРИМЕР РЯДОВОЙ ВТОРОСТЕПЕННОЙ ЗАСТРОЙКИ РУБЕЖА XIX-XX В. СТРОИТЕЛЬСТВО ВЕЛОСЬ В 2 ЭТАПА 1. 1909- ОДНОЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР-ГЕЙСЛЕР М.Г. 2. 1937- НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН ПРОГРАММА- ХОЗЯЙСТВЕННАЯ РЕЖИМ ОХРАНЫ ОТСУТСТВУЕТ ЭТАПЫ ФОРМИРОВАНИЯ ВЛАДЕНИЯ
1882 ТРЕХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР - КАРНЕЕВ В.Н. 1844 ОДНОЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН
СТРОЕНИЕ Е(ПОДКОЛОКОЛЬНЫЙ ПЕРЕУЛОК 4-6) РЯДОВОЙ ЭЛЕМЕНТ ИСТОРИЧЕСКОЙ ЗАВТРОЙКИ ДОМОВЛАДЕНИЯ. СТРОИТЕЛЬСТВО ВЕЛОСЬ В 2 ЭТАПА 1. 1844 - ОДНОЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН ЭТАПЫ ФОРМИРОВАНИЯ ВЛАДЕНИЯ 2. 1890-1901 - НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН ПРОГРАММА- ХОЗЯЙСТВЕННАЯ РЕЖИМ ОХРАНЫ ОТСУТСТВУЕТ
B D
280 0
ЖД
C
А
Б
ИССЛЕДУЕМЫЙ УЧАСТОК РАСПОЛОЖЕН В ЦЕНТРАЛЬНОЙ ЗОНЕ КВАРТАЛА 127, ВБЛИЗИ Е ЦЕРКВИ РОЖДЕСТВА БОГОРОДИЦЫ В КУЛИШКАХ И ОГРАНИЧЕН С СЕВЕРА ПОДКОЛОКОЛЬНЫМ ПЕРЕУЛКОМ, С ЮГА УЛИЦЕЙ СОЛЯНКОЙ. B ВЛАДЕНИЕ - ЦЕННЫЙ ФРАГМЕНТ ИСТОРИЧЕСКОЙ ГРАДОСТРОИТЕЛЬНОЙ СРЕДЫ. ЕГО ЗАСТРОЙКА УЧАСТВУЕТ В ФОРМИРОВАНИИ ФРОНТА СРАЗУ ДВУХ УЛИЦ - СОЛЯНКИ И ПОДКОЛОКОЛЬНОГО ПЕРЕУЛКА.
Б
G
4440
A
ИСТОРИЯ ВЛАДЕНИЯ
C
СТРОЕНИЕ Ж(СОЛЯНКА 7) РЯДОВОЙ ЭЛЕМЕНТ ИСТОРИЧЕСКОЙ ЗАВТРОЙКИ ДОМОВЛАДЕНИЯ. СТРОИТЕЛЬСТВО ВЕЛОСЬ В 2 ЭТАПА
E F
1.1882 - ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР КАРНЕЕВ В.Н. 1730-1750 КАМЕННЫЕ ОДНОЭТАЖНЫЕ ПАЛАТЫ/АРХИТЕКТОР НЕИЗВЕСТЕН 2.1950-1960 - ОДНОЭТАЖНАЯ ПРИСТРОЙКА/АРХИТЕКТОР НЕИЗВЕСТЕН ПРОГРАММА- ХОЗЯЙСТВЕННАЯ РЕЖИМ ОХРАНЫ ОТСУТСТВУЕТ Sобщая_6730m2
1730-1750 one-story stone chambers
1730-1750 КАМЕННЫЕ ОДНОЭТАЖНЫЕ ПАЛАТЫ/АРХИТЕКТОР НЕИЗВЕСТЕН В ДАННЫЙ МОМЕНТ ВСЕ ЭТИ СТРОЕНИЯ ЯВЛЯЮТСЯ ЗАБРОШЕННЫМИ. ЧАСТЬ ИХ ЯВЛЯЕТСЯ ГОСУДАРСТВЕННОЙ СОБСТВЕННОСТЬЮ - ДРУГАЯ ЧАСТЬ - ЧАСТНОЙ. ВСЕ СТРОЕНИЯ ПУСТУЮТ БОЛЕЕ 10 ЛЕТ.
THE HISTORY OF THE POSSESSION 1950-1960 one-story wing 1950-1960 the passage between the buildings 1909 the additional 3rd floor
1950-1960 ОДНОЭТАЖНАЯ ПРИСТРОЙКА/АРХИТЕКТОР НЕИЗВЕСТЕН
1950-1960 ПОСТРОЕН ПЕРЕХОД НА УРОВНЕ 2 ЭТАЖА МЕЖДУ СТРОЕНИЯМИ А И Г 1909 НАДСТРОЙКА 3 ЭТАЖА/АРХИТЕКТОР ХАРИТОНЕНКО П.И.
1937 the additional 2nd floor 1890-1901 the additional 2nd floor
1937 НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН
1890-1901 НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН
1880 additional 3rd floor 1882 two-story volume 1863 two-story volume 1882 - 1890 two-story volume 1866 aditional 2nd floor 1880 НАДСТРОЙКА ТРЕТЬЕГО ЭТАЖА/АРХИТЕКТОР - КАРНЕЕВ В.Н. 1882 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР КАРНЕЕВ В.Н. 1863 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН
1882-1890 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР - КАРНЕЕВ В.Н.
1880 НАДСТРОЙКА ТРЕТЬЕГО ЭТАЖА/АРХИТЕКТОР - КАРНЕЕВ В.Н. 1866 НАДСТРОЙКА 2 ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН 1882 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР КАРНЕЕВ В.Н.
1882 three-story volume 1844 one-story volume
1863 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН 1882 ТРЕХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР - КАРНЕЕВ В.Н. В.Н. 1882-1890 ДВУХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР - КАРНЕЕВ 1844 ОДНОЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН 1866 НАДСТРОЙКА 2 ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН
1882 ТРЕХЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР - КАРНЕЕВ В.Н.
The territory represents the significant fragment of historical urban environment. It is a former mansion with service edifices. and storeys on the first floors. In early 20th century this complex started to be used as a guest house. Then in the middle of the century it was turned into a clinic. Later, the owner tried to rebuild it with adding contemporary structures and raising the higher floors, but the project wasn`t accepted with the government. Meanwhile illegal immigrants started to live where in the year 2008. But now the complex is unused and empty.
[TWO STRATEGIES]
1844 ОДНОЭТАЖНЫЙ ОБЪЕМ/АРХИТЕКТОР НЕИЗВЕСТЕН
И ДОМОВЛАДЕНИЯ.
ИИЗВЕСТЕН ДОМОВЛАДЕНИЯ. ИТЕКТОР НЕИЗВЕСТЕН НЕЕВ В.Н. ТЕКТОР НЕИЗВЕСТЕН
И ДОМОВЛАДЕНИЯ.
1950-1960 ОДНОЭТАЖНАЯ ПРИСТРОЙКА/АРХИТЕКТОР НЕИЗВЕСТЕН
НЕЕВ В.Н. СЯ ЗАБРОШЕННЫМИ. ТЕКТОР НЕИЗВЕСТЕН ЧАСТЬ ИХ Ю - ДРУГАЯ ЧАСТЬ - ЧАСТНОЙ. ВСЕ
1909 НАДСТРОЙКА 3 ЭТАЖА/АРХИТЕКТОР ХАРИТОНЕНКО П.И.
СЯ ЗАБРОШЕННЫМИ. ЧАСТЬ ИХ Ю - ДРУГАЯ ЧАСТЬ - ЧАСТНОЙ. ВСЕ
buildings footprints
1950-1960 ПОСТРОЕН ПЕРЕХОД НА УРОВНЕ 2 ЭТАЖА МЕЖДУ СТРОЕНИЯМИ А И Г
1950-1960 ОДНОЭТАЖНАЯ ПРИСТРОЙКА/АРХИТЕКТОР НЕИЗВЕСТЕН 1937 НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН 1950-1960 ПОСТРОЕН ПЕРЕХОД НА УРОВНЕ 2 ЭТАЖА МЕЖДУ СТРОЕНИЯМИ А И Г 1890-1901 НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН 1909 НАДСТРОЙКА 3 ЭТАЖА/АРХИТЕКТОР ХАРИТОНЕНКО П.И.
1937 НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН
courtyard (first floor level)
1890-1901 НАДСТРОЙКА ВТОРОГО ЭТАЖА/АРХИТЕКТОР НЕИЗВЕСТЕН
public possession
private possession
roof
The current state of these three buildings is abandoned, unused. All three have interesting history of perpetual adding new floors or wings, supplementary passages. The complexes look so peculiar because of decades of different changes without any grand plans - they were changing only in order of a former need or interest of the owners. Two of them are significant examples of historical heritage. So the project purposes a minimal intervention. New pop-up objects almost don`t disturb the existing constructions and facades. And from outside of the complexes it is impossible to recognize any changes. My purpose consists of two types of strategies of reprogramming these places. The first one is called [the box] and represents the rigid structure which is put only inside the existing volumes. The second one is called [the bridge] and is made for connection and creating new routes and paths as inside the existing strutures, as outside of them.
1_[BOX]
false ceiling with hidden ventilation and electricity veneer layer
middle plywood layer
frame
existing columns
storage wc existing columns duct storage existing columns bed sliding door entrance to the unit
1_[BOX]
2_[BRIDGE]
the [BOX] is a program core. It represented as a rigid structure consisting of spatial forms reflecting the needed functions. In these projections the [box] is the structure of unhabited units, consisting of private bedrooms, storages, kitchens, WCs and libraries. In the 3rd complex, the school, this spatial strategy is represented as a library. Such strategy affords keeping the surrounding space empty, use this free space in order of current need and allows students to use it as they want depending on their preferences.
the [BRIDGE] is a supplementary connection, which makes the new routes and paths to perceive the structure, guides people how to pass the building and makes it more transparent. In provided examples it can be seen that in [dormitory] and [unhabited workshop] projects it is used not only with students but it invites citizens to participate or observe the process of creation. In the [school] project this connection is going through the entire complex and providing the new path as for students as for visitors.
[BOX] _library One of the parts of abandoned complex is a building with broken roof and floors. To keep this volume alive I'm replacing the roof and get rid of the floors. Here, within 3-storey high existing volume the library appears. The library is represented as a structure with two similar stairs which are supported with inner and outer structural cores which are filled with shelves for books. Surrounding area is filled with tables and coaches to read and study.
BOX_LIBRARY
outer walls of the new library box
2 stairs connected with bridges in the middle
the core of the library with entrances to the bridges
the old building needs new supplementary metal/ wood structures allowing demolishion of the old roof and floors
[BRIDGE]
PROCESS
representation of the map of the initial research the model was produced in collaboration with Vova Kozitskiy
Through the investigation of the spaces in tangible scale of gypsym and balsa I tested the quality of spaces which could saturate these buildings.
the model of the dormitory, perspective view
In the current economic reality the importance of using the potential of the existing buildings grows exponentially. This is especially important in the history cores of cities. The delicate attitude of minimal intervention - regardless of it`s invisibility - provides us an abundance of possible spatial and programmatic scenarios. The material is very ductile and allows plenty of variations of the structures to be made. The wooden structures expediently create sustainable but flexible environments which can allow people to inhabit abandoned spaces, including them again into the city's fabric and the program of a vocational school can reintroduce the importance of craftsmanship for citizens while subsequently creating a viable economic production in the city center. the model of the dormitory, plan
produced in collaboration with Vova Kozitskiy
the rooms of the dormitory represent a minimum space for a bed , storage and wc with a shower. Students are making these cells by themselves
the model was produced by Vova Kozitskiy
08 GOLDEN EGG PROFESSIONAL PROJECT my role: images
concept
and
PROJECT TEAM RUBEN ARAKELYAN AYK NAVASARDYAN ANNA KOZLOVA ALINA NAZMEEVA
This project is an attempt to create a completed spatial experience within a small building. Curved spiral-like shape creates a smooth route within itself, strictly separating different flows of visitors. Golden treasure pavilion keeps the treasure within its walls - and public, going layer by layer, making circles, going up and down, - comes to the middle and find the treasure - the model of the Mother-city of Russia.
The task is to make a one-storey pavilion for a new huge-scale model of the city. Thinking of enrichment of future visitors' experience we created a path through the pavilion - the ramp, which creates a strict route, goes first up to the highest possible point - to see the model 2 meters above, and then goes down and comes inside the exhibition area. route
09 PROJECT TEAM ANNA KOZLOVA ALINA NAZMEEVA TATYANA KOZLOVA RUBEN ARAKELYAN AYK NAVASARDYAN
BREAD AND CIRCUSES
DANILOVSKIY MARKET COMPETITION/2015 my role: development of the ideas, research, production of pictures, floorplanes.
Historically, a market is a center of activities of the city. Festivals, fairs, celebrations and different entertainments used to exist inside and around it.In this project we are trying to revive these functions and make the market as a kind of spectacular urban space. We rearrange chaotically scattered little shops into a ring and make them two-stored to inject new small functions besides existing ones
THE APPROACH
market Dense arrangement of commercial zones creates unified commercial front-line
the picture was produced by Anna Kozlova
market square Central flexible-use space for the new market functions, opened kitchens, food festivals, lectures, lessons and holidays
square types of use
market variants of arrangement
the diagram was produced by Aik Navasardyan
the picture was produced by Anna Kozlova
one-storey
unit
two-storey
t y p i c a l construction of unit
hole in the column
fabric
unit
two-storey with
unit stair
ANTI-CITY
COMPETITION/2015
10
PROJECT TEAM: RUBEN ARAKELYAN,AYK NAVASARDYAN,ANNA KOZLOVA, ALINA ZYABLIKOVA ALINA NAZMEEVA my role: development of the ideas production of pictures, masterplan production/concept
The competition task was to find a new language for the territory of a former manufactory located in Moscow, to make this already special place even more exciting for visitors and future users/customers. The morfology of the internal space of this complex suggests the proposal - to create several unique stories, having differences one from another. Our proposal focuses on these 7 stories - hothouse/ cortyars/choldren room/river/pool/hill/green theater. Using the same visual elements ( brick pavement/grass/ moss), we tried to add something essential to every area, an ingridient which would distinguish it among other places. Also, the green appearance reveals our idea to create an opposite place to the city/a place out of the city's pace. Current silent and uninhabited condition of Kristall Factory makes us to preserve this state, keep it quiet, mysterious and unknown in its a bit wild and disheveled condition.
The site is located nearby Moscow river and the factory itself is a part of the chain of former factories of Moscow.
We aim to preserve the consistent and bold identity of the place, and propose a subtle intervention. We create 7 different stories, rooms: the cortyard, intended to be private for people who will live here; the hothouse - a pop-up market place and inside/ outside garden; the children room - a playground for kids; the river - a public zone which is separated into two areas with thin pool; the pool - we surround the existing building with water, creating a unique public place and public zone for lectures, debates and workshops; the hill - a first wow-place which will be seen with visitors - with an exhibition hall underground; the theater - an open cinema with green abandoned railroad. Making distinctive programs for every 'room' we use similar design approaches for every of them. The brick pavement with grass and moss inbetween and lighting in the pavement will unify the peculiar spatial structure of the place.
the cortyard
the hothouse
the children room
the river
produced by Anna Kozlova
the pool
produced by Anna Kozlova
the hill
produced by Anna Kozlova
the theater
buildings
external space
7 stories
the diagrams were produced by Ruben Arakelyan
THE HOTHOUSE The culture of growing food should't be forgotten within a city community. Creating a small hothouse and garden - we ask the question about the possibility to grow food within harsh conditions of megacity. Pretending to be out of this reality - our anti-city Kristall has a chance to make it real.
THE THEATER Working only with ground we create a green public zone within the territory. We use the abandoned railroad as a stage with movable scene - platform and the space in front of it as a sitting area. Existing hangars around can be used as places for summer workshops or like scaffoldings for greenery.