for CED Berkeley by Nikita Tugarin
Moscow 2014/2015
Selected works 2-4
“Time to revise”
Brand identity for “Time to Revise” laboratory.
Сustomer: “Memorial”.
Museum
Project of the “Soviet Modern Museum”. Moscow Architectural Institute, semester VII.
Teaching staff: L. Rezova, M. Ponomareva, S. Fadeev.
11-14
Residential district
Project of the residential district for 11000 habitants. Moscow Architectural Institute, semester VIII.
Teaching staff: L. Rezova, M. Ponomareva, S. Fadeev.
15-20
Multi-functional residential complex
Project of the multi-functional residential complex. Moscow Architectural Institute, semester VIII.
Teaching staff: L. Rezova, M. Ponomareva, S. Fadeev.
Theatre
Project of the drama theatre for 1000 visitors. Moscow Architectural Institute, semester IX.
Teaching staff: I. Lozinsky, D. Karelin.
5-10
21-28
* all works included in portfolio are completely created on my own
“Time to Revise” brand i “Time to Revise” is a laboratory specializing in the research of Stalin’s repressions of the 1930s. Its main purpose is to search and systematize information about anyone’s repressed ancestors through the lens of modern technologies. This laboratory is part of the “Memorial” community established
| 4 | Graphic design
by a famous Russian architect and publicist V. Glazychev. In the spring of 2015, I was asked to create a brand identity for the “Time to Revise” laboratory, as well as to design posters and brochures. The main idea was to show how the same thing can be seen in different times. This intention
identity
runs through the logo and the posters: the frame converts old-fashioned images into modern ones. For this purpose “Tahoma” front was modified to be unique and contemporary. The research of the Stalinist era typography allowed to make the brochures look like newspapers from the 1930s.
Для выражения настоящего времени был выбран шрифт Tahoma, разработанный Мэтью Картером в 1994 году. Шрифт выбран неслучайно, потому что среди многообразия современных гротесков только он идентичен по ширине гарнитуре Обыкновенной. Однако не все очертания символов соответствовали поставленной задаче, так что для идеального перетекания Для выражения настоящего времени был выбран шрифт Tahoma, разработанный Мэтью Картером в через “экран” потребовалась Для выражения настоящего времени был выбран шрифт Tahoma, разработанный Мэтью Картером в 1994 году. Шрифт выбран неслучайно, потому что среди многообразия современных гротесков только он корректировка буквы “Е”. идентичен по ширине Обыкновенной. 1994гарнитуре году. Шрифт выбран неслучайно, потому что среди многообразия современных гротесков только он
идентичен по ширине гарнитуре Обыкновенной. Однако не все очертания символов
соответствовали поставленной задаче, так что для идеального перетекания через “экран” потребовалась корректировка буквы “Е”.
Однако не все очертания символов соответствовали поставленной задаче, так что для идеального перетекания Для выражения настоящего времени был выбран шрифт Tahoma, разработанный Мэтью Картером в 1994 году. Шрифт выбран неслучайно, потому что среди многообразия современных гротесковлоготипу только он через “экран” потребовалась Также для придания актуальности и, главное, эксклюзивности, а также для дальнейшего идентичен по ширине гарнитуре Обыкновенной. использования в бренде были изменены очертания букв “А” и “Р” на более простые и современные в корректировка буквы “Е”. слове “пересматривать”. Однако не все очертания символов соответствовали поставленной задаче, так что для идеального перетекания через “экран” потребовалась Также для придания логотипу актуальности и, главное, эксклюзивности, а также корректировка буквы “Е”. для дальнейшего использования в бренде были изменены очертания букв “А” и “Р” на более простые и современные в слове “пересматривать”.
Концепция.
Концепция афиши развивается примерно по тому же сценарию, что и концепция логотипа. Лист представляет собой размещенную по всем законам газетной верстки сталинского времени композицию. Ни одна мельчайшая деталь при создании афиши не была упущена из виду, использвоались ровно те же гарнитуры и символы. Получившаяся газета отсекается мультимедийной рамкой, а информация, попавшая в границы рамки, уже выглядит на современный лад. Также для придания логотипу актуальности и, главное, эксклюзивности, а также для дальнейшего Также придания актуальности использования в бренде были измененыдля очертания букв “А” и логотипу “Р” на более простые и современныеи, в главное, слове “пересматривать”. использования в бренде были изменены очертания букв “А”
слове “пересматривать”.
эксклюзивности, а также для дальнейшего и “Р” на более простые и современные в
ОТКРЫТЫЙ ЛЕКТОРИЙ ВТОРАЯ СЕССИЯ
ЛАБОРАТОРИЯ П О W E B - D O C U M E N TA RY
Graphic design | 5 |
Soviet Modern Museum
Ticket office
| 6 | Museum
Food
Souvenirs
Until today, Soviet Modern architecture of the 60s/80s was not rated as a significant part of Russian architectural heritage and was perceived as a due. Even these days, more attention to Soviet modern buildings is paid in the east than it is in Russia. The desire to face this problem motivated me to design a theme museum. The Fencing Slab №2 (ПО-2) served as the basis for the idea. This slab seems to be the symbol of the entire epoch. It is spread throughout the former USSR, and, as I calculated, it can be seen averagely four times a day in absolutely different places. The museum is represented as a single volume without any decorations. There is a wide and clear space inside as well, with sunlight spreading from the above. The surrounding area is equipped with multi-functional blocks designed for recreational, commercial and service facilities. The museum is located near Kaluzhskaya Square in the center of Moscow. The square is surrounded by Soviet modern administrative buildings designed by D. Burdin. The style was inspired by Yury Gagarin’s space flight in 1961. This monumental event coincided with the appearance of Soviet modern style in architecture. Recreation
Museum | 7 |
A-A
| 8 | Museum
Б-Б
Plan at +9.200
Plan at +6.200
Plan at 0.000 В-В
Plan at -3.000
Museum | 9 |
| 10 | Museum
Museum | 11 |
Residential district for 11
1000 habitants
The residential district is located on Berezhkovskaya quay in Moscow Central Administrative District. It was an attempt to implement the eco-friendly urban project into the centre of a modern megalopolis. Office buildings with apartments and mechanized parking lots in the north of the district maintain noise defense from the railway situated nearby. They also protect the district from smog (based on the airflow research). The trees are planted in a way to contribute to the delay of acid gases. There is a scientific research complex in the east part of the district. Its location is caused by the thermal power plant that imposes restrictions on residential development in its effect radius. The complex, in its turn, is detached from the living units by a park alley with an artificial pond and compact sports facilities for habitants’ leisure. The main living units of the district are six multifunctional residential complexes with a public space on the ground floor and dwellings above. At the level +6.000, all MFRC are connected by pedestrian bridges. The three towers and three section-type houses are also devoted to dwelling. However, they are not a part of the aboveground footbridges system. The main target while designing this district was to differentiate pedestrian and transport currents, as well as to minimize the traffic. The underground parking system with access from only two trunk roads eliminate the need for regular use of the other transport ways. Furthermore, there is a pedestrian bridge, which runs through the district to connect subway station “Studencheskaya” and “Novodevichy convent” to provide people with a straight way to another bank of the Moskva-river without any hindrances. District dwellers are able to implement pedestrian access to school, kindergarten and hospital, located in the centre of the district. Access to the disctict is possible from both Third Transport Ring and Berezhkovskaya quay. In addition to habitants’ car parkings there is also a parking space for guests. The MFRC that was designed in details is painted in blue. District | 13 |
| 14 | District
District | 15 |
Multi-functional resident complex
tial
This multi-functional residential complex is located in the residential district on Berezhlovskaya quay. The building maintains the idea of differentiating pedestrian and transport currents, as well as minimizing the traffic being a part of the elaborate system of pedestrian ways, bridges and car parking as well. The exterior was inspired by both Mies van der Rohe’s Seagram Building and Marcello Piacentini’s socalled “Square Colosseum”. As the main thing in architecture for me is integrity, all of the elements and materials carry functional burden and are supposed to provide inhabitants’ comfort. The building consists of four residential towers, united by stylobate with public spaces on the first floor. The public spaces are represented with banks, cafes, libraries and recreation areas. There is also a guest parking. Moreover, habitants’ underground parking is provided under the courtyard. The decision not to combine the main building’s and parking’s structures was dictated by both constructing comfort and engineering systems placement. Residential complex | 17 |
Đ‘-Đ‘
| 18 | Residential complex
N
A-A
| 20 | Residential complex
Facade detail
Residential complex | 21 |
Drama theatre for 1000 visitors
View from the Sadovoe Transport Ring
Plan at -12.100
Plan at -4.800
Theatre | 23 |
Plan at 0.000
Plan at +5.500
| 24 | Theatre
Drama
A-A
| 26 | Theatre
a theatre interior section
Theatre | 27 |
The drama theatre for 1000 visitors is my latest project. The building is located at the intersection of Sadovoe Transport Ring and Prospekt Akademika Sakharova in Moscow Central Administrative District. Character or the theatre exterior is dictated by both the building of the Ministry of Agriculture by the Russian architect A. Shchusev and Le Corbusier’s Centrosoyus building, which is situated nearby. Сircular plan form maintains the crossroads’ rotation momentum. The theatre building is performed as a kind of a bowl on the “stem”. The consoles reach 25 meters in length in the most extreme places. Furthermore, the eccentricity, added to the circular form, improves the impression in strength. The structure is represented with frames made of reinforced concrete, which are united on the underground level. Those frames support structural columns, which sustain the construction of the roof. The visitors’ entrance is located in the “stem”. The vestibule, ticket offices and dressing rooms are all located in the stem as well. Through the “stem” the guests are able to come to the foyer using the main staircase or the elevators. The foyer itself represents a wide, open, boundless space. Thence visitors enter the main theatre hall and additional rooms such as cafes, decoration workshops, administrarion cabinets, etc. Moreover, the theatre is technically well equipped. The decoration elevators are provided along with the lifting machinery for the stage. | 28 | Theatre
Thank you.
Moscow, 2015