PORTFOLIO STEFANS PAVLOVSKIS

Page 1

STEFANS PAVLOVSKIS

PORTFOLIO

2021



CONTENTS

RESUME ARCHITECTURE I

COMMUNITY KILN AND WORKSHOPS IN GLASGOW’S HAMILTONHILL

1

II

A SHEET DRAPED OVER A CHAIR

9

III

LIFE AS A CONSTANT DINNER PARTY

17

OTHER WORKS IV

HOUSING HANDBOOK: LACATON & VASSAL’S CITÉ MANIFESTE

35

V

NEITHER PRESENT NOR SIGNIFICANT

41

VI SAVING THE REMAINS OF RIGA’S MODERNISM

49


RESUME

CONTACTS

STEFANS PAVLOVSKIS 23/01/2001 stefanspavlovskis@gmail.com 0037122073432

EDUCATION

EXPERIENCE

The Glasgow School of Art / Mackintosh School of Architecture

2020 —

architecture

Riga State Gymnasium No. 2

2017 — 2020

humanities

Mailitis Arhitekti 2021 architect intern EASA Apathy 2020 residency Riga International Film Festival

2018 — 2019

voluntary work

Kastekust 2018 — 2020 photographer Eksperimenta! 2017 group exhibition Contemporary Art Triennial, Estonia AWARDS

Part 1 Bursary 2021 Royal Institute of British Architects Best Year 1 Student Award Glasgow Institute of Architects

2021

Student Research Work Competition Highest Award in the field of History

2019

SKILLS

Adobe: Illustrator, Photoshop, InDesign, AutoCAD, Rhinosceros, Sketchup

INTERESTS

editorial design, visual communication, cultural practices, architecture, analog photography, scenography ...

LANGUAGES

LATVIAN native ENGLISH advanced — C1 RUSSIAN beginner GERMAN beginner


ARCHITECTURE


I

COMMUNITY KILN AND WORKSHOPS IN GLASGOW’S HAMILTONHILL

1

A new volume appears adjacent to the old Lock Keeper’s house. It seems as though it should have always been there — it couldn’t be built anywhere else. The potential use of this space is undefined. It can host anything from slip casting workshops to film screenings opening up to the protected courtyard or the canal. The space morphs to its users’ ever-changing needs and is heavily shaped by the currents stronger then its built form. The only thing set is the overall logic of inhabiting the given plot of land. I then step back and see how the space unfolds in time.

2020 / 2021


2


I

3

2

3

The site is inhabited by a series of simple gestures. After surveying the site in analog with my little notebook and a tape measure, I began to catalogue all the materials already present, which would potentially be used for the upcoming construction. The nearby claypits are re-kindled to gather local material for the workshop.

4


I

1 2 3 4

4

textural study of the ground plane assembled from found bricks and clay tiles produced in the kiln site survey 1:200, pencil on paper, A2 catalogue of objects to be found around Hamiltonhill satellite structure to be erected at nearby claypits


I

5

I

scaffolding canopy

II

kiln

III patio

existing roof

IV internal fittings for the workshop

V

new volume

existing volume

construction sequence


I

6


7

The proposed space embraces the uncertainty of programme and material availability. The overriding logic of inhabiting the space stays the same but the actual use and formal outcome is highly unpredictable. The structure in yellow can be adapted according to a change of circumstances.

I


I

8


II

A SHEET DRAPED OVER A CHAIR

The alteration of Neave Brown’s Winscombe street terrace aims to create ten duplexes out of five houses. The top floor extension adds a much needed living space for the flat 02. Nothing of the existing building is changed externally - the top floor addition can be taken away with no disruption. Each flat takes advantage of one of the two existing entry points on the streetfront. To minimise the spatial impact of the added volume - an element of absurd is introduced. As a chair loses its chairness when a sheet is thrown on it, the proposed extension is to do the same.

2021


10


11

II


II

12

0

1

2

3

FLAT 01

FLAT 01 / FLAT 02

FLAT 02

FLAT 02

1 patio 2 cooking / dining 3 living space 4 foyer 5 terrace 6 bathroom 7 bedroom


13

II


II

14


15

The extension is disguised by facade curtains and a razor-thin terrace looking over the garden. Reflective slanted galvanized steel poles akin to legs of a chair support the terrace.

II


II

16


III

LIFE AS A CONSTANT DINNER PARTY

The housing proposal responds to how sharing of typically private household activities could become a spatial experience. Inspired by Lacaton Vassal’s proponed principles of spatial appropriation and based on ideas of tribal living around a void and Karel Teige’s Minimum Dwelling, the built structure takes the form of a protected shelter with an open dialogue to the world beyond. A sequence of inhabitable walls acts as your seat at the dinner table, facilitating levels of privacy while the space in between asks for you to participate in the shared celebration. You are invited to a dinner party where each brings what they have got and takes what they desire.

2021


18


19

LACATON & VASSAL’S CITE MANIFESTE The basic spatial organization of Cite Manifeste can be described as an expanse of free territory with only certain functions (bathrooms / kitchens) bound to their place. This spatial organisation opens doors to appropriation as can be seen in the images above. Appropriation is the core principle of my housing proposal.

III


III

KAREL TEIGE’S MINIMUM DWELLING An enquiry into possible collective living scenarios from the 1930s challenging typical notion of a micro-apartment. A proposal for a “minimal but adequate, independent, inhabitable room” for a single adult fully supported by shared domestic facilities.

20


III

21

1 2 3 4 5

the proposed dwellings central courtyard services / sauna / gathering new public spaces new access routes


III

22


23

1

The proposed volume pragmatically fills the whole site, creating a semi-private courtyard. Its scale hints at the site’s industrial heritage and forms a dialogue with the existing kept warehouse structure on the West.

III


III

2

24


25

The volume is composed as a series of inhabitable walls and living / working / leisure spaces inbetween. Each wall akin to a giant piece of furniture measured 2000 x 8000 mm, houses two potentially private spaces to be primarily be used as bedrooms and bathrooms. The territory inbetween is left for appropriation. The unpredictable nature of its use can generate exciting and unusual combinations unseen in more conventional dwellings.

III


I II

26


III

27

AA

Each room within the inhabitable wall has a water connection — besides bedrooms they can be used as cooking / bathing spaces. Formed by a few standardised elements, they can be re-fitted and potentially changed according to the inhabitant’s needs, initially providing only the framework to live in.


III

28


29

The sheltered space enters an open dialogue with the courtyard and the life beyond. It becomes a sheltered territory to appropriate. Inside, the boundary between private and public, open and closed space is blurred. Anything can happen anywhere.

III


III

30


III

31

3

1 2 3

survey of the existing warehouse found on site 1:400 site model with the proposal 1:50 model of a section


III

32



OTHER WORKS


IV

HOUSING HANDBOOK: LACATON & VASSAL’S CITÉ MANIFESTE

A research and a publication design project focusing on Lacaton & Vassal’s terraced social housing project — Cite Manifeste. The available building information was redrawn, brought to a consistent scale and completed where necessary to then be thoroughly analysed and placed in the cultural and economic context of its creation. The publication design was based on some of the guiding theorethical and visual priciples of the scheme — economy of material and transparency. This was achieved by using light-weight newsprint and treating the extent of a page as territory to claim.

2021


36


37

IV


IV

38


39

IV


IV

40


V

NEITHER PRESENT NOR SIGNIFICANT

Scaffolding is the polar opposite of a monument: it lacks a lasting presence and set appearance. I look at these structures as monuments without any apparent meaning or, perhaps, meaning which is yet to be discovered. First, I exercised sensing, unfolding and recording the spirit of a place which is present because of them. After that I attempted to translate these sensations by visual means in the form of an improvised map. The map would simultaneously work as a pattern which could be displayed on corresponding structures. This would enable them to claim the status of a monument by adding the missing and rediscovered piece of “meaningfulness” which is inherent in their being.

2021


42


43

V


V

44


45

Producing patterns of mapped scaffolding presence and testing their application to the wowen netting. Patterns were derived from felt sensations, visual effects or recorded environmental conditions produced by scaffolding. The different plastics were melted on the netting to produce imprints to be arranged in the desired pattern.

V


V

46

2

5 2

6 4

7

1 3 8

10 9

1 tesco bag handle 2 clear plastic film 3 beer can holder 4 toilet roll wrapping 5 plastic net for garlic 6 plastic net for oranges 7 plastic net for potatoes 8 felt-like synthetic fabric 9 synthetic thread 10 masking tape 11 duct tape 12 bin bag 13 tape

12 11

13


47

V


V

48


VI SAVING THE REMAINS OF RIGA’S MODERNISM

With a public statement “to abolish the phantom of communism,” the former headquarters of the Latvian Communist Party in central Riga was deemed for demolition. Deeply frustrated by this decision, I began to document the building and compiled my impressions in a small publication. It was intended as a protest action against the shallow politicization of our shared heritage. It was one of the agitators for a wider series of protests in Riga over the year 2020. It raised a discussion regarding the state of Latvia’s modernist heritage and our attitude towards it.

2020


50


FIN


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