victoria hatsenkoselectedportfolioworks
victoria hatsenko
école polytechnique fédérale de lausanne, master’s of architecture candidate (2023) university of illinois at chicago, bachelor of science in architecture (2021)
a person with some interests. observing the everyday being, looking through the prism of a film camera, doing some writing, and exploring architecture beyond the traditional understanding.
06050403 CarthusianCollectiveMonasteryHousingSmallMultiples
01 Selected Works A Good Trip 02
House for Negotiation
Casino: Fluid & Obstructed
space creating a comfortable outdoor environment for social events. such, is initiating a gradual transition from the natural and raw land to the artificially constructed space. the grand staircase hosts any desired activities and connects the gathering and exhibition spaces with a 45 meters long platform. the completely metal gratemade staircase sits on top of the valley adjusting its dimensions and structure to barely touch the naturally closed topography. the platform is disrupted by two exterior terraces, one, directed towards the sea, and the other one is framing the topographically interrupted platform and creating connection with the exterior, where one can freely wander around the site’s highest points.
A Good Trip: Beats Poetry Center
the poetry center for the beat generation is found along the corniche outside of marseille, in the rural areas of the calanques. the site is situated in between the sea, the mountains, the village les goudes. the naturally constructed v-shaped valley creates space which serves as the project’s origin point. taking advantage of the challenging site condition, the project utilizes topography as a design element, adding a flat ground and a roof covering the space. the beat’s ideologies of respect for land, indigenous species, and current inhabitants and spontaneous creativity are the principle drivers of the project. the inviting v-shaped valley naturally composes architectural space; a roof that frames the territory and spans over a large open
spring 2022, école polytechnique fédérale de lausanne curated by eric lapierre, mickael pelloquin, capucine legrand in collaboration with francisco tellez
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site model 5
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calligramme axo 7
site plan 8
the first in the sequence are eating and cooking spaces that are the closest to the grand staircase and the large gathering space, allowing to look over and connect with the actions happening on the lower level. following with the reading space that is connected to the archive on a lower level. the archive is disconnected from the main areas and is placed
the long platform is a free plan area which is interrupted by two types of vertical elements: fixed and movable. the fixed technical vertical element spans across the long axis creating a principal spacial division of larger and smaller spaces, for intimate and participatory activities. the movable element divides the large spaces into smaller rooms, which vary in sizes and possibilities, forcing a strict boundary between the programs, or contrary, blending the activities. the platform hosts a sequence of activities like eating, reading, lounging, sleeping, and creating.
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the spaces are open to spontaneous changes and are meant to imitate the experience of setting up a camp. when objects and furniture are rearranged and the programs mingle together, the spacial experience shifts creating a completely new perspective.
underneath the platform, in the darker, cooler, and undisrupted area. the lounging area for the artists is connected to the bathing area, that is in the central position of the platform on the intimate side of the wall, if desired wall-less bathing space which allows to share the activity and blend within the others. where the bathing space creates a new kind of intimacy between the inhabitants. following are four movable sleeping boxes that could be positioned according to the inhabitants’ desires or needs. the concluding space is the studio workshop, which is primarily disconnected from the rest of the public spaces, providing the most privacy to the artists.
the inhabitants and the visitors are actively involved in spatial construction. constant alteration of space creates a sensorial experience with the architecture. the users are also in control of the exposure to the outside that happens through the movable lightweight facade. the full length facade planks,
in with spacial alterations 10
when stacked together, open up to the mountainous landscape or the sea on the horizon. full-height movable polycarbonate panels fill the opened plan with natural light. they get interrupted by fully transparent surfaces rhythmically spanning across the building, creating a visual connection with the surroundings.
site zoom
plan
long section 11
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site zoom
the mentioned surfaces. in the daytime the reflective and translucent character of the materiality adapts and camouflages to the surrounding environment, when during the night the facade acts as a light box revealing silhouettes and actions happening inside, from the corniche it becomes the only lit up object in the deep mountains.
plan
in with spacial alterations long elevation 13
the seamless translucent surface lets the landscape access to the building and be reflected on the ceiling panels, generating the idea of an infinite space, and questioning and blurring the indoor and outdoor distinction. the landscape is constantly involved in the architectural experience. the material palette combines the warm and natural plywood of the light movable walls with
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calligramme exterior view
calligramme interior view
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different conditions in the casino create individual experiences. the sunken pits create enclosed spaces and the feeling of intimacy; the elevated rings result exposure; and the confined but transparent volumes balance out the character of privacy and display; and the topographic floor that wraps everything together, suggests active free movement; all these conditions are also supported by the furniture designed that responds to each one of them.
Casino: Fluid & Obstructed
the casino is composed from three organic floor plates, that are interrupted by different volumes where the program is distributed, creating a continuous fluid space. the program is defined by shapes that are embedded into organic floor plates. the casino circulation is controlled by obstructions and topographic floor and ceiling, that are meant to encourage nondefined pathways, lead to diverse interactions, and promote individual and dynamic experiences. the
spring 2020, university of illinois at chicago curated by barbara materia
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building exterior 19
slot machines
casino gaming floor (table) gaming rooms (high roller)
elevated bar/restaurant
private activity volumes
pool deck, accessory and landscape spaces
sunken private gaming
casino gaming floor (slots)
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hotel everything else
chipcirculationcageparkinghotellobby
bar/restaurant tables
group gaming/circulation gaming floor tables
high roller gaming tables
wedding chappel food & drink (restaurant, lounge, bar, buffet, etc.) boh (service, storage, toilet)
exploded axo 21
plans order top to bottom: ground floor, first floor, second floor.
and the overall shape of the hotel is defined by the different room types. the hotel is inserted into the casino and connected with escalators with each level of the casino. the combination of the flat and organic floor plates within the casino and the hotel allows enough space for both programs to exist within one another without interruptions. the parking garage is a spiral that is adjacent to the existing road and inserted in the first level of the casino, leaving the other two floors uninterrupted. the roof of the casino is used for a pool area, which is created by the fluid topographic floor plate.
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the absence of solid physical boundaries puts together a completely open space, where every action is on display. the casino is elevated from the ground, which creates a floating effect while entering. the construction of the exterior is promoting the experience of a seamless transition from the outside to the inside of the casino. the hotel and parking garage are merged with the casino becoming interconnected. the hotel is a tower that carries each room type on every floor with the interior garden on every level. on the first two floors of the hotel, the program is partially occupied by the lobby,
cross section
pespective23
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interior view inside the casino
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interior view at the pool and hotel
the point of origin is in the dining area the house had split into two sides: one where program and objects exist within a boundary of a cabinet wall; versus the other one where the space is open and unattached to any boundary.
the two halves propose the two different, yet shared ways of living. the common expression between the two is the blurred boundaries between spaces and the multi-functionality of each object.
House for Negotiation
spring 2021, university of illinois at chicago curated by ania jaworska
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floor plan 27
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program top to bottom: bedrooms, living rooms, kitchens, bathrooms.
the free-standing objects sprinkled around the space. the restcompletelystandingconsistbathroom,contrarycloseinvitingitsinteractivethetakingwithinwhichsuggestsopenposturespromptstheenvironment.bypostureswhichsizedtheeachbeginningaboundaries,throughconnectionsmultifunctionalarecreatetheabsenceofwhichbringslackofclarityoftheandendingofprogram.softconnectedvariouscushionsformabed,encouragescertaintobehuggedthegentleandcozysimilarly,livingroomsetup,comfortabletooccupythespace,thebackrestsrestingpositions,placetheuserthefurniture.thesameapproach,kitchenbecomesanspace,whereshape,createsanarea,provokinginterconnections.tothecabinetthebathroomfromthefreeobjects,thatareopentotheoftheenvironment.
the program on the left side is embedded into cabinets, which also serve as walls. originating from the 70s soviet ‘stenka’ where the walls were fully covered with the cabinets. since the program is fully immersed into the cabinets, there’s no strict division between the thefunction.elongated bed placed in the center of the room. having a double purpose of the bed and one of the chairs for the dining table. the living room couch is submerged into the cabinet, creating an enclosed space overlooking the bed to watch the tv on the opposite side of the cabinets. the back of the bed is joined with the kitchen island, joining all programs as one. the hidden bathroom is in the corner of the cabinets conceals itself behind the cabinet walls.
the right side consist from
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bottom: bathrooms.rooms,
are acting as gentle separators of the space, where the variations for the spacial boundaries become limitless. therefore, enabling the users to alter the spaces in response with needs relatively quickly. the opening in the cabinets act as windows, allowing to look inside the rooms from the outside, likewise, the partially open curtains.
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the open flow of the house allow for various activities happening simultaneously, since the two sides reimagine idea of the wall, establishing two types of walls, the cabinets, which have a permanent placement and the curtains, which could regulate privacy needs and are interchangeable and ephemeral. curtains
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the tones and textures of the spaces correspond to the mood and narrative. materials react with one another and have their radiance, so that the material composition gives rise to something unique feel. the muted colors correspond with the compact live-style, as a neutral feel, creating a singular density and mood. contrary, the open and playful side corresponds to more vibrant and soft tones. each side has its own character, that proposes
a new way of living and inhabiting the objects. the formal language of the two consists from utilizing the objects versus unifying with them; how does a state of mind and body change when being within the walls versus in the open interchangeable space. the lack of limit leaves the project openended suggesting a potential expansion which would create spaces with new rules interacting with the already designed areas.
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the brothers’ spaces establish a visual connection with nature, but never an immersive experience from within a space. because the brothers’ duties are often carried out in nature, the involvement of it within the cell is not as desirable. the collective brothers’ spaces and the cells are constructed with physical needs and utility in mind rather than spiritual needs. crop fields are organised along a rectilinear grid as well as the terraced orchards along the father’s corridor, while the pasture fields for animals are segmented radially, allowing the boundaries to fade naturally into the untouched withinterrain. the context of a wide array of monastery precedents, this design challenges the necessity of physical boundaries when placed in a site that is already secluded from the outside world.
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fall 2019, university of illinois at chicago curated by jimmy carter, abby chang, francesco marullo, agata siemonow in collaboration with lindsey warren
the project explores how people can experience nature inside versus outside of withinbuildings.the fathers’ church and cells, elements including the roof and floor, establish consistent access to nature for the fathers in spaces which host the monks’ sacred activities. these interiors accommodate elements of nature such as rain and snow, allowing nature to designate ephemeral boundaries within interior space. the water channels, as well as the shadows and light cast down from the roof hole, separate functions in the cell such as praying, eating, sleeping, and excretion. the organization of people in spaces that are controlled by nature, is centralized, and the involvement of nature in the space is omitted. This encourages relationships between fathers more so than with nature.
Carthusian Monastery
site model in the context of the other monasteries 43
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monastrery site plan 45
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long and cross sections axon
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the section drawings reveal the overall organisation of the monastery. which follows and adjusts to the given terrain located on rock island, wisconsin, usa. the weather condition on rock island were taken in consideration while designing the monastery. the area has heavy snow and rain which allows the water flow to be consistent thoughout all theseasons.fathers’
rain and snow travel into the barn through a roof hole, past the top level which stores the hay, and down into a trough where the animals access the water. below there is a cellar for storage from the greenhouses and orchards. next to the animal stalls is the dairy production and silo.
are segmented radially, allowing the boundaries to fade naturally into the untouched terrain.
crop fields are organised along a rectilinear grid as well as the terraced orchards along the father’s corridor, while the pasture fields for animals
cells and the church are organised linearly, connected by water channels coming out and originating from the church, and continuing throughout each cell, collectively adding to create an exterior garden.
separating the contrasting organization techniques between agriculture and pasture is the barn, which utilizes the natural elements to supply light and water to the animals but otherwise conforms to the rule of simple geometries present in spaces used by the brothers.
fathers’ cells:
the brothers’ cells are stacked in three towers, each tower con necting the cells with a continuous staircase. the interior of each cell is different depending on the height of the particular cell because of the slanted glass columns that pierce through, bringing light into the cells without a direct view to the outside. the only view to outside is through the narrow window in the corner of each cell, facing the production fields. these cells are the closest in position to the pro duction area and farmland, which is organised in the flattest part of the site.
the cell has a rigid and simple exterior, contrarily, the interior is complex and organic following the activities inside. the separation happens through the channels, as well as the shadows and light cast down from the roof hole dividing functions in the cell such as praying, eating, sleeping, and excretion. these interiors accommodate elements of nature such as rain and snow, allowing nature to designate ephemeral boundaries within interior space. in the cells for the fathers, the ephemerality of these resources creates temporal and spiritual conditions for religious ritual (ie prayer), as well as serving for utility for human necessity (ie bathing). architecture in the cell channels these elements to provide light and water when needed, in accordance with the specific rule.
brothers’ cells:
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father’s cell model
brother’s cell model
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monastic objects left side: furniture for privaterightactivitiesside: furniture for shared activities
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top to bottom: kitchen and brothers’ church brothers’barninteriorinteriorchurch overlooking fathers’ church interior 51
Collective Housing
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the poetry center for the beat generation is found along the corniche outside of marseille, in the rural areas of the calanques. the site is situated in between the sea, the mountains, the village les goudes. the naturally constructed v-shaped valley creates space which serves as the project’s origin point. taking advantage of the challenging site condition, the project utilizes topography as a design element, adding a flat ground and a roof covering the space. the beat’s ideologies of respect for land, indigenous species, and current inhabitants and spontaneous creativity are the principle drivers of the project. the inviting v-shaped valley naturally composes architectural space; a roof that frames the territory and spans over a large open
space creating a comfortable outdoor environment for social events. such, is initiating a gradual transition from the natural and raw land to the artificially constructed space. the grand staircase hosts any desired activities and connects the gathering and exhibition spaces with a 45 meters long platform. the completely metal gratemade staircase sits on top of the valley adjusting its dimensions and structure to barely touch the naturally closed topography. the platform is disrupted by two exterior terraces, one, directed towards the sea, and the other one is framing the topographically interrupted platform and creating connection with the exterior, where one can freely wander around the site’s highest points.
fall 2021, école polytechnique fédérale de lausanne curated by luca ortelli, capucine legrand in collaboration with flavio nogueira pereira
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from top to bottom: ground floor plan, upper floor plan.
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fall 2020, university of illinois at chicago curated by antonio torres in collaboration with sahar simforoosh
when there are various routes to choose from, people generally use those they like best. the choice may be a reflection of taste or of one’s own rationality. always passing along the same route may lend a certain sense of ease. on occasion, one chooses another route introducing a change of pace. at its core, the project accounted for the community needs; situated in an area of the city where the community is used to following standards that the surrounding architecture has to offer, this project emphasizes breaking these rules and regulations to create a unique setting for eccentric experiences. it allows for tangible engagement with architecture to adjust the spaces and surroundings by building personal timelines of agricultural and social work throughout the year. the project explores how
the community can develop and build desired spaces with a given set of instruments, actions of engagement with agriculture and architecture support the unique experiences that happen throughout the project that differentiate within seasons and years.exploring the idea of merging multiple architectural and social disciplines creates a lifestyle that is not yet present in the urban communities such as these. characteristics of the garden aesthetics and principles include asymmetry, simplicity, authenticity, intimacy, and the appreciation of architecture, natural objects, the forces of nature, and communal experiences. the aesthetic recognizes the beauty that is imperfect, impermanent, and incomplete, bringing awareness to natural flow and harmony while exploring each element.
Small Multiples
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diagramatic sketches 59
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site plan each part of the site: such as frames, inflatable individual bubbles, greenhouse, and the people, become a part of the larger organism, operating like a machine and producing a unique urban canvas. starting from a bare site, it slowly starts to populate itself by the community creating their own desired patches of gardens. on an unpopulated land covered with gravel,
the individuals are given freedom to remove the covering layer and reach the soil underneath and start creating their own micro gardens. the frames enable multiple programs to take place within, such as: food forests, pollinator gardens, farms, animal farms, entertainment spots, and furthermore are ought to adapt accordingly to any program. in between
the created patches, greenhouses are situated to provide the larger agricultural needs of the community and cater larger social and interactive spaces. the transparency and openness has created atmospheric qualities that emphasizes the importance of social interactions in community life.
site plan zoom ins 61
the change of spaces is dependent on the seasonal cycle and the natural elements, therefore adapting the atmosphere with the environment. the engagement with the site, structures, and vegetation, produces unique plots of land to be occupied and explored as desired. this explores the idea of merging multiple architectural and social disciplines in order to create a lifestyle that is lacking in the existing communities these days. characteristics
of the garden aesthetics and principles include asymmetry, simplicity, authenticity, intimacy, and the appreciation of the architecture, natural objects, the forces of nature, and communal experiences. the aesthetic can be described as one of appreciating the beauty that is imperfect, impermanent, and incomplete. the garden is supposed to bring awareness of natural flow and harmony while exploring each element.
cut plan zoom ins
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greenhouse section 63
2017 to 2022
