YAUHENIYA PORTFOLIO 2020-2022PRYSHCHEPNAYA
2 “SENSATION” MEDITATION RETREAT ART OBJECT “CUBIC” FURNITURE DESIGN TABLE OF CONTENT “EASE” EXPERIENTIAL
3 BAMBOO FOREST “BALI” SPA FREELANCE “SoundPATH” MUSEUM FINE ART CENTER FOR MENTAL HEALTH
Every project in this portfolio have a conceptual approach and story behind.-
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PARAMETRIC DESIGN SENSATION MEDITATION RETREAT
Using the Grasshopper to create para metric design, physics simulations were tested to inflate a mesh geometry within various constraints. Set in the Barcelona Pavilion, these parametric membranes become interior spaces and lay the foun dation for a wellness center concept, Sensation Meditation Retreat. Collaboration with Dylan Roberts
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8 “SENSATION”
MEDITATION RETREAT
“SENSATION” MEDITATION RETREAT
One enters the retreat into The Basket Suite, an interior membrane that serves as a meeting hall for talks and gathering. Next the Light Hall is a triangulated membrane exposing the sky above, allowing visitors to bask in the sun. The last area consists of the Meditation Shells set in the pavilion’s reflec tion pool. These pear shaped membranes provide shade and comfort, inviting visitors to practice yoga on the below floating plat forms. There is a large tent for group yoga and a smaller one for individual mediation. Both the membrane’s materials and forms are influenced by the Barcelona Pavilion ex isting design and structure.
NIGHTTIME RENDERING
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LIGHT HALL
BASKET SUITE
MEDITATION
TENT
FURNITURE DESIGN AND PRODUCTION
Contemporary chair with clean lines and a modern approach. Hand crafted from cherry wood, domino joinery used to connect structures.
SCRATCH
CUBIC FROM
TO REALIZATION
INTERIOR LANDSCAPE|
”THE AGENCY”: WORKPLACE
An ethereal interior landscape is gen erated with organic and radial plan ning, bipohelic design though real and constructed vegetation, and project materiality. Translucent fabric and glass partitions with rounded edges within the rigid structure of Seagram building.
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16 LEVEL 2 hitch mylius pebble furnitureMatthias Pliessnig earth plaster colored recycling glass recycled fabric &carpet bent wood concrete concrete eco paint recycling mate metal wood airplant MATERIAL PALETTE BUILDING Avenue Avenue Avenue Lexington Avenue COLUMN GRID & SYMETRY TRANSPARENCY SKIN BONES Senior Management (+-1760 sf) PRIVACY HumanResources (+ - 375 sf) Creative Services/Marketing/Account Management (+- 1,985 sf) Finance (+- 365 sf) Technology Development and IT Services (+- 725 sf) Special Use Spaces (+- 5000sf) Shared facilities (+- 2135 sf) PLANNING DIAGRAM rounded edges radial trancperancy biophilic organic CONCEPTUAL DIAGRAM Sharelle lacquer curved executive desk Matthias Pliessnig Transparent Acoustic fabric FURNITURE Tulle SEAGRAM BUILDING Architect: Ludwig Mies van der Rohe Restaurant Architect: Philip Johnson Location: 375 Park Avenue, New York, United States Topics: Office, Structural steel, Concrete, Bronze Builder: George A. Fuller Company Client: Joseph E. Seagram and Sons, Inc, (Phyllis Lambert) Dimensions: 38 floors Height: 516 ft (157 m) Floor Area: 849,014 sq ft (78,876.0 m2) Style: International Style Completion Year: 1958 55E 53rd st 575’ SEAGRAM BUILDING 375 Park Avenue 515’ 345 Park Avenue 634’ 399 Park Avenue 524’ 599 Lexington Avenue 653’ 524’ 21,22 floor COLUMN GRID & SYMETRY TRANSPARENCY SKIN BONES
B A B
18 PLAN LEVEL 1 PLAN LEVEL 2 section a SECTIONS RECEPTION A
RECEPTION
ROOM&ALTERNATIVE WORKPLACE
20 RESEARCH &WORK SPACE
GALLERY
A
MEETING
A
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INTERCONNECTING STAIRS/SUSPENSION
MFA THESIS: EASE
EXPERIENTIAL CENTER FOR MENTAL HEALTH
Embodying the philosophy, psychology, and neuroscience of “awe” and the “sublime,” the break between the sacred and the pro fane can be experienced as a continuity, a heterotopia for healing.
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More often than not, traditional medicine has a symptomatic treatment which affects just symptoms but not the underlying cause. But what if the building and it’s interior design itself could impact something more metaphysical or not visible? To give emo tional support for those who struggle, to bring relief and peace of mind and raise one’s spirits.
Multiple empirical studies suggest that awe is one of the strongest emotions which can positively affect humans. A person experienc es awe and becomes a part of something larger than themselves. The experience of awe can even change the direction of one’s life, inspire people, and alter their behavior. Neuroscience and psychol ogy studies indicate that people who experience awe shift their attention away from everyday problems and their individual self. Instead they tend to become more mindful of their environment, which can lead to being more present in the moment. Based on research, theoretically, the experience of awe might be associated with mental healing.
Another important investigation to mention is the difference be tween the sacred ( non religious) and the profane. In this project the terms are somewhat unconventional. The definition of sacred in this case is “meaningful and thoughtful,” rather than any kind of religious definition. Profane is about utilitarian spaces which are “designed to be useful or practical rather than attractive.”16 The basic idea is that spaces that we often think of as profane can indeed become sacred under certain conditions determined by their design, materiality, and programming. The boundary be tween them can get
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SACRED PROFANE
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AWE
"AWE IS A MORAL, SPIRITUAL, AND AESTHETIC EMOTION"
+ Neuroscience
SPATIAL DESIGN2
INFINITY SILENCESAFE THREAT
In “Philosophy, psychology and neuroscience,” Wendi Yan develops five general principles for spa tial interior design elements that evoke feelings of the sublime: infinity (repetition and totality), nature, silence, and safe threat.10They were inter preted and used in the following ways: “infinity” through “magnitude”–a drastic difference in scale, multiple floor openings, repetition, and reflection. “Safe threat” is the idea of seeing danger but re maining out of harm’s way. “Silence” is achieved through small openings/thresholds. “Nature” is achieved by imitation of the outdoors, and by using water. Blurring boundaries can be seen with color gradients, using different light conditions, using the same materials on walls, floors, and ceilings, and through using reflective materials.
MAGNITUDE REPETITION TOTALITY
6-7.
study. September 21 ,12.00
by Author Fig. 6-8.
study. March 21 ,12.00 pm
Almost all year around front of the building getting sunlight, while back of the building always in shadow. This tests paly critical role in program planning.
study.
21 ,12.00
by
Fig.
Diagram by Author.
study.
21 ,12.00
by
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Fig.
Solar
pm EST. Diagram
Solar
EST.
Fig. 6-9. Solar
January
pm EST. Diagram
Author.
6-10. Solar
June
pm EST. Diagram
Author. conceptual diagram
SOLARSTUDY ANALYSIS/SITEMODEL
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E82ST PARK AV
Idea of silence achieved by using small open ings. On E 83 street existing buildings standing so close to each other creates small openings to the sky, proposed tunnel to back entry supposed to enhance this idea by having small opening which revile view of sky as well. Main entry also have small opening as window for receptionist.
Common material are used like concrete and gravel. Only benches made by travertine.
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The idea of “safe threat” is achieved through sculptured elements hanging in the air without visible support. This idea gets tested on different scales. The second floor has a balcony with transparent glass walls, floors, and ceiling, and this opens the view to the skylight as well as the water healing floor at the bottom. A person can imagine standing on the edge of a cliff, but there is no way to fall down.
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The larger organization of the program was established according to the following criteria: multiple direct access points, multiple vantage points, multiple entry points, privacy, and intuitive circulation.
The building is divided into three areas connected by hallways. There are two entries: the public zone entry on 82nd Street, and the more intimate private zone, which is oriented on healing experience, on 83rd street. Long narrow hallways located on every floor deliberately and become part of the experience to support the idea of utilitarian spaces (profane) to be sacred even in circulation. They separate hor izontal circulation from occupied areas with fire stairs. Both entries have vertical circulation stairs on one side and elevators on another, which is an important aspect for accessibility. Both zones offer views of the void sacred space, which goes through all five floors down to the swimming pool, and has a skylight on the roof. The void space has a sculptural cone shape and offers new opportunities by creating thresholds openings. The idea of locating void space in the center of the building helps create thoughtful planning and circulation and ac cess from both sides, and it has a metaphorical meaning as well–the building acts as physical shell/body while the void space represents invisible spirit.
82nd street
SACRED
HALLWAY
STAIRS
Community zone
Stairs separate occupied zone
View from both side to “Sacred” space
Therapy zone
1 2 3
skylight
ENTRY ENTRY
SACRED
COMMUNITY EDUCATION
FOOD WATER
HEALING
YOGA PSYCHOLOGY MEDITATION GARDENING E 82 E 83
“SACRED”
void space
34 COMMUNITY AREA/LIBRARY/OFFICE
35 ENTRANCE SACRED(VOID) SACRED(VOID) SACRED(VOID) NUTRITION CLASS ART STUFF/ CLOSET elevator WCWC YOGA PSYCHOLOGIST PSYCHOLOGIST WAITING AREA BALCONY COMMUNITY/ LIBRARY elevator WCWC 2 FLOOR 3 FLOOR 4 FLOOR MEDITATION PSYCHOLOGISTWCWC elevator MEDITATION AREA MEDITATION AREA SWIMMING AREA EXPERIMENTAL THERAPY ROOM
SECTION A SECTION B SECTION C “SACRED” Meditation Glass balcony Water healing Hallways yoga Locker room therapy Waiting area Common area Gardening 0 4’-0 8’-0 16’-0 Library
bar
Nutrition
SECTION D
classReception Juice bar Lobby “SACRED” Experiantial therapy Library Meditation Lobby&Juice
Common areaLocker room Locker room Fig. 7.-11. Sections.
Mental center “Ease” by Author.
The idea of transforming common materials in sacred experience is im plemented by using semi reflective paint, mosaic, copper, wood, plaster, concrete, travertine, exposed brick, glossy aluminum , and gradient paint.
WAITING AREA
Mate and semi reflective material can blurry boundaries as well as cre ate infinity through not obvious con tinuation
Frosted glass blurry boundaries
Testing different reflectivity Final selection : concrete -semi reflective glass -cooper
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CONCRETEPLASTER TRAVERTINE
MOSAIC EXPOSED BRICK
SEMI REFLECTIVE PAINT
WOODCOPPER GLOSSY ALUMINUM
Blurry boundaries are achieved by using the same material on walls, floors, ceilings, and furniture, in conventional psychology rooms.
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ROOM
ENTRANCE E 83RD
COMMON AREA
ROOM
The sub basement floor has been added to have more square feet for designing locker rooms as well as added common area under the pool which by design has a water ceiling.
LOBBY
stairs
ENTRANCE E 82ND
LOBBY
JUICE BAR/BUFFET CHAPEL consultation room
STUFF/ CLOSET
fire stairs
elevator
WCWC
SACRED(VOID)
ART THERAPY
STUFF/ CLOSET
elevator
WCWC
DIGITAL YOGA
SWIMMING POOL
fire
elevator fire
stairs
LOCKER
LOCKER
SUB-BASEMENT BASEMENT 1 FLOOR 2 FLOOR AA B B D D C C CLOSET CLOSET
elevator
SECTION D
TRAVELING SOUND
Through collage, the idea of this or that sound and how it transforms into another is explored. If this wandering sound had a visual form, what would it look like?
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Cornelius Cardew
MUSEUM sound PATH
This project explores the relationship be tween sound and space. Atmosphere is created in a central element of the muse um and is a reflection of the sound compo sition by Eliane Radigue - Triptych (1978).
The structure of the central element of the sound museum creates visual vibration by curvilinear continuous form, which creates a path with a mediative, hypnotic feel as you walk through the passage. Another concept of the museum is the exploration of how shadow/light spectrum can reflect sound spectrum and how this connection can affect human perception.
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Sketch reflection of the sound composition by Eliane Radigue - Triptych (1978) Karlheinz Stockhausen: Stimmung(1968)
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sound sketch close shape
Aalto Alvar vase sketch
linear sound sketch become 3D space
AXON
OF
“SOUNDPATH”
PASSAGE
balcony with view on canyon and performance room
listening room 2-3layersofsoundproofpartitioncreateaentrypassage soundproof partition block the window 48
1 level 2 level 3 level section NIGHT TIME RENDERING 49
“Sound PATH” –A museum of sound where you can experience ambient music and sounds through sound art installations, walk through the sound path tunnels and bridges, and experience a meditative listening station/listening room. The Museum is open 24 hours per day and will provide 2 different experiences each day and night by having different lighting conditions.
ENTRANCE TO THE MUSEUM . Full wall sliding door. Sound-absorbing suspended panels.
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listening station meditative sound 1 FLOOR 51
The black and white color palette was chosen because it is neutral and won't draw attention, allowing the focus to be on sound and form.
Kayiwa-Joky
MATERIALS & FURNITURE SELECTION
sound absorbing panels
concrete tinted glass glossy tile
polished concrete
white paint honed marble
wood polished&semi-polished aluminum
gradient
SOUND PASSAGE. 1 FLOOR.
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«“ON
AND BETWEEN” SOUND INSTALLATION BY ROBIN MINARD RAINY DAYS 2017
DOUG WHEELER: PSAD SYNTHETIC DESERT III
ZIMOUN SOUND INSTALLATION 1 FLOOR 2 FLOOR 3 FLOOR 55
“BALI” SPA BAMBOO FOREST
56 Real plants walls, simple straight lines as boundaries, cantilever patio and concrete, stone, wood as a material. Provides a peace ful and magic atmospher
FLOOR PLAN
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EXTERIOR
WAITING
AREA
WAITING
AREA WITH SKYLIGHT
MASSAGE ROOM FOR COUPLES
DETAIL DRAWING
61 SECTION
PROFESSIONAL WORK
FREELANCE PROJECT
Under the direction of the principle selection materials and furniture, 3D visualization (Revit/SketchUp), cus tom built-in furniture design.
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MY WAY
SELF-PORTRAIT
Oil on Canvas
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PATH
ART OBJECT
Collage made of dyed fabric, wood, metal, raw flax. Each item is 7 feet high. The concept of the project is an abstraction of the human path and different periods of a person’s life. Different factors symbolised human feelings along the way
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