YEGOR KONECHNYY Selected Works | 2020
Design Projects 8mx8mx300m THE BOX BLINDING DRAPE
Architectural Visualization LA BINOCLE
Miscellaneous Work THE IMAGINED CITY “Le Modulor” PANEL EXERCISE
02.
Kipling Ave
Islington Ave
N
N
Dixon Rd
Elevation | Dixon Rd / The Westway
The Westway
Elevation | Kipling Ave / Islington Ave
r Dr dne
Brea Nort
hcre
st Rd
ve ng A
Kipli
Sabri
Haw
thorn
Rd
na D r
a Tang mo R d ent resc rd C
Mofo
d
ent R
Nug
l nP ur wb Po
l rP ne Ab
r
tD
on
rm
a Le
CONTEXT CASE STUDY: TORONTO .03
8mx8mx300m
Evacuation Passageway Proposal
In Collaboration With: Stuart Thomson Connecting several sunken entrance plazas of the Kunming Shopping Centre (Capital of Yunnan Province, China), this large, dominating space is transformed into an underground cavern, with undulating organic matter generating urban spaces. Surfaces spanning the length of the tunnel carve into the underground passageway, creating a dynamic space for the subterranean market. Breathtaking structures allow for unique moments when traversing the tunnel, creating a variety of possible uses for these spaces. Stands are arranged throughout the tunnel, growing out of the organic, waving structure. Cafes, food stalls, vendors, or pop-ups are seamlessly integrated into the flexible layout of seating and platforms, creating an ever-changing scene which will attract a diverse range of users. All this is achieved with a simple intervention of a single, economic material—CNC milled wood, which would be simple to erect and maintain. Generated through a parametric algorithm, the structure can be customized to cater to various spatial needs for users and vendors. The undulating tunnel is designed for temporal moments, where the necessity for efficient travel coexists with spaces of rest, relaxation and gathering.
A-A
B-B
SECTION B-B
SECTION A-A
04.
.05
06.
.07
THE BOX
Winter Stations 2019
In Collaboration With: Stuart Thomson
Urbanization. Mass media. Technology. Anxiety. Light. Sound. Speed. The box offers users an opportunity to step away from the overloading stimulation of life, to recover their senses from the smells, sounds, lights, and sights of the urban environment. Entering a dark, but soft room, the visitor has a chance to sit on the benches encompassing the space and escape the overstimulation of the outside world. While maintaining a simple form, the dark box reflects its interior and contrasts its snowy surroundings, exhibiting its own relationship to the surrounding sensual world. Insulation and acoustic panels deaden the sound inside the box. Apart from floor mounted light strips guiding the visitor, nothing but darkness is set against the bright exterior. Calm. Meditation. Isolation. Contemplation. Repose.
08.
benches
blackout curtains
2x6 framing w/ insulation
walls lined w/ acoustic panels
benches
SECTION A-A
ELEVATION
.09
BLINDING
Vertical Surfaces For Design
B
For the first assignment in the Design Studio: How To Design Nothing, we were asked to create a space with a single constraint: We could only use walls to articulate the space.
A
A
I was inspired by optical occurences driving on a particular highway in Vancouver, where the pylons dividing the highway were setup in such a way that when you looked at the opposing traffic, the pylons would block your vision. However, when looking back, the opposing traffic would appear as the pylons revealed them. I was interested in exploring this concept as a tool to craft new experiences of a space that changed along with the user’s point of view and position. My project, titled: BLINDING, was this this carefully crafted space that seamlessly hid and revealed the space to the occupant. Traversing the space in one direction could result in a tight - anxious space, while the other direction would result in a valley-like opening, as the rotated panels reveal parrelel spaces.
B
A
B
10.
.11
DRAPE
An Exercise in Horizontal Surfaces
Our second assignment in the Design Studio: ‘How To Design Nothing’ prompted us with a perpindicular constraint: We could only use flat surfaces and stairs to articulate the space. Rather than creating discrete spaces that divided by large constrasting changes in verticality, I chose to investigate how small changes can accumilate to spaces mediated by the simple act of walking throught a topographic space. By manipulating vertices with soft-modeling techniques, a draped cloth carved into the site, creating spaces above and below the surface.
12.
.13
La Binocle
Rhino, 3ds Max, Corona 6, Photoshop In an exercise to develop my architectural visualization techniques, I was inspired by NatureHumaine’s project La Binocle in the Easter Townships, Quebec, and chose to transport it to another geographic locale, specifically the inner regions of British Columbia. All the architectural details were modeled by me, while decorative objects were sourced online. Materials of the project were assembled personally using various sources for image textures. For the models, I had to adjust them to better suit a PBR workflow, however since many of them came with preset textures, I rarely had to do more than add imperfection maps, procedural textures, and adjust the setting of the materials to better suit the scene. Lighting was done with Corona 6’s new dynamic sky, with background replacements done in Photoshop. This project was a great experience in working on exterior and interior renders, where I learned how to leverage Corona’s Scatter and Proxy systems for the environment. One of the biggest challenges was the view from the living room, rather than modeling a vast mountainous landscape, I chose to save time and do that in post.
14.
.15
16.
.17
18.
.19
20.
.21
The Imagined City Digital Collage - [Photoshop, Rhino, Vray For Rhino] The Imagined City is the frustrated reaction to false hope, fueled by the bitterness towards artificial pleasure that permeates throughout society today. What is our current trajectory? Will we create utopian mega-cities--or sift into small, isolated communities? Will our recognition of the ever-changing global climate produce any positive results? Or will the rising oceans consume us? This future-city, some strange post-industrialist future, is the subject of all three photo-collages. The Imagined City series examines how these scenarios intersect from the scale of the person, the building, and the city. Each image is composed of three main elements: (a) the city as an ever-looming backdrop, (b) the urban fabric, and (c) a synthetic texture. Cultivated by Louis Sullivan, the office tower has become the template for architecture. As our cities converge into a single entity, these dominating structures are only bested by the empty containers barricading the city. Floating on man-made oceans, the towers serve as mirrors, reflecting the landscape. The efficiency of traversal has climaxed by through complex subway systems which are the only means of commute. Networks of walkways have been introduced into the city, thousands of kilometers dedicated to hiking, running, and walking—due to newly mandated health & fitness regulations. As our technological achievements continue to surpass one-another, carbon fibre and other space-age materials have come to the forefront. Aerospace facilities have become obsolete national parks, as our adaptive tendencies as a species has eliminated the need to escape earth. These historical monuments now serve as tourist destinations. My initial approach to the three photographs was to create a series of vignettes of the city through the lens of infrastructure. I wanted to explore the use of the darkroom by cutting out silhouettes of these systems, filled with infrastructural textures, while the looming city acted as a backdrop. The digital approach to the project gave me an opportunity to explore this dystopic scenario further. The objective was to create images that blends elements of realism with abstraction, to emphasize the fantastical nature of the assignment. The texture has been modeled and rendered in digital modeling software: a procedurally generated ocean, a carbon fibre sheet with the spiderweb subway system, and generated grass. These textures explore how synthetic materials continue to infiltrate society, replacing our existing environment with idealised structures and visuals.
22.
.23
‘Le Modulor’ Panel Exercise ARC353: Drawing Drawings of Drawings ARC353: Architecture and Media, focused on the modern transformations of architecture, through both its deployment of and configuration through changing forms of media. Through a series of lectures and projects, we explored how media and visualization changed modern architecture. For this assignment, we were asked to select and architectural artifact and redraw [re-present, re-render, re-visualize] it in a way that makes explicit the modes of mediation within which it operates. I chose to approach Le Corbusier’s approach to theory through representation in his Modulor Panel Exercise. “Architects do not make buildings; they made drawings of buildings.” – Robin Evans (1989)
Rosalind Krauss describes the grid as a structure, used to “mask” and “reveal”, a tool t Rosalind Krauss describes the grid as a structure, u reject a narrative or sequential reading of any kind.” Le Corbusier’s system of measur quantify, thatt grids are not spatial, but “visual human proportions. In “The Modulor and Modulor 2”, the “Panel Exercise” is the stru divis
reading of any kind.” Le Corbusier’s system of me Golden Section, Fibonacci sequence, and humna 2”, the “Panel Exercise” is the division of a square Removing the grid deconstructs the influences of the
24.
to measure and quantify, that grids are not spatial, but “visual structures that explicitly
used to “mask” and “reveal”, a tool to measure and rements titled: “Le Modulor”, is based onthe Golden section, Fibonacci sequence, and uctures that explicitly reject narratiev sion of a square in accordance to theameasure of theorsequential ‘Modulor’. The removal of the grid easurements titled: “Le Modulor”, is based on the an proportions. In “The Modulor” and “Modulor e in accordance to the measure of the “Modulor”. e grif, exposing its nature of infinity and organisation.
.25