Basil Babichev Folio

Ba s il

B a bic h e v

Folio

CONTENTS 2

Why Would Someone Steal a Painting? - Y3

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The Sea of Ice Arts Institute - Y3 Tutors: Tamsin Hanke, Ralph Gunson Parker, Colin Herperger Technical Tutor: Sash Scott

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The Marketplace of Ancient Recipes - Y2 Tutors: Thomas Pearce, Greg Storrar

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Bartlett Summer Show 2019

28 Collapsible Bicycle Helmet Clips Employer: AirHead Design 30 Model Making Employer: Piercy & Company 32

Construction & Detail Drawings

Drawings used to manufacture the tooth from a scan.

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Why Would Someone Steal a Painting?

This performative project involved recreating objects from London museums through 3D scanning and curating them in Regents Park - Bringing the museum to the public. The exhibition is designed to be portable and mountable onto any tree, and every exhibit is attached to the utilitarian frame.

The objects are a prehistoric tooth from the natural history museum, a fragment of Christopher columbus’ armour and a Russian futurist poem. They were chosen for their possible interrelated symbolisms. despite their differences they are all provocative pieces that make us critically look at history.

The method of curation is different for each exhibit. The frame curates any form, while the tooth and armour fragment exhibit themselves since they are not confined to the boundary of a square.

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Why Would Someon

Click here for a film showing the assem

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ne Steal a Painting?

mbly and disassembly of the exhibition.

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Roman Tombstone The British Museum

Dagenham Idol Museum of London

Garafalo - Allegory of Love The National Gallery

The Norfolk House Music Museum Victoria & Albert Museum

Caryatid Column Armour of Christopher Columbus Volcanic Rock The Natural History Museum

Stone Figure of Xochipilli The British Museum

Medieval Frame Victoria & Albert Museum

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The Museum of Reconstruction The exhibition is developed into a shelter where London museum exhibits are housed and etched into steel as heraldry. Within the shelter the objects are shielded from vandalism. After visiting Billingsgate market I was intrigued by the lobsters and became facinated by the symbolic meanings behind armouring: “the paradoxical nature of armour itself: simultaneously an expression of power and an admission “of vulnerability, an aggressive display of the body and its anxious displacement, both exhibition and masquerade.”

Objects such as the cursed Dagenham doll were once physically stolen from the Museum of London.

The doll is designed into the building as a staircase for visitors to tread on the bad luck.

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Temple of Nature

L i q u e f y i n g t h e G l a c i e r t h r o u g h To u r i s m The site lies in a resort area adjacent to the border between France, Switzerland and Italy. Fixed on maps but shifted by nature, the border lines drift with the constantly changing geographical and environmental conditions. It occupies a place close to national boundaries that are subject to ecological phenomena, a confrontation the architecture harnesses.

To understand the landscape enough to make an approach towards redirecting its ecosystems, the interwoven meanings constructed by visitors over the centuries are investigated with attention to their mutual influence.

At the peak of Aguille de Grepon lies the Temple of Nature which elevates the self “closest to his creator” and above political conflict. However, this octagonal hut marks the beginning of touristic inflow.

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Skier’s rhythm

Biathlon range Nutrition

Glacial milk in the L’Arveyron River.

River Origin

Vernacular Timber

Former sub-glacial canyon now L’Arveyron gorge.

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Temple of Nature

Material The granite Pierre d’Ortha rock was deposited at the Mer de Glace during the last ice age, since then it has been gradually used up for construction purposes in Chamonix.

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Site Disassembly To understand the landscape enough to approach redirecting its nature I investigate its artificially created deeply interwoven meanings as constructed by different visitors over the centuries it has been populated.

In order to fully grasp these perspectives, I use Ludger Gailing’s framework for the understanding of landscape. He looks at a scientific analytical construction, the subjective construction, material construction and construction as collective activity.

Together these dimensions form a composition which is beyond what we initially see. These views will help understand the social consequences of moving the Pierre d’Ortha rock and the building’s relationship to the landscape.

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The Relocation of Pierre D’Ortha The Pierre D’Ortha is part of the Mont-Blanc Massif. At the end of the last ice age (10700-8700 years ago) granite rocks were distributed around the site. Each rock indicates the stretch of the glacier and has since been exploited for construction purposes in Chamonix.

Glacial meltwater flow fluctuates with the seasons. During the winter, the rock is relocated to the site as a ritualistic event. The Pierre D’Ortha rock is integrated into the scheme’s architecture and dams the river to protect the construction phase behind.

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“A long resting stone is not an object in the landscape but a deeply ingrained witness to time and a focus of energy for its surroundings.”

- Andy Goldsworthy, 1998 14

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“We can defend ourselves from disaster by enhancing our world of wonders.”

- George Monbiot, 2013 16

The Nose of the Arts Institution The river L’Arveyron draws a line between humanity’s past during the Ice Age and its present way of occupying landscape. The building rests in and uses fluvial flooding to challenge wilderness and encourage new techniques of embracing climate change.

The structure is constructed using local timbers to integrate into the local ecosystem and onsite tools are assembled that allow the weathered components of the building to be replaced. Environmentally the building harnesses the glacial meltwater as a cooling and nutritious ingredient in the building’s longevity.

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The Sea of Ice Arts Institute Ground Floor Plan & Long Section 1 Timber Dam

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2 Artist’s Cell 3 Remains of a spruce storage capsule for fleece.

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4 Shared Reading Room 5 Public Walkways

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6 kitchen 7 Cafeteria 5

8 Storage and cold room 9 Staff WC 10 Glacial milk collection 11 Flood prevention threshold 12 Laundry room 13 Laundry Store room 14 Chicken pen 15 The Abrasive Threshold 16 Radio Tower 17 Interior Biome 18 Exterior Exhibition Space 19 Artwork Storage 20 Manager’s Office 21 Public print room 22 Veranda 23 M/F changing rooms 24 Interior exhibition space 25 M/F WC 26 Communal washing basin

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27 Cloakroom

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28 Staff entrance 29 Ski/Bike storage 30 Pier to Pierre d’Ortha rock 31 Reception 18

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2018

Design & Planning Phase

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Site Excavation

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Construction Phase

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Architecture Filled with Excavated Material

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Tajik Oshi Pilav Canteen Revealed

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Chumash Acorn Storage Revealed

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Architecture Fully Revealed

The Marketplace of Ancient Recipies

The architecture responds to the international amalgamation of culture, seeking to restore a direct relationship between local geography and tradition. The process of erosion is used as a building methodoloy to shape and reveal market stalls for the future.

The initial stall sells an ancient acorn cake prepared by the Californian Chumash tribe. Over time more stalls appear as other archaic foodstuffs join UNESCO’s Intangible Cultural Heritage List. This is a way of initiating conversations between cultures, being traditionally shared over family meals. Consistencies allow the structure to remain intact while the eroding building envelope reveals empty cavities yet to be inhabited.

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Bartlett Summer Show 2019

As a team, we developed and fabricated a shelf to hold models for the unit show. The steel shelf symbolizes the Alpine landscape and was formed at the UCL Here East facilities.

Algorithmic modelling was used to mark each vertical blade as a datum point. I was in charge of construction which involved using an industrial sheet metal bender from the automotive industry.

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PROFESSIONA

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L EXPERIENCE

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AirHead Design - Collapsible Bicycle Helmet Clips

This iterative design exercise involved developing components for a patented bicycle helmet.

Working at a submillimeter scale, every iteration is tested with a 3D printer with TPU, ABS and PLA filaments. Trial and error was used to find the perfect version of the back clips and adjustable side clip.

The back clips can slide together for storage and have fabric clasps to keep the helmet straps taught.

The side clip was challenging because the lid needs to apply enough pressure to keep the strap secure without the material breaking.

These iterations will be further developed for industrial injection moulding.

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Piercy & Company - Model Making

At Piercy I have developed a keen model making skill set. The workshop facilities have enabled free experimentation using different techniques. Bringing forward the fabrication skills I honed at airHEAD design, I have developed a precise work ethic that I regularly apply to different projects.

I have understood the value of the model in professional practice and find the process especially fulfilling. The model above was made for a competition in Surrey Quays which adopted an industrial aesthetic to harmonize with the context.

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CONSTRUC TION &

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D E TA I L D R AW I N G S

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