Daria Zotova Portfolio by Daria Zotova

█ +44 7471 404462

█ zotovadariarch@gmail.com

█

Daria Zotova

Daria Zotova

█ +44 7471 404462

█ zotovadariarch@gmail.com

█ LinkedIn: Daria Zotova

█ Reference details:

Dr. Theodore Spyropoulos

theo@minimaforms.com

Director of the Architectural Association’s Design Research Laboratory / Director at Minimaforms / Resident Artist Somerset House

█ Education:

20222024

Architectural Association School of Architecture, London, UK

Design Research Laboratory (AADRL)

MArch, Architecture and Urbanism

Graduated with Distinction

Project title: Ultrasonic Architecture Team name: WaveScape

Tutor: Dr. Theodore Spyropoulos

20162021

█ Languages:

English: Fluent

French: A2

Russian: Native

█ Software:

Modelling:

Adobe Suite: Photoshop Illustrator InDesign Premier Pro

Rendering:

Prototyping: 3D printing Lasercutting

Modelling

Animation: Blender Houdini

Others: Microsoft Office

Moscow Architectural Institute (State Academy) Moscow, Russia

BArch, Architecture

Project title: Immersive theatre with open urban event spaces in Moscow Award: Gold Medal for the best diploma project

█ Competitions / Awards:

Winner of the Gold Medal of the Moscow Architectural Institute for the best diploma project of 2021 / Publication on Archi.ru

«24h competition 35th edition - Farmer» Ideas Forward Second place

Moscow Open City Festival in cooperation with the architectural bureau «Arteza» Honourable mention

«Tokyo Parking Tower» reTHINKING Competitions Honourable mention

█ Experience:

Jun 2024Nov 2024

Studio INI Research Lab, London, UK Research assistant

• Developed concept of Kew Garden Competition, created Rhino 3D model, viualizations, presentation materials.

• Contributed to the project management of Art d’Egypte commission, worked on prototyping, produced detailed design drawings, interfaced with fabrication partners. Developed installation plan and supervised the setup.

Jul 2021Aug 2022

ARCHSLON Architecture firm, Moscow, Russia Architect

• Contributed to the design development of residential buildings and a metro station project, demonstrating expertise in conceptualization and design refinement.

• Collaborated in the BIM process, optimizing workflow efficiency and contributing to the construction document phase.

• Created interior design concepts and presentations, enhancing spatial layouts and material selections to fulfil client requirements and design objectives.

Feb-Jul 2020

IND Architects Architecture firm, Moscow, Russia Architectural Assistant

• Participated in the development of architectural design proposals for cultural and social projects, contributing to conceptual and design development phases.

• Produced detailed 3D models, visualizations, and presentation materials to communicate design concepts effectively to clients.

Jun-Aug 2019

Kleinewelt Аrchitekten, Moscow, Russia Internship

• Assisted in the development of landscape design concepts and site analysis, created presentations and visual communication strategies.

project type: MArch diploma project programme: Design Research Laboratory (AADRL) software: Rhino, Blender, Houdini group: Daria Zotova, Pavel Zotov, Chomdoen Chongwattananukul, Jiwoong Yang date: February - January | 2023-2024

studio: Dr. Theodore Spyropoulos

█ IMMERSIVE THEATRE WITH OPEN URBAN EVENT SPACES IN YASENEVO

location: Moscow, Russia

project type: academic software: Revit, Enscape group: individual project date: January - June | 2021

█ INSTALLATION ‘LIQUID SOLID’ EXHIBITION FOREVER IS NOW

location: Cairo, Egypt company: Studio INI, Research Lab contribution: Design development, Production and Fabrication, Installation software: Rhino, V-ray year: June - November | 2024

█ MULTI-STOREY RESIDENTIAL BUILDING ON BEREZHKOVSKAYA

location: Moscow, Russia

project type: academic software: Revit, Enscape group: individual project date: February - June 2020

project type: workshop programme: Design Research Laboratory (AADRL) software: Rhino, Grasshopper group: Daria Zotova, Pavel Zotov, Carole El Danaf, Yuhang Liu date: November - December | 2022 studio: Dr. Shajay Bhooshan

█ SCHOOL FOR 22 CLASSES ON POVARSKAYA STREET

location: Moscow, Russia project type: academic software: Revit, Enscape group: individual project date: September - November | 2019

█ SAHARAEXTREME HABITAT CHALLENGE COMPETITION

location: Sahara Desert project type: academic software: Revit, Enscape group: individual project date: February - May | 2018

█ THE POWER OF TREES: UNEARTHING THE UNSEEN

location: London, UK company: Studio INI, Research Lab contribution: Concept development software: Rhino, Blender year: July | 2024

█ METRO STATION KLENOVY BOULEVARD IN MOSCOW

location: Moscow, Russia company: ARCHSLON Architecture firm contribution: Technical Design, Construction software: Revit, AutoCad year: 2021

NEW ARCHITECTURAL PARADIGM: ULTRASONIC ARCHITECTURE

tutors: Theodore Spyropoulos, Hanjun Kim, Apostolos Despotidis, Octavian Mihai Gheorghiu

█ Concept

This thesis proposes a design methodology by applying a wave phenomenon as technology for a new architectural system that evolves beyond fixed and passive architectural limitations toward an organic and interactive spatial environment. This new concept of architecture attempts to design a system that introduces the interaction between humans and the particle-based environment as an emergent behaviour through natural phenomena addressing the new way of information consumption, which can exist without the physicality of the exhibiting objects. The architectural space argued here is explored as a responsive and adaptive environment where the particle structure can be viewed inwardly, and nature can be re-arranged and reconstructed at various scales.

All elements of our universe, from tiny invisible atoms to the vast planets, consist of particles. All these particle-based substances have their unique frequencies, which influence their behaviour. The formational logic of the developed system is based on physical experiments with sound and ultrasound waves. The two-dimensional cymatics pattern is extended to three-dimensional volumetric formational experiments with various parameters within a constrained environment. The studied technology of acoustic levitation offers vast possibilities for the application of the system, as there are no specific contextual or functional limits. Ultrasound waves allow precise three-dimensional control over particles of various materials as wave force does not recognise any difference between solid and liquid particles, expanding the possibilities of interaction and spatial experience.

We explored sound as a wave phenomenon, investigating mostly sound frequencies. It is a natural and basic element, as everything in the world has its native frequency that influences behaviour. Sound can be examined as an immaterial substance that cannot be seen or touched but permeates all around us. Therefore, all elements of our environment are impacted by frequency. We observed particle behaviour and deduced control parameters by starting with basic frequency experiments with liquid and solid materials. The research aims to explore ways of controlling the environment by implementing sound wavebased principles. We considered sound frequency to be the force that can structure the particle-based environment, merging immaterial and material fields.

Mixing cornstarch with water creates a non-Newtonian fluid with characteristics intermediate between liquid and solid. Frequency actuates the fluid to act as a living organism and aggregate into masses by increasing the cohesive force between the molecules.

Changes in the sound frequencies influenced the movement of water molecules, creating different patterns on the droplet’s surface. Water directly serves as a medium for sound waves. Surface patterns change depending on different frequencies due to molecules’ configurations.

Frequency force operates along one axis on one plane. The standing wave phenomenon arrests particles into the lines. Climbing behaviour of particles can be seen due to the static electricity force.

Frequency force operates along several axes on one plane. The particles show active and diverse rotating movements at the central point where frequency constructive and destructive interference occurred.

Frequency force operates three-dimensionally along multiple axes. The movement is mostly chaotic. The particles fly away from the speakers, attaching to the vibrating boundary’s surfaces.

Non-Newtonian fluid

Newtonian fluid

These experiments illustrated the phenomenon of acoustic levitation that makes solids, liquids, and heavy gases float using ultrasound waves. A basic acoustic levitator has two main parts — a transducer, a vibrating surface that makes sound, and a reflector. We conducted an ultrasonic experiment to precisely control particles within a local range to achieve more specific results.

Components type: through-hole (radial leads). All through-hole components are soldered manually, and all pins must be properly positioned and connected.

The transducers used in the Ultrasonic machine are MSO-P1040H07T model transmitters with a diameter of 10mm and a centre frequency of 40±1.0kHz.

The FPGA, a Field-Programmable Gate Array, generates signals for each transducer. The FPGA can generate 256 square-wave signals at 40 kHz.

A 2-channel oscilloscope is required to check its polarity. Check the two signals and adjust the phase of the received signal to match the reference signal.

The ultrasonic phased arrays machine is a prototype that aims to levitate and control particles in the open environment. It made it possible to fight gravity and create a three-dimensional movement of particles by using the ultrasound wave force. By aligning 256 ultrasonic emitters, multiple focal points can be generated, and a complex algorithm allows for the control of either all the particles together or individual particles as needed.

one ultrasonic phased array board

This set of experiments was made using one ultrasonic phased array board and an acrylic board, which reflected ultrasound waves. We were able to fully control particle movement on the surface of the acrylic board.

two ultrasonic phased array boards

This set of experiments was made using two ultrasonic phased array boards. We were able to three-dimensionally manipulate the particles by controlling focal points in the created acoustic field. 01

█ new architectural paradigm

The research of explicit natural phenomenon was applied as a formational technology on the site of the Centre Pompidou, maintaining the boundary of the existing building. We consider the Centre Pompidou to be the architecture of the mechanical paradigm. Sound wave frequency forces allow us to control matter in the constrained volume.

In the new architectural paradigm, we seek to develop the particle-based system that can be re-arranged at various scales. We are creating an environment where the subdivision strategies are based on wave formational principals. The building system’s subdivision strategies correspond to the materiality of the studied particles.

█ ceiling system

The ceiling system contains an array of ultrasonic transducers emitting ultrasonic waves in the constrained volume. Wave interference is the primary key to formation, which depends on various factors, such as the number and power of the transducer.

█ crowd detection

The floor system detects and interacts with crowd behaviour. When visitos gather, the floor will detect them as a group, then trigger the ceiling to generate the ultrasonic wave array, creating a specific space according to the crowd movement.

█ floor system

This simulation illustrates the direction of the water pathway. The building incorporates a water service system in the basement, where the collected water is filtered before being pumped back to the ceiling for efficient reuse.

In our system based on wave phenomena, users go beyond the prototypical functioning of the building and create new spatial experiences by interaction. Combining a particle-based architectural system with augmented reality through Hololens presents an innovative approach to interactive design and human-machine interaction. The particle-based environment introduced in this study represents a radical advance in architectural innovation. The seamless integration of particles as data assets paves the way for an immersive experience that provides a conduit for accessing and interacting with information through the physical built environment, providing a new dimension to user engagement within architectural systems.

To explore the new architectural system, we did real-world tests in the British Museum using augmented reality. AR easily overlays digital information onto the physical environment.

The experiment is designed to engage with users, shaping environments tailored to their behaviour while granting a local level of particle control through augmented reality glasses.

The architectural design of the museum archive is conceived as an intelligent and responsive system, engaging in a continuous dialogue with the people within its confines. This dynamic interaction involves the building adapting to the behaviour of both individual visitors and the broader collective, responding to global and local engagement patterns. Global-level interactions directly affect the spatial formation.

The responsiveness of the museum archive becomes a critical element in enhancing the user experience. The adaptive nature of the system is finely attuned to fluctuations in visitor behaviour. For instance, when individuals engage more actively with the particles, exploring the archive with heightened curiosity, the particles respond by becoming denser and more stable. This density reflects the increased vibrancy of the space, creating a more immersive and captivating environment that mirrors the heightened interest of the visitors.

We see the potential of acoustic levitation technology as the developed system can be anywhere; it has no specific site boundaries.

In this project, we push the physical boundaries of architecture by creating a data archive system. The research aims to develop a new concept of a cultural centre – the Museum of the 22nd Century.

We see a particle as a piece of tangible media; it triggers a way to access data information by physically interacting with the user. That unlocks immersive experiences, creating a symbiotic relationship between the tangible and the digital.

The building system’s subdivision strategies correspond to the materiality of the studied particles. Water droplets create a natural atmosphere based on the elemental aspect.

IMMERSIVE THEATRE WITH OPEN URBAN EVENT SPACES IN MOSCOW

location: Moscow, Russia project type: academic software: Revit, Enscape group: individual project date: January - June | 2021

█ Concept

The developed site is located on the central boulevard in the Yasenevo district. The main transport highways of the district are Novoyasenevsky Prospekt, connecting the building massif with Profsoyuznaya Street, Tarusskaya and Yasnogorsk Streets, which follow on another in the district of Sevastopol Avenue. On the territory of the Yasenevo district, there are exits of three stations of the Kaluga-Riga line: Teply Stan (southern exit), Yasenevo, and Novoyasenevskaya.

It was assumed that the boulevard would become one of the leading public spaces of the district since it is located on its central axis. Unfortunately, the boulevard is currently abandoned and does not function as the architect Belopolsky conceived it in his urban planning project. The main problem of the district is the

need for more public buildings and recreational urban areas with several residential buildings. Yasenevo is one of the most environmentally friendly areas in Moscow. The Bittsevsky forest surrounds it from three sides. While developing the general plan of the boulevard, I tried to create a green barrier along the site’s perimeter, enclosing the boulevard from adjacent roads. The boulevard was divided into four noise zones. The most saturated is the metro area reserved for outdoor activities. There are sports grounds, skate courts, children’s playgrounds. The next zone is the city amphitheatre, in the centre of which there is a pond. Behind it is a cultural complex under development, and the quietest boulevard is the parking zone on which the existing church is located. In such a way, a smooth gradient of landscaping from the city square to the park was obtained.

district project

This is due to the lack of important utilitarian and cultural functions in the area, as well as the lack of public centers of attraction. In my project, I combine them in a single complex.

I rely on the research of the Strelka Design Bureau about dormitory neighborhoods in Moscow. I identified one of the main problems of areas such as Yasenevo - the loss of their relevance in a modern city.

green █ function █ main problem

Yasenevo is one of the most environmentally friendly areas in Moscow. It is surrounded by the Bittsevsky forest from three sides.

axonometry of the complex

Having analyzed the structure of ancient Roman cities, I identified the main event spaces of antiquity: theaters, temples, markets and thermae, which became the first universities in an-

cient Rome. Based on the analysis, I determined the functional composition of the complex. It includes: immersive theater, thermae, amphitheater, under which there is a market, and a library.

immersive theater facade fragment functional composition of the complex thermae theatre library market

Facade finish is made of thermopine. The labyrinth of stairs on the facade, as well as fabric pipes, participate in the creation of immersive theater spaces.

facade fragment thermae facade fragment library facade fragment

Most of the facade is glazed. This allows to fill the interior of the market with natural lighting.

The main volume of thermae is located underground. The sports block is the only thing overlooking the facade. The facade is made with bars from thermopines.

Bearing structures are made of laminated veneer lumber. Most of the facade is glazed, and in such a way, the maximum amount of natural light falls into the interior of the library.

Yasenevo

of Jacob Belopolsky

The constructive system of the cultural center is a combined one.

Trusses above the entire complex are supported by columns that go along the perimeter of the building and on the lower floors are in the same plane as the outer walls. Trusses are made of laminated veneer lumber, the same material is used for braces. Metal parts are used to connect elements. To add spatial stiffness to the frame, vertical cross links along the roof perimeter are used. Spatial rigidity is ensured by the combined operation of columns interconnected by girders/trusses and floors, forming a geometrically unchanged system.

█ interior spaces

Interior spaces reflect the concept of the complex. I paid special attention to the interaction of the complex with people. Therefore, it was important for me to make the building tactile.

In the decoration of interiors, natural materials are being used, mainly, these are wood and stone. Part of the supporting structures is made of laminated veneer lumber.

In the arches of the interior of the library there are stacks hidden for landscaping the operated roof.

The trading rows of the market are located under the city amphitheater. Cafes are located on the second level.

a special atmosphere in the thermal

The stairs in the interior are a single structure with a maze of stairs on the facade. They are involved in the creation of immersive spaces.

The finish is made of natural stone of dark tones to create

complex.

INSTALLATION ‘LIQUID SOLID’ EXHIBITION FOREVER IS NOW

location: Cairo, Egypt company: Studio INI, Research Lab contribution: Design development, Production and Fabrication, Installation software: Rhino, V-ray year: Jun - Nov | 2024

█ Concept

‘Liquid Solid’ inspires a journey looking back into the past to form a vision of the future that unites the Human, the Technological, and the Elemental. We treat the desert sand, as a liquid solid, to reveal beyond the phenomenological solidity of the pyramids, their liquid essence. An essence that holds evidence of an architecture of living with a porous membrane between the natural and supernatural, in which the Ancient Egyptians understood their existence as an integral part of nature and a critical element in the balance of the universe to defy the boundaries of human endeavour and transform their world at a monumental scale and with eternal relevance.

Like the Ancient Greeks, our team draws upon the sophistication of the early technological - art (techni) and science (logia) - advancements of the Ancient Egyptians and the pyra-

mids, in their ingenious crafting of the elements of their landscape, to invent glass and defy gravity and friction by water and sand, to fluidly move millions of tonnes of stone over liquid and granule into perfect geometry of monumental scale. In the designed sculpture we combine the native elements with elements used in NASA’s Voyagers, such as aluminum honeycomb, sculpting an encounter of the past, present, and future in humanity’s ancient quest for immortality and desire to transcend time.

‘Man Fears Time and Time Fears the Pyramids’. The monument of the future will not be defined by permanence but by impermanence, and timeless resilience will be found in the ephemeral and the capacity to adapt as we rediscover our role in nature, even beyond Earth.

█ material exploration

Sand as a Liquid Solid calls upon us to challenge the agency of control between human creator and the nature of matter. In its granular behaviour the ‘Liquid Solid’ of Sand provides an unpredictability that invites the maker to renegotiate the rules of behaviour and agent of control within the creative process. By experimenting with sand solidification techniques, our team investigated its potential as a medium for tactile interaction. Using liquid sodium silicate mixed with sand and introducing CO2, they transformed the material’s state, exploring new thresholds of structural and functional possibilities. This innovative process redefines the relationship between maker and material, inviting a renegotiation of rules and behaviors. The result is a poetic convergence of science and art, where sand evolves beyond its perceived limits to become an active participant in creation.

Forever Is Now is a contemporary art exhibition uniting artists from across the globe to reflect on an ancient civilization’s legacy through the lens of modern artistic interpretation. Studio INI installation at the Pyramids of Giza invites viewers to engage physically and transform it as an integral part of its liquid solidity.

Constructed from an aluminum honeycomb, the piece shimmers and fades against the boundless sands, referencing both the timeless silhouette of the pyramids and the fluid boundaries between historical grandeur and modern innovation. This transformative experience connects viewers to an enduring legacy that transcends time.

Our key challenge was aligning the sculpture with the Pyramids of Giza so that, from specific vantage points, it merges with one of the three main pyramids, creating an interplay between ancient heritage and the sculpture’s contemporary presence.

█ illusion

Crafted from aluminum honeycomb, the piece appears and disappears amid shifting sands, evoking the pyramids’ enduring silhouette. This transformative experience invites viewers into an immersive journey.

█ convergence

The sculpture initiates a visual dialogue with the ancient pyramids, seeming to emerge as a “fourth pyramid.” It bridges ancient heritage and contemporary innovation, creating an immersive experience that resonates with both the past and the future. █ alignment

The installation process spanned two weeks, during which we meticulously aligned the base and installed key metal components. We also handled the delicate task of placing fragile aluminum honeycomb structures and solidifying sand for stability. To ensure a smooth execution, I developed a comprehensive installation plan and oversaw the entire process on-site.

█ contribution

I participated in the design development, production and fabrication, and installation phases of the art installation. My role included developing the detailed design and contributing to the construction documentation. I conducted extensive material research and experiments, and I helped build a full-scale 1x1 prototype. In addition, I managed the logistical arrangements for shipping materials from London to Cairo, ensuring timely and safe delivery. I also led the press release and worked closely with the exhibition curators, overseeing the entire installation process.

To clarify the project’s vision, I created a miniature model of the final installation and sent it to Cairo. During the on-site installation, I developed a comprehensive installation plan and worked closely with the team to execute it. I was specifically responsible for working with fragile materials, including aluminum honeycomb, which was central to the sculpture’s structure. My involvement, alongside the Studio INI team, ensured the project’s success from conceptualization through to the final installation.

BUILDING ON BEREZHKOVSKAYA EMBANKMENT

location: Moscow, Russia project type: academic software: Revit, Enscape group: individual project date: February - June | 2020

█ Concept

Situated along the Berezhkovskaya embankment in Moscow, amidst the historic industrial enclave flanked by the Kyiv station and the Novodevichy monastery, lies the proposed area, which, unfortunately, remains abandoned. In this project, I devised a comprehensive renovation concept for this neglected space, alongside designing a multi-storey residential complex nestled in its heart.

The residential building, positioned prominently within the rejuvenated district, offers upscale accommodations comprising business-class apartments available for rental and sale. The building fea-

tures diverse typologies of apartments catering to varying needs.

A spacious public coworking area awaits residents atop the structure, fostering a sense of community and collaboration. Furthermore, the building incorporates underground parking facilities for convenience. The building’s framework consists of robust reinforced concrete engineered with transverse bearing walls and monolithic cores for structural stability. For comfort and efficiency, mechanical ventilation systems are integrated throughout the building, while floor-mounted convectors are the primary heating devices, ensuring optimal thermal comfort for residents.

█ site analysis

The site is located on the Berezhkovskaya embankment, on the territory of the old industrial zone bordering the third transport ring, between the Kyiv station and the Novodevichy monastery. The main problem of this section is its isolation from the surrounding territory since, on the one hand, it borders with the railway tracks and, on the other, with the Moscow River. Therefore, the main goal was to integrate the district’s territory into urban space and communicate with the attraction centres surrounding it.

█ area without cars

Two main levels are provided in the district: the land level allocated for road traffic and the level of a pedestrian bridge, which is the main recreational area of the district.

█ functional zoning

Due to the close location of the TPP-12, the right part of the district, due to restrictions on the construction of residential buildings, is reserved for offices and other public spaces.

On the side of the Kiev station, the district is enclosed by an artificial bulk hill, under which underground parking is organized. A park is planted on the hill. █ noise protection

The central concept of the district was a pedestrian bridge passing over the railway tracks across the entire section, connecting the Kyiv station and the Novodevichy monastery. That was the solution to the problem of integrating the district’s territory into urban space and its connection with the surrounding centres of attraction. The pedestrian bridge became the main public recreational space of the developed area, making it possible to create a safe above-ground level free of automobile traffic. Fire fighting equipment and ambulance on the pedestrian bridge are also provided if necessary. █ concept

200 LINES OF CODE: CELLULAR AUTOMATA

█ Concept

The workshop aimed to design a structurally stable tower aggregated to comply with the structural load tests and the field rules of Conway’s game of life. Functionally, Graded Materials have properties that are unobtainable by conventional engineering materials. In this workshop, we have researched and fabricated Porosity Gradient FGM to design a structurally stable tower. This workshop has established a systematic framework of the design process that could be applied when attacking a variety of design projects in the future. This exciting workshop taught us the basics of coding, programming, and 3D printing skills. We experienced a fascinating process pre-

sented to us. Through the study of code, we established a systematic way of thinking at the beginning of the design process. Coding and scripting allowed us to combine mathematics with fabrication to make the design more reasonable and controllable. Additionally, in fabrication, we were exposed to different 3D printing materials and printer settings to understand better the structural stability of our models and materials’ properties. At the same time, we learned how to optimize our models through the iteration of many fabrication parameters, including printing time, quality, support, and amount of material.

Rules: any live cell with fewer than two live neighbors dies, any live cell with two or three live neighbors lives, any live cell with more than three live neighbors dies, any dead cell with exactly three live neighbors comes alive. We used Cellular Automata logic in Grasshopper to generate the overall form. We used three types of components to realize the designed structure.

Coding allowed us to combine mathematics with fabrication to make the design more reasonable and controllable.

We were exposed to different 3D printing materials and printer settings to better understand the structural stability.

We learned how to optimize our model through the iteration of many fabrication parameters: time, quality, support, and the amount of material.

SCHOOL FOR 22 CLASSES ON POVARSKAYA STREET

location: Moscow, Russia

project type: academic

software: Revit, Enscape group: individual project date: September - November | 2019

The proposed site is situated on Povarskaya Street in Moscow, nestled within a historically significant area boasting well-established infrastructure. Presently, the site hosts the State School, catering to 22 classes, yet the limited space prompts the necessity for additional recreational areas.

Addressing this challenge forms the cornerstone of the conceptual proposal. The primary objective was to craft a space that not only captivates children’s interests but also fulfils their

diverse needs while strictly adhering to all technical specifications. Recognizing that a school is more than just an educational institution; it is a vital environment where children mature and explore the world around them. Therefore, I endeavoured to fashion a space conducive to every child’s growth and development.Taking inspiration from the vibrant energy of childhood curiosity, I aimed to design a space that sparks imagination, fosters creativity, and nurtures a sense of belonging among students.

The main problem of the project under development was the small area of the site on which it was necessary to arrange the school for 22 grades. The building spot occupies 85% of the total area of the territory, and the rest is occupied by green spaces planted to comply with insolation standards. All street recreational areas are located on the operated roof of the school. There is a high school street basketball court, a sports court for junior classes, and a play area. In addition, there is a beautiful view of the internal area of the building - the main core of the school.

After researching about the child psyche, I decided to divide recreational spaces into three noise zones.

The most active is a sports zone where excessive energy can be spilled out. There is a slide descending from the third floor of the school, sports mats and there are chin-up bars. The next zone is an amphitheater in atrium space. Here, children can chat and listen to open lectures. The quietest area is the library. It is located in a remote wing of the building. There are quiet reading rooms there.

The terms of reference provide for the mandatory availability of a number of necessary school premises. In addition to classes, they include gyms, an assembly hall, a library, a dining room, and rooms for optional classes.

Natural materials, mainly wood, are used in the finish. Private reading spaces are also provided.

Children can chat and listen to open lectures there. The winter garden creates a special atmosphere of the interior of the school.

The

winter garden surrounds the spherical volume of the assembly hall. The children’s slide

the core of the recreation sports zone.

The heart of the school lies within the assembly hall, situated within a spherical volume at the center of the building’s design. Accessible via bridges extending from the second floor to its balconies, the assembly hall is adorned with wood accents and equipped with specialized acoustic panels for sound insulation. Surrounding the assembly hall is the primary recreational area of the school, featuring a winter garden that adds a unique ambience to the interior. The classrooms are adaptable, facilitating various training activities within the same space.

Students often gather in the assembly hall for assemblies, performances, and community events, fostering a sense of unity and belonging within the school community. Additionally, the adaptable nature of the classrooms allows for seamless transitions between lectures, group work, and hands-on activities, promoting an engaging and dynamic learning environment.

facade from Khlebny lane

SAHARA EXTREME HABITAT CHALLENGE COMPETITION

location: Sahara Desert project type: academic

software: Revit, Enscape group: individual project date: February - May | 2018

█ Concept

As our cities grow with a rampant population, severe impacts on the quality of life are visible due to overpopulation, poverty, traffic, pollution, and the list forever. There is no population limit on cities, which makes things even more uncontrollable, as the population ‘designed for’ consistently exceeds its limit. That ultimately undermines the purpose of urban migration, as individuals, rather than enjoying an improved quality of life, encounter its antithesis instead. Our cities changed with the advent of cars/industrial revolution. They changed when we devised a faster mode of construction. They changed when we developed the internet.

Technology, being the fastest agent of change today, has almost displaced the need to live in a city - including repercussions like social isolation between people of today.

Faster transportation techniques and connectivity have made it possible to look beyond the boundaries of cities. We take this opportunity to build a more responsible class of habitats, which can be small but can be inspiring for our following change of cities to come. Now is the time to become the citizens of the world.

In the project proposal, I am developing a settlement in the Sahara desert in extreme habitat conditions. The settlement is intended for scientists and researchers who came to develop this area and for people tired of polluted large megacities. The result of the project was a master plan for a settlement with envisaged communications, as well as a typology of residential cells developed for people with different needs.

The climate of the Sahara is one of the harshest in the world. There is little precipitation, strong winds blow, and wide fluctuations in air temperature which occurs daily. The Sahara Desert is located in subtropical latitudes with predominant zones of high atmospheric pressure that prevents the flow of moist air from the ocean. The prevailing wind blows from the northeast to the equator. In the Sahara, there are strong winds up to 100 km per hour.

The project’s main task was to create a settlement suitable for living in difficult climatic conditions. The settlement is divided into a modular grid of residential blocks. The glass dome above the hall settlement protects against sandstorms and allows the creation of the microclimate necessary for human life. Pipes coming out of the dome provide air circulation.

The settlement uses only environmentally friendly public transport. An underground system of movement through the settlement is also provided: the metro. There is a service floor for servicing the settlement on the underground level.

Sandstorms are a major problem for the inhabitants of the Sahara.

The desert climate is softened off the coast due to the cold influence of the Canary Current.

Western Sahara receives relatively high rainfall. The average temperature in summer during the day 37-39ºC, at night it becomes a little cooler: 28-30ºC. In winter, it is about 15-17ºC. sandstorm

█ residential typology

Houses are made up of residential cells of different typologies for different needs of residents. It is assumed that when coming to the settlement, a person can choose any housing according to their needs. Living cells of different sizes are provided both for large families and for living alone.

The inner

is a greenhouse where residents can grow flowers and fruit trees all year round. Arches in houses are provided for the operation of land public transport connecting the entire settlement.

atrium

the house

THE POWER OF TREES: UNEARTHING THE UNSEEN

location: London, UK

company: Studio INI, Research Lab contribution: Concept development software: Rhino, Blender year: July 2024

█ Concept

Project aims rotate our perspective on trees, revealing and magnifying the intricate and often hidden aspects of their existence. By flipping a tree upside down on its head, we bring the usually distant extremities of branches to the visitors feet etched into the ground emphasizing the intelligence of their growth in the patterns of the water channels and the reflection of the leaves of the surrounding trees on the water surface. This inversion symbolizes a deeper understanding of the tree’s functions, from water defying gravity to travel tens of meters from root to leaves where CO2 is captured, celebrating an “extraordinary piece of bioengineering”. Proposal magnifies and redefines our understanding of trees by highlighting their intricate structures and functions. By ‘grafting’ - artificially blending’ various textures of tree bark and branches from Kew Gardens’

extensive collection, the installation emphasizes the extraordinary diversity of trees. The varying bark patterns displayed highlight the trees’ ability to also respond to environmental conditions, such as producing reaction wood to withstand storms, showcasing their resilience.This blending of bark textures raw and cast into glass bricks, symbolizes the unity and variety within the arboreal world.

The water branch patterns etched into the landscape and inverted roots at the top, symbolizing the tree’s bioengineering marvel. The tree’s trunk and leaves work together to draw water from the roots to the branches. The sound off the water rising up the tree trunk will be used in creating the acoustic landscape and vibrating water surface for the dance performances.

Visitors will be drawn to see this intervention of a scale of a monument to the Tree, in the landscape of Kew and the tree sculpture that will amass a significant variety of tree. The materiality of the tree will engage the visitors curiosity in the tree’s flipped perspective , as it stands upside down, , the fact that by drawing inspiration from methods of grafting we will artificially combine , cast in glass and display a vast variety of tree species and bark and branch texture of the trees housed in Kew gardens.

The interactive water channel will draw in their reflective nature that reforms that landscape and allows visitors and children to playfully splash about whilst highlighting the intelligence of bioengineering of the tree trunk it its ability to draw water to its extremities up tens of meters that many do not realise.

instalation

brick nest 02 03

The Installation spans a circular surface with water channels and constructed banches of a scale taht takes over the whole openen in circle, featuring water channels that create a prominent footprint.

The brick nest opens with human presence, revealing a reflective space to sit and contemplate. The nest’s functionality symbolizes tree stomata, crucial for water and CO2 regulation.

METRO STATION KLENOVY BOULEVARD IN MOSCOW

location: Moscow, Russia company: ARCHSLON Architecture firm contribution: Technical Design, Construction software: Revit, AutoCad year: 2021

█ Concept

‘Klenovy Boulevard’ Station is located close to the picturesque area of the Kolomenskoye Museum-Reserve in Moscow. Rich cultural context of the area forms a colourful and recognizable image of the untouched natural landscape. It stretches along the banks of the Moscow River. The Palace of the Tsar Aleksey Mikhailovich stands as a symbolic figure of the entire ensemble. Its characteristic silhouette becomes a symbol for the object itself and for the entire surrounding area. Architecture of the above-ground vestibule is formed by modern interpretation of silhouettes of Kolomenskoye Museum-Reserve. A clean, calm and neat image of the station’s interior space is

based as well on transformation of the key symbol of the area. Plastics of the ceiling vault of the platform set recognizable silhouette of the dome, which is typical for traditional elements of Russian architecture. This silhouette transforms in a modern way by using mirrors as part of the wall on the platforms. For the lightning of the vestibule there were developed custom perforated aluminum panels with nine types of the pattern. hese panels are randomly combined and as a result create a unique tile pattern that relates to the traditions of Dyakovo culture of reticulated ceramics.

My initiation into project work commenced during the documentation phase. Contributing actively, I delved into drafting drawings and meticulously prepared diagrams intended for publication. I transitioned into aiding the finalisation of interior spaces within the metro station, lending my expertise to refine and enhance the envisioned designs. Moreover, I had the privilege of supporting the lead architect in authorial supervision during the construction phase, ensuring that the project’s integrity and vision were faithfully upheld on-site. This multifaceted involvement not only honed my skills but also allowed me to actively contribute to the realization of a significant infrastructure project.