PORTFOLIO Мilena Raičević
SELECTED WORKS 2012–2017
PROFILE MILENA RAICEVIC
born 17. 01. 1994 Studentska bb 81000 Podgorica, Montenegro 00 38268 634 140 firstname.lastname@example.org
E D U C AT I O N University of Montenegro Faculty of Architecture Bul. Dzordza Vasingtona bb. 81000, Podgorica, Montenegro (BACHELOR DEGREE 2012–2015; SPECIALIST DEGREE of design in Architecture 2015–2016; graduated on February, 2017)
COMPUTER SKILLS Graphisoft ArchiCAD Adobe Photoshop CS Artlantis Google sketch up Autodesk AutoCAD 3D and V-ray Microsoft Office Package
LANGUAGE SKILLS Montenegrin: Mother tongue English: Fluent German: Basic Serbian, Croatian, Bosnian: Fluent
INTERESTS Graphic Design Photography Painting Music Skiing Bicycling Traveling Fashion
EXPERIENCE INTERN ARHING inženjering 81000 Podgorica, Montenegro tel./fax. • 00 382 20 231 706 e-mail • email@example.com January–October 2017
WORKSHOPS March 2013 Exhibition of “Chair project“ (1 work featured) June 2013 FRearCH Paris, France June 2014 FLAT.SCAPES: LAB. 4.0 Amsterdam, NETHERLANDS October 2014 Workshop “Station 15“ Podgorica, MONTENEGRO September 2015 Exhibition PAFF (2 projects featured) Podgorica, MONTENEGRO October 2015 Workshop PIMP MY ROOF Podgorica, MONTENEGRO September 2015 Furniture fair, Delta City (1 work featured) Podgorica, MONTENEGRO September 2016 Exhibition PAFF (1 group project featured) Podgorica, MONTENEGRO Published in Montenegro’s newspaper “Pobjeda“ Thesis – Winery and wine vilagge, Godinje
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WINERY · WINE VILLAGE · GODINJE PRIMARY SCHOOL REHABILITATION CENTRE MOUNTAIN HOUSE MUSEUM OF AVIATION
SYRIA: POST-WAR HOUSING
non academic architecture
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PINNING CHAIR LIGHT AND FEELING: GENERATION OF FORM STUDY MODELLING DRAWINGS PAINTING
ARCHITECTURAL PROJECTS Facult y of Architec ture â€¢ Podgorica
WINERY WINE VILLAGE GODINJE GR ADUATION PROJEC T• FEBRUARY 2017 • GODINJE • LAKE SK ADAR
he project brief proposes building of an conceptual solution of a winery within the complex of the whole wine village in Crmnica area, Godinje. Preservation, compatability and advancement of this heritage come from emphasised orientation towards restauration of agricultural activities, activation of renowned vineyard, raising awareness and pointing out significance and beauty of the village, rich pasta and authentic architecture, with mandatory protection of natural and cultural component of immediate surroundings, and minimising influence on the environment during building of the object.
CHARACTERISTIC DETAILS, MOTIFS, MATERIALS,RELATIONS BET WEEN ELEMENTS FROM GODINJE The location itself, its terrain, organisation of movement lines and main points in the village, inspired and gave birth to development of other contents besides winery and spreading to a whole complex. Complex consists of a manifacturing sector for grape processing, social, residential, economictechnical and surrounding areas. Complex is conceived so it consists of three main lines of movement, which connect the wholes amongst each other, which follow geomorphology of the site and can be accessed from both land and the lake. Besides small private wine cellars in the village, in which their own wines are individually promoted, joint winery complex would, by consolidating raw materials as well as wine made in Godinje area and surroundings – would continue and affirm tradition of Crmnica wine growing and rich supply of local wines. Construction of this wine village would benefit tourist offer of this landscape, as well as growth of viticulture and enology in Montenegro overall.
CONCEPT OF DEVELOPMENT OF THE COMPLEX
EASTERN FACADE OF COMPLEX
FLOOR – 1 • PRODUCTION PROCES AND SPACE FOR WORKERS
NORTH FACADE OF COMPLEX
SOUTHERN FACADE OF COMPLEX
AXONOMETRY OF WINERY
The oldest core of the village possesses a recognizable architectural code, with a equable architectural physiognomy of a compact type, and the specific organization of communications (which starts from the ‘gumno’ in the form of 3 main streets, interconnected by transverse connections, linking reside ntial units, leads to the stream, and then back again along the track until the ‘gumno’, creating a perfect circulation in the community). Exactly that organization is served as the motive in the initial phase of development of the idea and concept of the winery and whole complex. Particular emphasis throughout the composition and a generator of the movement through the complex are precisely communications, that in the form of a staircase, connect the visible spatial units.
THE INTERIOR OF CONFERENCE ROOM FOR WINEMAKERS
THE INTERIOR OF RECEPTION OF WINERY
JUNE 2014 • PODGORICA • MONTENEGRO
he project brief proposes the large number of classrooms for children, several mandatory rooms, playground, premises for administration and all of that on a relatively small site. The concept is based on the fulfillment of basic needs and the set tasks, the exact number of classrooms, along with providing more light and space (“the pockets’’) for the meeting, play, break for children. To create classrooms that have sufficient light, compact form is broken up into three parts. That way all rooms have adequate orientation, and in places of these gaps there is a formation of “pockets’’ for additional activities for children. These three parts are divided by function, which can be seen on the facade; one part belongs to administration, the second part to classrooms (6 classrooms and a library on the ground floor, the same layout is repeated on the first floor), the third to additional cabinets (a hall for physical education, cabinet of chemistry, physics, biology, and music cabinet which contains a small amphitheater, connected to the main hall, and when the school plays and performances are happening, prefabricated wall that separates them completely opens); although they seem as a completely separate, these three parts are connected by the central space, which contains the main entrance hall, main staircase, atrium as a common space and canteen. This central area also contributes in students meetings, helps with communication and circulation in the area, because it is equidistant from each part.
PROVIDING BY CONCEPT MORE LIGHT AND SPACE (“THE POCKETS”) FOR THE MEETING, PLAY, BREAK FOR CHILDREN.
DECEMBER 2015 • LAKE ŠAS • MONTENEGRO
evelopment of the concept of rehabilitation center starts from the current context, existing location, a steep hill that rises over the lake Šas. Most of the building is dug into a hill, and visible parts are coalesced with hill, and with materials & natural colour tones are perfectly integrated. The building follows the isohypses of terrain, and it is formed in parallel with them. The main focus of the project is ‘a breach’ through a hill, in the form of a multifunctional passage, which determines the line of movement. On the entrance, access side to the hill only thing that is visible in the hill is a square shaped cavity, which directs the views towards the lake and ‘framed’ him. Here begins the movement. This passage is also a public space with benches for rest and relaxation, connecting all parts of the building (reception area, accommodation area, restaurant, spa area and administration).
1. BEGINNING OF THE PATH 2. THE ENTRANCE TO MAIN HALL 3. ADMISSION TO MEDICAL AND HEALTH PART 4. ENTRY TO GARDEN OF A RESTAURANT
5. PASSAGE TO THE POOL 6. VIEW TO THE GARDEN 7. THE VIEW OF THE POOL AREA AND GREEN ZONE 8. THE VIEW OF THE LAKE SAS
On the ground floor are located: on one side, the restaurant with a separate entrance for visitors (who are not accommodated in the Center), and with vertical connection with rooms used by guests of the Center; and on the other side there is a spa center, also with its own entrance and a special connection with guest rooms, which is connected with a pool and a path (promenade, which follows the terrain). On first and second floor there are rooms whose views are all the time positioned towards the lake. It is possible to access to all of these parts of the Center from the passage; these parts are connected to each other through other communications, which provides a good circulation. The passage directs the potential cadres, according to importance of their seats and the way of how moment is caught, dictates the path and determines the line of movement of visitors, but with their own wishes and priorities. Passing through the passage, after many cadres, a main cadre is waiting for us – view of the lake.
• attitude towards environment, terrain • the relationship between parts of the building, among them • no disruption of the peace and nature • the gradual descent to the lake • integration into the environment • parter becomes part of the building • parter has entered into the building • relationship with water • glorification of lake, “framework” • provoking passers with the the passage, the surprise effect
DECEMBER 2012 • BJELASICA • MONTENEGRO
he house is located on the mountain Bjelasica, Montenegro, on the steep terrain. Slope of the terrain influenced the line of movements to the house, through the house, as well as its form. Due to the desire not to disturb the site, which is rich in natural beauty, a minimal intervention was done, because the location itself offered a simply logical solution – a house that is grown together with the terrain, and follows the edges and the slope with a roof. On the approach side of the house, its size and overall dimensions are not observed, but only a small entrance area with a door. It seems that it is only a small wooden mountain cottage. In some way it’s an effect of surprise – there begins descent into the lower levels, and other rooms (a living room, kitchen, chancellery... to the bedrooms). All the time, every room of the house has views towards the mountain and nature. On the back side of the house pitched roof that follows the terrain can be seen, also a part of the roof, perfectly tucked into the slope, which can be used as a part for skiing and sledding, as well as one of the walls for the climbing. The house is designed for family of adventurists (extreme sports).
ACCESS TO THE HOUSE FROM THE STREET – THE FRONT SIDE OF THE HOUSE
SITE PLAN GROUND FLOOR
MUSEUM OF AVIATION
JUNE 2015 â€˘ BERANE â€˘ MONTENEGRO
or the location of the museum I chose a small town in the north of Montenegro, my hometown, Berane. Berane was known for aviation, air school and for one of the first airports in Montenegro, which has been closed and collapsed for a long time, as many important landmarks in this city. Due to the current underdevelopment of the north, the museum should introduce liveliness to the city and reminds of the significant history and many qualities of that area. The proposed site is a park next to river Lim, which flows through the town. As one of the major mistakes of expansion of Berane (urban development) is the turning away from a river, and blocking views towards river, although it flows through the city center. The aim is to connect the main boulevard of the city with a few essential points (a bridge, a hotel, a monument, river quay, park) and to implement the main street to the river.
Museum as a provocative form, rich in contents, would attract attention to the park and invite people to approach the river. Located in the park (which was once the main place for various events, gatherings, playgrounds, relaxation, and unfortunately now is derelict), this museum complex should revive that green zone, by not closing views towards the river, so the whole museum complex is lifted from the ground, so ground floor can â€œbreatheâ€? and it is completely open for all those activities that would come alive again.
Berane (a park) is on the one side â€œframedâ€œ by the river, and on the other by the airport. The museum is located in the center of the park, while on the side of the river it is framed by the restaurant, but on the side of the road by administration building. Form and envelope of the museum are formed to protect the main exhibit, plane. A plane is located in a glass cube which determines the entire line of movement, from beginning to end. It starts with a reception, then reaching the third floor by elevator, it continues followed by ramp down to the library, reading room, permanent exhibits, hanging items, than starts movement around the plane by a ramp, and after getting out of a glass cube there are shop, restaurant, a room for making aviation models; and finally arriving to the ground, where the tour which finishes.
SYRIA: POST-WAR HOUSING JUNE 2016 • SYRIA • ARCHITECTUAL COMPETITION
Children, their play and their voice have mostly drawn our attention through our research. Indeed, voice of a child is above the sound of war. We noticed that children’s laughter dominates on the playground, more than gunfire in the background. Having watched the documentary on Syria (Children of Syria), the frame where they show the playground of a school as a war border between two sides, initiated our idea. The playground that has become a border. It united before, now it separates. We want to unite these two sides again. The line that separated before, becomes a connection through our project. Filled with green vege tation and children’s drawings, line will be recognizable in the city’s scheme. It enters into the neighborhood, forms a new square, spreads also on the existing buildings, marking places where our new units will lean, then goes down from buildings, goes beyond the neighborhood and goes to the following playground, forming a new connection. At the micro-level it joins units, at the macro-level neighborhoods, even form new playgrounds (a new vision of the square that will be filled with laughter and joy).
non academic architec ture
ARCHITECTURAL PROJECTS Facult y of Architec ture â€¢ Podgorica
DECEMBER 2012 • PODGORICA • MONTENEGRO
he design of the chair is based on the use of old, wasted, daily usable objects, with whose function we are very familiar (the function of which we are accustomed). Chair is made of old hangers and old coat-rack (hatstand), which was found in the trash. The elegant lines of these objects, somewhat undervalued and unnoticed in everyday life, by this design certainly come to expression and provide the chair a sophisticated and gentle tone. By raising awareness of possibilities of recycling and revival of old objects, by giving them a new life and a new function, this chair is formed.
M O D E L
PROMOTIONAL POSTER I LOGO
D E S I G N
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M I L E N A
R A I Č E V I Ć
PROCESS WORK THROUGH THE MODEL
LIGHT AND FEELING: GENERATION OF FORM STUDY
OCTOBER 2013 • PODGORICA • MONTENEGRO
Inspiration is found through positioning of my feelings in the real world and confronting them to the learned, acquired and congenital reflexes. I question my attitude toward diferrent emotions and try to put them in relation with the real or abstract form.
By simply choosing the object (not normally considered art) and modifying it, the found object became art (ready made). Thus object receives, loses and changes the meaning. I used a real industrial object and gave it the meaning of functional form â€“ building. Given form provided a solution of the external experience of the real and apparent, and simultaneously made enclosed interior space as the imagination. Relationship between these two dimensions is represented through openings (holes)the envelope, until light and lighting effects generate communications. Feeling of fear is underlined with triangular, sharp and monumental form. Narrowing the form (false perspective) has a function to attract visitors and pull them into the interior, and to make clear indication of where the entrance is. Entering the interior or imaginary world we are being showered with light, which expresses well feeling of excitement, curiosity and sublimity. The boundary of separation between the fear and curiosity I emphasize by sharp conflict of light (white and green).
MODELLING Model of Villa Savoye M AY 2014 • P O D G O R I C A • M O N T E N E G R O
• ANALYZING – MODELLING • SCALE MODEL 1:200 • MIX MEDIA (CARDBOARD, PVC...)
Danilovgrad City square JUNE 2015 • PODGORICA • MONTENEGRO GROUP WORK
PODGORICA â€¢ MONTENEGRO
2012 • PODGORICA • MONTENEGRO
East and West – City in mirror • pastel on paper • 500 x 700 mm • november, 2012