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misha semenov design portfolio


welcome! Ever since I was little, I’ve been obsessed with drawing my fantasy cities. Since then, my passion has extended to projects that are a little more real. I now know I want to use the tools of design to make a difference, restoring a healthier relationship with the environment and an inclusive and just society.

places to visit academic projects

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ICU (?)

Pleasant urban water park with a touch of political content; bring a bathing suit.

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The Interchange

Today, I invite you to come take a stroll through the city of my creative work from the last four years.

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The Furniture Showroom: All Scaled Up

Begin by consulting the guide at right. I hope you enjoy your visit.

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All Roads Lead to...

20 Misha Semenov, December 2014

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The Cinema: One with Time

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Board Game Shop: O Marx the Spot

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The University: Academic Research and Projects

Pavilion and performance space; watch out for moving elevator platforms.

Come take a sit in a unique chair covered with over 900 scales.

This building may cause psychological damage or depression, enter at your own risk...

UniTess Plaza

A local hit, this black and white film turns the camera on Snøhetta’s architecture.

Explore Burle Marx’s landscapes through a fun role playing board game.

Set aside at least a day to read through these archives of urbanism and architecture.

professional work

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The Planning Office

A sampling of professional designs for buildings and cities.

A lovely place for a picnic; watch your step on the cracked stones. independent projects

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The Office Store: Project Paper Clip

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Miami Apartment Building

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The Folding Shell

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The Art Museum

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Danteum21

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The Photography Studio

An unique art installation made with one thousand paper clips.

Famous as the world’s largest inhabitable origami.

Be sure to bring along your copy of Dante’s Divine Comedy.

Tour an exciting new building that’s bringing urban apartment living to Little Havana.

Visit this broad-ranging collection of sketches and paintings.

This attraction features exhibits of architectural and urban photography.

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ICU (?) (InterClass Unity?) mario gandelsonas’ studio fall 2014 princeton soa

(project developed in full collaboration with Kassandra Leiva: final renders by Kassandra Leiva; plans, sections, and axons by author) During our visit to São Paulo, we found that the city is a patchwork of rich and poor, yet the two worlds are segregated from each other physically and architecturally, exhibiting two larger architectural trends: the Favelesque and Securitese (luxury glass boxes hiding behind barbed wire). Where, in the context of segregation and exclusion, is the modernist Brazilian architecture that was promised to be the true expression of Brazilian modernity? Our project proposes that for the idiom of Niemeyer to have relevance today, it must be harnessed to generate devices that can insert themselves into the discourse of segregation, mediating between the strictly divided classes. Thus, based on an intensive study of segregation in architecture, we manipulated Niemeyer buildings from Ibirapuera Park into architectural devices that serve to physically express and reinforce the economic divides in São Paulo and can be applied to sites where rich and poor meet, such as the inner-city Favelas we studied. We then added the element of water, which brings the social and physical construct of segregation into plain sight; it is only through water, which flows freely in each “device” in a way people cannot, that the two sides experience each other. 4


manipulation of Niemeyer’s architecture into two-sided segregation devices The Marquise: Layering

curvy high-security fence enforces a visual boundary between top and bottom while channeling modernism

playground of the rich

---water park for the rich---

Favela underbelly of the poor

The Dome: Slicing

on top, concrete dome is source of shade for the rich clients’ pool deck

on bottom, glass dome is source of light for Favela

The Shaft: Pumping

shaft acts as an elevator; goods and food are sent up from the Favela, trash is sent down for processing. People, however, cannot circulate

“arms” act as water pumps, taking water up and down from ramps and pools.

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glass bottom pool offers only visual connection between top and bottom

glass-walled pool reveals the Favela below the pool deck


deployment of devic

COMIDA

favela

formal buildings

roads and fences

this intervention, an agglomeration of the dome, marquis, and shaft, fits nicely over buraรงao Favela

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ces at buraçao favela

COMIDA

although the Favela is covered up, only getting light through the glass pool, it receives a direct economic benefit: thanks to the Shaft device, the Favela can become the service area and kitchen for the cafe and pool; prepared food is transported up the shaft’s elevator, while trash is delivered down--perhaps the Favela dwellers will even make some money selling or recycling it!

This cut through the shaft reveals its function as a water pump. Here too, the poor get a benefit: used water from the pool is re-pumped into a well in the Favela, allowing dwellings that may not have formal water infrastructure access to relatively clean water.

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deployment of devices at colise

greens

plazas

favela

formal buildings

roads and fences

The office buildings’ original overhangs and restaurant’s second floor have been extended into a marquise-like elevated walkway that fits perfectly over the Favela. Because the marquise is only accessible through the buildings or the restaurant, it is naturally secure--like helicopter commuting. Yet swimmers in the pool are acutely aware that they are in fact suspended right over a Favela.

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eu favela / millenium office park

network map of favela interventions

FIDALGA PONTO DO JAGUARÉ CORTIÇOS

BURAÇAO

COLISEU

IBIRA PUERA

MARIO CARDIM NEIDE APARECIDA

JARDIM PANORAMA REAL PARQUE

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ASCENDINO REIS

SOUZA RAMOS


the interchange hayley eber’s studio spring 2014 princeton soa

A pavilion designed to go over the former train station at Princeton University, The Interchange proposes to turn circulation itself into a performative act. Taking advantage of its location, a crossroads for eight paths, and its diverse cast of characters, from senior theatergoers to fast bikers, the design elevates these paths into half-pipes, connects them to each other using a branching web structure, and then, through the use of an enclosing green thicket akin to that used by West 8 in its Garden of 10,000 Bridges, generates a special performance space on the underside of these paths accessible by a series of platform elevators. Because the elevator platforms are pieces of the paths themselves, an elevator that is transporting passengers or stopped at ground level to be used as a stage becomes a roadblock. In this sense, the project, originally intended to highlight circulation, can also slow down, block, subvert, even choreograph it.

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THE GOAL:

Design a Circulation Diagram that connects each entry point to all 7 other entry points, accommodating varying speeds and modes of movement.

“tree” path structure

LANE

3’

ROAD

4’

HIGHWAY

5’

ideal diagram

watch a video of choreographed circulation in the project at http://youtu.be/rIsSyK4Xuv4

distortion of the ideal diagram to fit site conditions

adding pipe thickness and nodes at intersections

ground plan: green thicket and stages/elevators

use of a pathway grid to generate seating...

...and structural columns

precedents

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A 1”=15’

1”=15’

B 1”=15’

A

1”=25’

B

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SECTIONS

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all scaled up

jesse reiser’s studio fall 2013 princeton soa This chair was designed to play with the contrast and interaction between surface and substrate, soft on the inside yet covered with a series of rigid scales. The design and manufacturing were a complex, computer-assisted process; I wrote a program using Grasshopper modeling software that used a torus-shaped surface based on the curves of the human body to generate 968 unique scales. Each of these scales was then laser cut out of birch plywood and sewn onto a pillow-like substrate encased in computer-generated pieces of fabric stitched together on a sewing machine and equipped with pneumatic adjustable legs. The ultimate result is a chair that is a unique experience for the body, both rigid and flexible, hard and soft, while being a beautiful object in itself. Since all its components are systematically labeled and organized, it can be easily cut out from scratch and put together by anyone.

precedents for surface treatment

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5) SCALES

15 the “pillowcase” for the polyester-stuffed body of the chair was made from these 11 shapes of fabric, sewn together on a sewing machine.

44 radial strings of fishing line act as “vertebrae” for the scales in the vertical direction. These allow for some flexibility of movement while maintaining structure.

tion to indicate 22 concentric cir- the cles of elastic cord

seating area.

the directionality of the scales change 22 concentric circles a of comfortable elastic cord “ridges” to create seat tie the scales together into colhow the chair should be occupied, Ma or-coded bands. As shown above, occur at ringsscales 19 and 12. directhe attached change

44 radial strings of fishing line act as “vertebrae” for the scales in the vertical direction

Next, I wrote a grasshopper programming script to analyze the grid of points and create 968 unique scales based on the specific geometry of the torus. The script took groups of 6 points, projected them onto a plane, and then used those points to draw an hourglass-shaped scale. I used the HoopSnake plugin to run through many iterations.

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35.0,20.0 36.0,20.0

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The chair’s 968 unique scales arranged in a field

0.0,14.0

7) ATTACHMENT the same surface used in the computer model was split into 11 strips that were then cut out of a special durable nylon fabric, stitched together on a sewing machine, and stuffed with 10 pounds of polyester batting.

44 r of fis as “v strips the s verti

7) ATTACH

the same surface used in the computer strips that were then cut out of a specia stitched together on a sewing machine, pounds of polyester batting.

6) SUBSTRATE


POSITIO 16


ONS 17


all roads lead to...

michael meredith’s studio spring 2012 princeton soa

precedent: the iron maiden, building as torture device

precedent: de Chirico’s lonely landscapes

In this architectural exploration of solitude, three tunnel-pathways with three different points of origin were carved out of a solid cylinder. Inclines that spiral up through the building, all three terminate around the same location in plan. In section, however, the three pathways never actually meet; the convergence is but an architectural illusion. the building’s elements add to the effect of loneliness; the only windows that exist between the passageways show views of others’ feet; the great hall, three stacked spaces separated by frosted glass, allows only shadowy glimpses of others; fortress-like windows hide the outside world. Visitors can finally see each other at the very ends of the paths, where the tunnels open up to face each other, yet physical interaction is still impossible and the only way to meet is to jump out of the architecture itself. The project also explored the tension between additive (as a computer model) and subtractive (carving out of a solid clay cylinder) conceptions of form.

18


PLAN A (3’)

SECTION A

SECTION B

subtractive conception: scale clay model of the project (also shown in renders on p8)

LEGEND closer to cut

CIRCULATION DIAGRAM

PLAN B (30’)

behind/above

19

additive

conception

of

deeper ahead/below

the

project,

in

computer

model


unitess plaza

hayley eber’s studio spring 2014 princeton soa UniTess (Unification through Tessellation) is a sculpture garden containing three important pieces from Princeton’s collection, designed to be inserted into a central site on the campus, unifying the surrounding ensemble of four of the university’s prominent historic structures, each built in its own style and stone type. The surrounding context was used to generate a site-specific design. First, major vista lines to Whig Hall and Blair Arch were determined and used to generate a grid over the site, which was then turned into tiles and further fragmented according to other important sight lines. Next, each tile was extruded a set amount from the ground surface to create a raised stage at the center, with more intimate depressed spaces for two pools, an amphitheater for a hundred people, and a quieter lawn garden located in the space between raised paths. Finally, each of the extruded tiles was assigned a color to correspond to the closest historic campus building. The garden brings these buildings together while creating a new public space on campus.

precedents for tessellation

20


LK LK

LAWN (quiet seating)

REFLECTING POOL

K

AL W

1. context and existing landmark building sightlines employed to construct a geometric grid over the site.

21

2. pathways and sightline grid used to tesselate the site; statues placed at key “framing” points.

For this and other drawings

20’

CROSSROADS/ STAGE

W A

W A

REFLECTING POOL

W A LAWN (amphitheater seating)

3. program assigned; `surface is modified to accommodate uses

LK

surface depths at grade 1’ below grade 2’ below grade


landmark building o construct a geoer the site.

2. pathways and sightline grid used to tesselate the site; statues placed at key “framing” points.

For this and For this and other section other drawings drawings,

10’ 1”=10’

SECTION 1

SECTION 1

For this and other drawings

20’

3. program assigned; `surface is modified to accommodate uses

surface depths at grade 1’ below grade 2’ below grade

4. tiles are extruded up to create a landscape

tile heights

(all also extend 2’ below grade)

at grade 2.5’ above grade 5’ above grade

5. tiles are colored ba on stone types of adja buildings


G

For this and For this and other section other drawings drawings,

10’ 1”=10’

SECTION 1

ths

SECTION 1

grade grade

Whig White

4. tiles are extruded up to create a landscape

tile heights

(all also extend 2’ below grade)

at grade 2.5’ above grade 5’ above grade

5. tiles are colored based on stone types of adjacent buildings

SECTION 2

SECTION 2 misha semenov/ JIW

Gothic Gray Richardson Red Nassau Nougat Bluestone Pavers


project paper clip

michael meredith’s studio spring 2012 princeton soa (in full collaboration with Vivian Gao, David White, and Injee Unshin) Our group stitched paper clips together to invent a new fabric with its own properties of stretching, folding, and contraction. We then hung this fabric in the south stairwell of the architecture school, molding the shape into a landscape integrated with the space. During the day, visitors can use the intricate patterns as a semi-transparent foreground for looking out the large glass windows. During the nighttime, the glistening fabric becomes the central focus of attention, defining the space of the stairwell. 100,000 paper clips kindly donated by ACCO and Staples.

24


25


the folding shell

michael meredith’s studio spring 2012 princeton soa this model-based project, inspired by the form of a seashell, creates a hierarchical series of interconnected spaces, from a smaller, tighter cave to a larger, airier hall. The project is folded entirely from a single surface, along a regular series of fold lines, giving order to the more organic shape. triangular windows on the back wall can be opened or closed to create patterns of light within.

26


section 1

section 2

sIDE vIEW 1

section 3 27

sIDE vIEW 2


l Ne

DANTE, LA COMMEDIA

CANTOS/ CANTICO

100

mi vai ritro

CANTOS TOTAL

p er u n a

3

LINES PER TERCET

a via era sm diritt arr monument and

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o

it a

an

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a

PARTS of HELL

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e

c Ar

10

ur

7

TERRACES of PURGATORY

selv

11

SYLLABLES PER LINE

ao sc ad e to a h er

singular sc hem

a structure and

a h arm on ic

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danteum 21 mario gandelsonas’ studio fall 2014 princeton soa Coming out of a detailed study (left) of the genealogy of Dante’s Divine Comedy and Terragni’s Danteum, a Fascist project meant to be an architectural “translation” of the poem, the Danteum21, a library designed to house books, art, music, and film descended from Dante, is a modern-day response to both works. No longer conceived as an instrument of the Fascist regime, the Danteum becomes a place for the personalized consumption of Dante-related content, a tongue-in-cheek investigation of what a “library” is used for today. If Heaven, Hell, and Purgatory were imposed by Terragni as unchanging, rigidly defined rooms along a fixed circulation path, the Danteum 21 questions our ability to create an absolute hell and heaven. The “heaven,” with its rotating restaurants, becomes a “hell” for library patrons, while the deep circles of “hell” become the perfect place for quiet research. At the same time, the project is an experiment in the architectural application of numerology, based, much like Terragni’s design, on the numbers in Dante’s poem.

F

tb cis as

.” em po

m, a twentie rogra thc e ntu ry

uild

and a fourteen ing, t h- c

en tu

ry

SEMENOV, DANTEUM21

33

3

CANTICOS

a/ vit

TERRAGNI, IL DANTEUM

c zzo del ammin d in me os tra

28


hell? USE OF CLASSICAL BUILDING AS A BASE

BREAK BASE UP INTO IDEAL SHAPES

STAGGER AND MANIPULATE THESE SHAPES

SUBDIVIDE w/ FIBONACCI/ MATHEMATICAL PATTERNS

27 dm 54 dm 81 dm

purgatory?

“Heaven?” Bars, revolving restaurant, and 6 constantly rotating conveyors in the central rings

“Dark Woods” with 333 square columns; as one enters, the Terragnian geometric grid morphs into a more circular geometry.

rts

lA

ua

V is Film & Theater

Bo

ok s

&

Mu

sic

heaven?

“Hell?” Rings get consecutively deeper, accessed by ramps. Reading rooms on lower level.

29

“Purgatory?” Reading area with loud fountain and acoustic dome


one with time

hayley eber’s studio spring 2014 princeton soa (in full collaboration with Kassandra Leiva) Called One with Time: The Performative Pavilion, this project is a black-and-white film meant to illustrate the design conception behind the 2008 Snøhetta Serpentine Pavilion as itself a kind of a performance, in three ways: the structure itself as a dynamic performance in time (spiraling, rotation, movement), the building induces performative user behavior (circulation, cycling, promenade), and it frames and stages users as they use and circulate through the building (surveillance, lighting, framing devices). The film was done using a combination of stop-motion animation and computer graphics. Follow the link or QR code below to watch the full film.

watch the complete video (4 minutes) online at https://www.youtube. com/watch?v=UkJdOEUX2eI

30


snøhetta pavilion 2008

THE PERFORMATIVE PAVILION

spiral/dynamism/movement

structure itself as performance in time

THE STRUCTURE ITSELF AS PERFORMANCE IN TIME

FRAMING & STAGING USERS

surveillance/lighting/framing devices/set 31

Wright, Guggenheim Museum

framing and staging users

circulation/movement/cycling/promenade

inducing performative user behavior

INDUCING PERFORMATIVE USER BEHAVIOR

Foster, Reichstag Dome

Corbu, Villa Savoye

Serpentine Pavilion


o marx the spot

mario gandelsonas’ studio fall 2014 princeton soa

Brazilian students playing the game, São Paulo

(concept developed in collaboration with Jose Escamilla, Kassandra Leiva, and Injee Unshin; game rules and player tokens by author; game board graphics by Injee Unshin) This board game acts as a device for reading Burle Marx’s Flamengo Park in Rio de Janeiro. Seeing the linear park, which largely serves the function of circulation, as an archipelago of unique islands connected by pedestrian, jogging, biking, and car paths, our group pulled out specific sensory experiences of each of these islands as “tokens.” Four characters, who represent the four speeds and thus four distinct experiences through the park, are each represented by a game piece corresponding to its field of vision. Each turn, equivalent to 15 seconds of time in the park, players move across the board at the speeds appropriate to their characters, picking up experience tokens on the way. A car drives quickly, picking up only the top token, perhaps a tree or a color; a pedestrian digs deeper into the well, discovering textures and details. Staying even longer, he may discover more subtle details and even architectural references to Marx. But not all experiences are positive; scattered throughout the park are negative experiences: getting robbed, getting hit by a car, stepping in poop. The ultimate goal of the game becomes to discover the unique experiences of each island. 32


rn

on

Moves Per Turn

1, to any adjacent area Moves Per Turn 1, to any adjacent area 4 tokens within AF Well Perception 4 tokens within AF 2 tokens within PF Walk to Walk Runto2 tokens Run within PF At anyAt inter any Off-Road Movement No penalty; Off-Road Movement No penalty; all tokens accessible all tokens accessible paths paths Well Retaps No limit on retaps; Well Retaps No limit on retaps; Walk/Run Walk/Run to Bike Anywhere Anyw a Dig 2 tokens deeper into Bike Dig 2 tokens deeper in AF, 1 token in PF path path AF, 1 token in PF Well Perception

AF pF

AF pF pF

pF

pF

Walk/Run/Bike Walk/Run/Bike to Carto Car At anyAt parki any

walk walk Moves Per Moves Turn Per Turn

Well Perception Well Perception

4 tokens 4 within tokens AFwithin AF 2 tokens 2 within tokens PFwithin PF

Walk Walk to Run topenalty; Run At any At intersection any intersection of Off-Road Off-Road Movement Movement No No penalty; all tokensall accessible tokens accessible paths paths

AF AF pF pF

1, to any 1, adjacent to any adjacent area area

Well Retaps Well Retaps

AF AF

No limit on Noretaps; limit on retaps;

Walk/Run Walk/Run to2 Bike to Anywhere along along a bike a bike Dig tokens DigBike 2 deeper tokensindeeper in Anywhere AF, 1 token AF,in1 PF token in PF pathpath

pF pF

4 tokens 4 tokens within within AF AF 2 tokens 2 tokens within within PF PF

Run ement No penalty; No penalty; At any intersection of all tokens all tokens accessible accessible paths

AF AF

No limit Noonlimit retaps; on retaps;

n to Bike Anywhere along a bike Dig 2 tokens Dig 2 tokens deeperdeeper in in AF, 1 token AF, 1 in token PF in PF path

pF pF

n/Bike to Car

3 tokens 3 within AFwithin AF tokens 1 token within PFwithin PF 1 token

Off-Road Off-Road Movement Non-paths = 2x moves Movement Non-paths = 2x moves

pF pF

Max 2 turns; Max 2 turns; Dig 1 token AF Digdeeper 1 tokenindeeper in AF

runrun MovesMoves Per Turn Per Turn

2 on pedestrian 2 on pedestrian paths paths

MovesMoves Per Turn Per Turn

3 on bike paths 3 on bike paths

Well Perception Well Perception

3 tokens 3 tokens within within AF AF 1 token1 within token within PF PF

Well Perception Well Perception

2 tokens within within AF 2 tokens AF 1 token1 within PF token within PF

AF AF

Off-Road Off-Road Movement Movement Non-paths Non-paths = 2x moves = 2x moves Well Retaps Well Retaps

pF pF At any parking lot

2 on pedestrian paths 2 on pedestrian paths

Well Perception Well Perception

Well Retaps Well Retaps

Walk/Run/Bike Walk/Run/Bike to Car to Car At any At parking any parking lot lot

walkwalk 1, to any 1, to adjacent any adjacent area area

of

Moves Per Turn Per Turn Moves

pF pF

Max 2 turns; Max 2 turns; Dig 1 token Dig 1 deeper token deeper in AF in AF

runrun

pF pF

pF pF

Off-Road Movement Paths =Paths 2x = 2x Off-Road Movement Non-Bike Non-Bike movesmoves Non-Paths = 3x moves Non-Paths = 3x moves Well Retaps Well Retaps

Max 1 turn; Max 1 turn; Dig 1 token in AF in AF Dig 1 deeper token deeper

bike bike

n pedestrian paths

Moves Per Turn

3 on bike paths

Moves Per Turn

okens within AF oken within PF

Well Perception

2 tokens within AF 1 token within PF

5, only on dedicated roads

Well Perception

Off-Road Movement

Non-Bike Paths = 2x moves Non-Paths = 3x moves

1 token in AF Cursory glance within PF

Off-Road Movement

Prohibited

Well Retaps

Max 1 turn; Dig 1 token deeper in AF

Well Retaps

None

AF

n-paths = 2x moves

x 2 turns; g 1 token deeper in AF

33

pF

pF

bike

pF pF

drive

AF


Walk to Run Walk/Run to Bike Walk/Run/Bike to Car 34


At any intersection of paths

Anywhere along a bike path At any parking lot 35

ROBBED!


FR ARN IN CO OM G TH L OM CI RE TI B ES IA E N

academic work & research

LE

I’ve taken advantage of the wealth of Princeton’s collections, funding sources, and laboratories to conduct in-depth investigations in architecture and urbanism.

TH

E

PE

OP

LE

ND

UR

BA

NI

SM

OF

A summary of my research of transit and activist architecture during my Summer 2013 trip to Medellín and Bogotá

Mi sh aS em en ov

AN

AR

CH

ITE

CT

UR

EA

PROPOSED LOOP

A proposal to densify and reconnect Hammonton, NJ through the useit isofnow, a green infrastructure loop. The way some businesses use their back spaces for

gardens and seating, but most commonly for unterutilized parking. Based off the San Francisco Parklet program, the Loop proposes that the city incentivize property owners to turn parking into usable public space, creating a network that can be connected with the loop. In this way, much of the loop is accomodated without the need to alter existing streets, and thanks to the loop, parking demand will drop. Because spaces are narrow, the downtown loop will consist of a shared biking/walking path that links larger green

A system design for a bike sharing program for Princeton, NJ, featuring cargo and commuter bikes.

36


Filling the Void: Tracing Changes in Global Value Systems through two Latin American Incremental Housing Projects

Figure 1: Howard’s “Donut” scheme from Garden Cities: strictly urban lands surrounded by strictly agricultural lands

Green Roofs’ Effect Figure 2: The organic creation of Continuous Productive Urban Landscapes in an Edgeless City, from VIljoen’s book on CPULs.

From the Garden City Donut to an Integrated Landscape; An Analysis of the Garden City Movement’s Influence on Urban and Peri-Urban Farming and A Case for the Reintegration of Agriculture into Urban Life as Reconciliation of Urban and Rural. Misha Semenov ARC 401: Theories of Housing and Urbanism Professor Andrew Laing Princeton University School of Architecture

An analysis of the successes and failures of greenbelts and urban farming legislation 1

on

PREVI, Lima, Peru, 1970 Image 1: Organized outings were part of “collective dachas” for Soviet youth, as shown in this photo of boating on the Moskva River, in Smena (1930, No.11-12)

Waterproofing Membrane Degradation Rates

An Avant-Garde, Collectivized Dacha?

An Investigation into the Benefits of the Butler College Green Roof

Elemental, Iquique, Chile, 2004

Misha Semenov Globalization, Architecture, and the Environment Professor Esther da Costa Meyer May 2014

Misha Semenov, ENV 340, Princeton University March 9, 2012

A research project using data from Princeton’s Green Roof to estimate membrane longevity.

A comparison between two Latin American housing projects and their larger political frameworks.

Abstract This experiment attempted to quantify the difference between the degradation rates due to thermal oxidation of the “Burmastic” bitumen waterproofing membranes on the green and conventional roofs at Butler College in Princeton University. As predicted, the green roof did display a reduction in degradation rates (a 9.0% difference by conservative and 26.5% by generous estimates), thus ensuring a longer service life (from 3.3 to 8.9 years longer than the conventional roof), and was effective especially during the summer months. These numbers were computed without factoring in additional important variables not covered by this study, such as UV exposure and daily temperature fluctuation.

Thank You to Matthew Mulane for his guidance with this paper. Thanks are also due to Sharif Kahatt for providing source material.

Intersecting Utopias in the 1930 Competition for the Moscow Green City Misha Semenov Princeton School of Architecture ARC 575 / Fall 2013 / Jean-Louis Cohen All Russian source translations are author’s own. An investigation of the conflicting Communist and Western ideals in the Moscow Green City of 1929.

1

The Geography of Exclusion:

The Peasant Architect

BART’s Angry Architect Problem: How the 1966 Bay Area Rapid Transit Design Controversy Raised a Storm over the Role of Design and Landscaping in Public Projects

The Bronx “Slave Market , ”

the 1935 Harlem Riots, and the Shift in Black-Jewish Relations in New York City Misha Semenov

An in-depth analysis of racial relations between Blacks and Jews in 1930s New York

37

9B: Dulevo Club, Elevation 9B: Dulevo Club, Elevation 9A: K. Melnikov, Dulevo Workers Club, 1928-30, Original plans 9A: K. Melnikov, Dulevo Workers Club, 1928-30, Original plans 9A: K. Melnikov, Dulevo Workers Club, 1928-30, Original plans

9B: Dulevo Club, Elevation Grounding Konstantin Melnikov’s Innovative Architecture in Russia’s Architectural, Religious, and Artistic Tradition Misha Semenov

Notes to the reader: • •

Where original source is in Russian, translation is author’s own. This paper assumes basic familiarity with Melnikov’s work and biography and, for the sake of brevity,9D: proceeds directlyby to author analysis.ofFor simple information, photoshop rescaled

church with domes removed. 9D:isphotoshop author of rescaled Starr’s monograph an excellentby source to consult, and Wikipedia has decent church with domes removed. 9C: L. Sherer, Church of St John, Duentries on almost every building. by author of rescaled 1915, 9C: L. Sherer,levo, Church ofElevation. St John, Du9D: photoshop Misha Semenov levo, 1915, Elevation. church with domes removed. • While some of the claims in this paper have been made by other scholars, much of Writing About Cities—Professor Alison Isenberg 9C: L. Sherer, Church of St John, DuMay 2014 levo, 1915, Elevation. the analysis—especially that of the Melnikov House, the Dulevo Club, and the

Halprin and Emmons shown at their most dramatic in a San Francisco Examiner article.1

A look through the Halprin Archives at controversies in the design of Bay Area Rapid Transit stations.

Comparative analysis of Melnikov’s work with neighboring Narkomtiazhprom Building—is original and has, as far as the author is aware, no churches, with surprising findings. precedent in the scholarship on Melnikov.

Images are referenced in parentheses, ie (1A)

This paper represents my own work in accordance with all University regulations.

9E: Church of St. John, main entrance 9E: Church of St. John, main entrance 9E: Church of St. John, main entrance

9F: Dulevo Club, main entrance 9F: Dulevo Club, main entrance 9F: Dulevo Club, main entrance

My ongoing Thesis research focuses on the use of codes and rules in self-built housing projects


professional work East Frederick Neighborhood, 2014 DPZ was invited by a local developer to create an urban plan for a new neighborhood just outside of Frederick, MD, in collaboration with community groups and the municipality. In line with the city’s goals, the development was to be well-connected to the city core and encourage independence from the car. After meeting with the client and residents, I worked for two days with designer Mike Huston to design and hand-draw the proposed greenways plan (at left). The idea behind the plan was to thread a “green loop” through the development, a park that would connect the riparian ecosystem with more urban boulevards and greens while serving as a drainage infrastructure and wildlife corridor. While the final collaborative version (below) differs from our proposal, many of our ideas, including the green loop and the use of existing farm buildings as centers for small squares, were kept.

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© Duany Plater-Zyberk & Company.

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These studies for full development of a T4-Zoned block under the new Miami21 Form-Based Code were completed as part of a larger effort to force the downgrading of parking requirement under the code, arguing for greater density.

Downtown Monroe Revitalization, 2013

I was given the opportunity to redesign the floor plan for an apartment building under the guidance of Xavier Iglesias. This building is for a project in Brazil, occupying an important site over the main shopping street in the planned development. In line with local environmental conditions, the building features balconies and natural ventilation through an internal patio, as well as built-in shading devices.

For this project, the DPZ team was invited to a workshop in Monroe, Louisiana with the aim of coming up with proposals to reinvent the currently decaying downtown core and make it an attractive place for a walkable, sustainable lifestyle. I dedicated my efforts to putting together proposals for the Desiard East area. These proposals, in color in my hand drawing below, included a new parking facility with liner buildings, the use of existing alleys as “pedestrian lane” public spaces and restaurant seating, and the restoration and expansion of historic buildings.

S3

Proposed Buildings Pedestrian Lanes Facade Improvements M3

L1

S1

S2

L3

M4

M1

L2

© Duany Plater-Zyberk & Company.

© Duany Plater-Zyberk & Company.

Miami 21 Capacity Studies, 2014

Brazil Apartment Building, 2014


miami apartment building independent project summer 2014 miami, fl

while living in Miami, I became inspired by the architectural vernacular of Miami Beach and Little Havana, places that mix Art Deco and Moorish influences with a more tropical aesthetic of white walls and brise soleil. Seeking to express my own interpretation of this idiom, I designed an apartment building for a lot currently under development on eighth street, featuring four retail spaces, twenty-one residential units, a parking garage, and a pool all organized around a central patio on the Spanish/Moorish model, a private shaded gathering space. By placing a structural grid of columns and balconies outside of the building itself, all sides of the building are ensured protection and shading from the hot Florida sun, and most units are given generous balcony space. The alternating rhythm of the facade and the spiral patterns at the corner help give the building a dynamic overall composition.

The Webster, Miami Beach

Moorish Architecture

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third floor plan

ground floor plan

retail/cafe

retail

1 br

courtyard

2 br

retail/ office

parking garage

at 24’

at 30’ 1 br st

1 br

1 br

st

2 br

second floor plan pool

at 16’

1 br

balcony deck

st pool

st st

1 br 2 br

parking garage

1 br open to below

1 br

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1 br

1 br 1 br

1 br

1 br

at 12’

section

c.yard

br

br

br

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sketches

Princeton University Chapel, New Jersey

Bo Bardi’s Pompeia Center, São Paulo, Brazil

I think of the sketches presented here as “reading exercises” I undertake in order to get to know a building or urban space in all its detail. All these sketches were made within the space of an hour or two, on site.


Abandoned Foundry, Caja de Maipo, Chile

43 Old Customs House, Key West, Florida


Calle Tizol, San Juan, Puerto Rico

Main Square, Iquique, Chile

44


El Morro Fortress, San Juan, Puerto Rico

45

Plaza Libertad de la Prensa, Santiago, Chile


Bo Bardi’s Museu de Arte São Paulo, Brazil River Mansion, Tigre Delta, Argentina

Bo Bardi’s São Paulo Museu de Arte, Brazil

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Shenandoah Houses, Miami, Florida


47 Le Corbusier’s Casa Curutchet, La Plata, Argentina


Sultan’s Palace, Istanbul, Turkey

Arcade, Bologna, Italy

48


49

49

Old Church, Mexico City


Casa Bo Bardi, S達o Paulo, Brazil

Overpass,before Overpass Williamsburg, the Rainstorm, New York Williamsburg, City New York City

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51

Colonial Street, Puebla, Mexico


Misha Semenov / Design Portfolio  

Architectural and Urban design; sketches; photography

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