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- polina morova

architecture portfolio


POLINA MOROVA

15000842

B A X X

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introduction

My life is like an open book, I am very easy to read but difficult to understand. To explain myself throughout the pages of this portfolio, it must be constantly kept in mind that no one is able to unify the idea of common interest, and that we are unique from one another. After breaking the barrier that is known as the cover of this portfolio, my work will follow the aim to be honest with my reader and myself.


project 01.

project 02.

project 03.

Charrette

Beyond the frame

Reading room

project 04.

project 05.

project 06.

project 07.

project 08.

project 09.

Architectural Technology

Architectural Technology

Architectural Principles and Theories

project 10.

project 11.

project 12.

Architectural History

Architectural Representation

Independent project. Park cinema theater

Row house typologies

Row house living

Architectural Representation. Booklet


learning summary The following portfolio is an interpretation of my commitment and enthusiasm to architecture. It contains examples of what I have accomplished during stage 1 of the K100 course at Newcastle University. My first year as an architecture student was a breaking point to a completely new world and new ambitions. Intense, but so enjoyable it has not only provided a better understanding of structure of architecture as a profession, but made me reconsider the philosophical side of my future as a professional architect. In addition to this, I’ve gained a better appreciation and understanding of architecture, and its Impact on my daily life. This year has provided an innumerable amount of opportunities to demonstrate and improve upon my architectural skill set. The first two projects included, Architectural Representation and ‘A room

beyond the frame’, these projects would be there first steps upon this architectural journey, where my drawing and modeling skills were significantly developed and were continuously refined as the year progressed. In contrast to previous projects, the latter projects of the year gave us the opportunity to design a structure upon a specific site. Site analysis was vital, and indicated the importance of considering architecture not as a separate aspect, but within its surroundings. To tie in with architectural technology and history lectures the projects in second semester would expanded my architectural knowledge and greatly contributed towards my desire to grow professionally. Group work on the ‘Row House Typologies’ project highlighted the importance of communicational and collaborative skills within the field of architecture . Although, despite qualities been improved, 1st year also

showed the importance of learning something new every day. For example, the Architectural Representation project has enlightened me to the endless possibilities and opportunities that modern-day technology has to offer. I have been introduced to and able to grasp software such as: InDesign, Photoshop, Revit, Sketch up, Dialux, all programs that I will endeavor to exercise throughout summer, in order to improve my skillset. Overall, first year has helped me to realize that architecture was my natural choice. This summary could never articulate or encompass my enjoyment or passion towards the subject, nor be able to fully encompass my experiences through out the year. I now feel prepared for more complicated projects and I eagerly await the second year.


01 charrette illusion of architecture We introduced architecture that mystifies, alludes, intrigues and confuses. The aim was to entrap and transport the viewer to another world, changing their perception of architecture and space. Over the five days, four groups tested & built separate structures that create different optical illusions: 1. Sensory overload - A room with overwhelming geometry (ref. Peter Kogler, Markus Linnenbrink) 2. Anamorphic performance - Single/multiple viewpoint anamorphic optical illusion (ref. Felice Varini, Dan Tobin Smith) 3. Mirror mirror - Confusion of self through reflections, retractions & colour (ref. Arnaud Lapierre, Rashad Alakbarov) 4. Gravity shift - Physics defying illusions and clever adaptations to cultural conventions (ref. Kyung Woo Han, Leandro Erlich)

mirror mirror In our group we endeavoured to reflect the most intriguing interpretations of reflection itself. It was decided to separate the theme into four contents, which individually produce different experiential qualities. Moreover, each of them had a significant idea behind and enabled one to look at the world differently.


projections

Entering the room one sees projected on the wall video we made about architecture student’s life. It showed Charrette working process, where students of all stages work together as a big team. Moreover, we created an optical illusion on front of the screen: random pieces of plastic of different colours were from the first glance put without any order, although from the right angle one could read: APL - the name of the course that united us.

Another part of installation was located in the opposite corner. Inspired by famous British artists Tim Noble and Sue Webster we created a shadow skyline of Newcastle diverse materials includ-ing household rubbish and workshop left bits. With combination of light and shadow we turned an abstract composition that looks like nothing from the first glance, onto a piece of art.

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mirrors

Another part of installation was focused on distraction one from the world around. Cubed were mirrored from the inside as shown on the picture above and acoustically insulated. The space inside was a complete contrast to surrounding installations, as it was very intimate, deep, almost infinite space. The main idea behind, was to create a sense of detachment and even loneliness, compared to wild and crazy atmosphere of Charrette itself. Each visitor experienced it differently: ones though it was weird and even terrifying, whereas another found it intimate and deep. Although it is questionable whether the installation was a pleasant experience for everyone, it was definitely outstanding.

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mirrored cubes The final touch was an arrangement of mirrored cubes outside the building. The intension of which was to redirect one’s attention. With this installation usual walk to university became a complete new experience. Angles were set in order to indicate the most intriguing detail of its surroundings. Whether it was a detail of architecture building, a head of the tree or even a cloud, it helped us to better understand the importance of looking at the world from different perspective.

This short project was a great opportunity to meet your course mates and feel the intense but individual atmosphere of architecture program. Moreover the mixture between students of different stages provided significant experience of team work and expanded such concepts as leadership and competition. Exhibition at the end of Charrette exceeded all my expectations, as I could not believe that in only one week it is possible to do such a huge amount of work and do it well.

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02 beyond the frame Woman Lacing Her Bodice Beside a Cradle, 1661-63, Oil on canvas 92 x 100 cm, Staatliche Museum, Berlin The project was focused on orderly domestic interiors depicted by Pieter de Hooch in Holland during the mid to late seventeenth century. It began by observing, sketching, drawing and modelling the fragment of the house in the painting, before designing a new room beyond it. Learning Objectives • To engage with and develop the brief through sketchbook and sketch models •To articulate the internal qualities and the sequence of spaces of an existing house through models •To design an internal space of a room beyond the frame at 1:20 scale •To make coherent oral presentations of ideas articulated through sketch models and final model


original painting We were required to design a new room beyond the frame of the existing painting. It should be located adjacent to the fragment of the painting studied. Original painting appeared to be an initial state from which to begin. It was thoroughly analyzed in terms of the room character and the story behind it in order to produce a coherent design. Moreover, it was essential for me to look at the examples of 17th century architecture of Holland in order to better understand its character and create s design that would be close to its origins. Despite the original room of the house its was significant to consider the rooms beyond the frame and the space outside. The primary focus was on designing a room, a studio space for an artist in the house. Therefore, it was essential to think of a day life of an artist to better orientate the rooms in the house and make the most of artist’s spatial experience. Study models were used to confirm an overall make up of the house. I suggested three different ways of studio location, where each of them has its own benefits and disadvantages. Although it was necessary to evaluate which idea was the most successful in terms of spatial organization.

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study models

First idea was based on studio being both private and public space. Atmosphere in the studio changed with integration of double ceiling in the design. Moreover, artist got an opportunity to install his works on the wall, while family and visitors could watch him work from the 1 floor height. Although it was quite a brave decision to make, it is questionable whether such a design would provide enough privacy to an artist.

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In this design I decided to locate a studio on the ground floor at the back of the house, so artist has his own access to a back yard and can spend some time outside getting inspiration or even working. Although that position would make studio the part of the floor which is usually widely used in a day time and, thus, it might be distracting to work there. Although with more insulation in the walls the problem of noise could be solved.

The last and the final design suggested studio being on the first floor and have its own access. So, 1 floor was devided into two zones, one of which was the artist’s studio and the other was used as bedrooms’ arrangement. I chose this design in particular, because for me intimacy in a working space is essential and, moreover, with such a detachment from the rest of the house gives an opportunity to the artist to design it himself in the most comfortable way.


sketchbook work

Sketchbook was a vital part of the design process. All the initial ideas were documented and analysed. Development of one idea led to new investigations. I used both two- and three- dimensional drawings in order to better understand proportions and atmosphere of the design and edit it as appropriate. In cooperation with sketch models, sketchbook provided an opportunity to test design concepts before making final model. Moreover it allows a reader to almost walk through all the stages of design process and see the physical development of ideas over time.

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final model

Final model is an abstract representation of the building, particularly its section. I endeavoured to interpret rooms more realistically in order to provide better understanding of spatial qualities and atmosphere of the house. Although in terms of materiality I used only three different materials: brown, grey and white card, so it does not distract from the main values. Pictures above indicate painter’s studio. It is located in the Northern side of the house in order to get an appropriate light that would be comfortable to work in. The access is private so artist can pull away from the rest of the house members.

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close-up photographs

Close-up photography once again illustrate material and spatial qualities. Moreover, it is a fascinating way of seeing the space from a totally new perspective. By moving in closer one starts to see new details that were just a blur of colours from a distance. The model itself takes on a whole new look.

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additional work

Although the latter design had a number of limitations. For example, the rest of the house would have to use his access to get to the 1st floor and therefore irritate or distract him from work. Moreover, that wouldn’t be comfortable for family members either. After a thorough analysis of the model I suggested a new studio location in the attic, which would solve the problem of 1st floor access and add a different quality to the atmosphere of the studio itself.

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Studio

Stairs from the 1 floor to the studio Living room Bedroom 1

Bedroom 2 Kitchen

new design House section suggest the new design interpretation.Now the old studio location became asocial area or living room, connected with the main bedroom. Ground floor is devided into lobby, kitchen and two bedrooms. Kitchen has a double cieling for increasing the amount of light on the ground floor and acoustically connect kitchen and living area. Studio space itself is more private, although the area of it increased. The only accessare the stairs from the 1st floor, although artist has an opportunity to close the open space with a simple mechanism .

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03 reading room A book is a dream that you hold in your hands. --Neil Gaiman The project was aimed to design a small community reading room, which would run by the re-cently founded Heaton Literary Cooperative. In order to ensure the viability of the reading room, the design will be situated adjacent to existing community facilities, enabling it to be used by a variety of different users. The design is multifunctional; capable of hosting reading and writing groups, book clubs and children’s storytelling sessions. The project was aimed to design a small community reading room, which would run by the recently founded Heaton Literary Cooperative. In order to ensure the viability of the reading room, the de-sign will be situated adjacent to existing community facilities, enabling it to be used by a variety of different users. The design is multifunctional; capable of hosting reading and writing groups, book clubs and children’s storytelling sessions.


developing process As Heaton Reading room was the first project where we were designing a building for particular area, it was essential to focus on site analysis and endeavour to collect all the information that could potentially influence the design. Heaton is a vibrant, multicultural and popular area. When visiting it both quantitative and qualitative characteristics of the site were evaluated. Such aspects as main accesses to the site, social characteristics of the buildings around and sun path had been thoroughly analysed. Site analysis was one of the key factors in design development. Site model was the starting point of the design. It provided a better understanding of the scale and character of surrounding architecture.

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Study model provides an opportunity to test the best ideas and experiment with light and shadows. Moreover, building a physical model helps to better understand the scale and proportions of the space itself. It is essential to follow all the size guidelines in order to provide a comfortable dwelling and to make sure that form follows function. Mainly through sketchbook and study models occurs design process. After making a sketch model all potential limitations were indicated and improved.

study model and sketchbook work

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final design west elevation 1:100

south elevation 1:100 plan 1:100

west elevation 1:100

Technical drawings provide coherent presentation of design concept. Both interior and outside spaces are shown. Plan, section and two elevations represent the main features of the design itself. Although it is questionable whether 1:100 scale is suitable to represent spatial qualities and atmosphere of the building.

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key section 1:50

Key section illustrates how library is going to be used during the day time, the reading rooms connection to its context, indicates the main light sources in the building. Reading nooks are located in a southern part of the building, thus separated from the central area, so readers can get some privacy. Although the main space is widely occupied, it is divided into several zones and people may use whichever they prefer. Moreover, children’s space has a drawing board and various books in order for them to enjoy time spent in the library. Building itself was designed in order to create a comfortable atmosphere for both children and adults.

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clouds Personal interpretation of acoustic clouds that prevent sound from bouncing around the room by absorbing unwanted sound waves and reducing reverberation times. Clouds are made entirely from sustainable materials. Although since the amount of should would be quite low already comparable to a noisy restaurant where acoustic clouds are primarily used, I decided to spread them and make more decorative as shown on picture above. Despite acoustic purposes, clouds would separate the building itself into zones and create various light effects depending on a day time and amount of direct Moreover, these interventions add aesthetical quality to concrete building and the area itself. Romantic sculptures with an interesting texture used. Feeling of material lightness makes one want to touch them. Ultimately, clouds are universal, although by putting them indoors you completely change the context and atmosphere inside the building.

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final model

Final model was accurately made in order to create a proper interpretation of design concept. Use of onlytwo materials insures the one will not be distracted from the space itself, where clarity of lines and simplicity of shapes create a balanced deaign. For Heaton such design solution would potentially be intervention, as it doesnt reflect materials mainly used in the area. Although it is definite that it would become a central point for human interaction in both inside and outside spaces.

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reading nooks

Reading nooks form windows on western side of the building. Although they were designed in a way that each reader can close a curtain and make a nook more intimate. Four nooks are located on the op-posite sides of the space, however not right opposite each other to provide feeling of privacy. 2 of them are higher than enough to insure that people of all ages would be comfortable to use it. Main material used is wood although the nook itself has several cushions to insure soft seating.

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04 row house typologies We arrive at shapes too quickly because we take the end products of the creativeness of other people and read into them certain appropriateness; whereas we should arrive at these forms ourselves through some internal inspection of the spaces to be read. I believe that we should study the masters of today from the standpoint of how they can make beginnings for us . . . --Louis Khan

The project scrutinised significant 20th century row house typologies and possibilities of urban dwelling – through reading, discussion, modelling, drawing and writing. In a group of six we studied Soholm Housing Estate, Klampenborge, Denmark by Arne Jacobsen. Each student contributed equally to both research and presentation: 3 model making students (James Bacon, Yuze Tian, Polina Morova) and three students making booklet (Jonathan Pilosof, Susanna Smith, Hattie Reeve).

SØHOLM ROW HOUSE Learning Outcomes/ Objectives: • To interpret and understand the siting, spatial, material and environmental qualities of the dwelling • To communicate the analysis in a well-crafted model and carefully designed booklet • To work effectively in a group •To make coherent oral and graphic presentations of ideas


The staggered nature of the building in a geometric play gives more privacy in comparison to a classic terrace. Combined with the displacements of depth, that creates the impression of unique volumetric complexity. The architect’s north eastern facade is faced directly towards the beach providing the best view. The main practical feature being to ensure a proportional amount of light to the kitchen which was placed in the middle of the house, therefore light is gained from the long facade. The east facade on the sound, the brick walls, making up more than half of the individual houses facade are turned off from the house to stand in the same vertical plane. This creates oblique niches between the walls.

Proportions to the facade were also considered, the elevation to the sound was noted above, but another example is the house protruding facade of Sollerod city hall. Mostly the positioning along with its pragmatic approach was a liberation of early modernism from traditionalism.

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booklet The balcony is on the south side of the building indicating that it was strategically positioned to get optimum light, however its South Eastern angle prevents direct southern light, due to the glass frontage on the balcony this would also help prevent overheating during the summer months. The outdoor landscaping is also very meticulously played out and identical on each house, it was again a landmark in botanist design of the garden to reflect that of the symmetry of the housing. He used plants to create a harmony with the surroundings.

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Booklet was professionally made by Jonathan Pilosof, Susanna Smith and Hattie Reeve. With delicate touch they produces a coherently presented booklet that is aesthetically pleasing to look at and simple to understand. Successfully done booklet appears as a great representation of Ja-cobsen’s original design concept. Ultimately, as a group we made a great progress from the beginning in terms of understanding and helping each other and produced high quality work.

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05 row house living Form must have a content, and that content must be linked with nature. --Alvar Aalto Learning Objectives: •To understand site analysis techniques as they relate to your building •To engage with and develop the brief through sketchbook and models •To develop spatial, material, and experiential qualities of your building through sketch books, models and drawings •To make coherent oral and graphic presentations of ideas Project was aimed to design a dwelling. The main condition is that the designs must conform to the volumetric shell set down by the local planning authority.


inspiring. enabling. contemporary

design development

First client meeting revealed all aesthetic and spatial qualities wanted from the design. Three key words given became a starting point for design development. As our client was Finnish, as Scandinavian architecture is very popular for its strong connection with nature, I decided to make a particular accent on this: use natural materials and organic shapes in the design itself. Although with such a narrow site (5 m) it was essential to carefully consider the use of space. Therefore I concentrated on coherent and functional spatial organisation.

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study model Main study model 1: 50 was made in order to test key ideas and indicate main limitations of the design. It has shown that some spaces were too narrow for comfortable dwelling, which was changed with a further development. Furthermore, it helped to evaluate needed reconsideration of such aspects as daylight, circulation and ventilation in the building. Putting people to scale provided better understanding of spatial qualities in the house. However in cooperation with a site model it was shown that exterior space needs more thinking. Sketch model was significant factor that influences the final design.

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design development

Further development was made in most of design aspects. Particularly I concentrated on factors that would mainly affect one’s dwelling. First of all, interior spaces organisation was completely reconsidered in order to produce equally wide spaces for all members of the family and potential guests. Additionally, roof shape was changed in order to get more daylight in the middle area of the house and to properly organise rainwater movement. Exterior design also needed development. As the site is sloping, I endeavoured to design the house so it hardly affects natural ground level and minimum work is needed. Therefore there are noticeable level changes through-out the design, including the courtyard. It was divided into three platforms, where two are connected with two main buildings, and the middle one is a centre of human interaction outside. It is wide enough to suggest various activities for people of all ages.

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Final design appeared to be successful in both aesthetic and practical qualities. Picture on the left illustrates the main building facade and potential human interaction on James Place Street, however instead of the trees there would be various detached houses next to it. Although design concept itself is quite modern and outstanding, use of natural materials in it would make it more coherent within its surroundings. Industrial quiet area would create a nice balance with the design.

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Final model was accurately made. I used several materials for better interpretation of design concept. Primarily the building would be made with wood: burned oak, although it is questionable whether dark materi-al on the model itself would be the best presentation. Therefore I used white card with added texture on it. For representing timber floors and walls balsa wood was used, whereas all other materials were shown with grey card. Colour pallet of chosen materials creates harmony within the design and textures applied make it look more finished and realistic.

final model

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technical drawings 6000

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ground floor plan 1:50

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Section and plans give a client to better understand design concept. I aimed to allow natural slope of the site as much as possible therefore most of the room or “zones� are separated by lev-el changing, which is illustrated on my section. 1

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Ground floor plan 1 : 5 0 1 - entrance 2 - living 3 - kitchen 4 - dining 5 - courtyard

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Studio ground floor plan 1:50 1 - entrance 2 - working space 3 - bathroom 4 - exit to the backyard 5 - backyard

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1st floor plan 1:50 1st floor plan

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1 - landing/living 2 - insuit bedroom 3 - bathroom 1 4 - sauna 5 - bathroom 6 - bedroom 2 7 - balcony

Studio 1st Floor plan 1 - entrance 2 - bedroom 3 - bathroom

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north-south section 1:50

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06 architectural representation practice makes better

--Brian Lies The booklet shows 6 tasks: • Representation of a measured room: plan 1:100, 2 sections 1:100, detail drawing 1:10 • Hollow small object or door-handle in a layout format: plan 1:2, section 1:2, elevation 1:2 • Observational drawings: observational drawings of the room measured in the 1st task • Photographs (3 no.) showing spatial qualities • City Drawing - sketching architecture: A1 size charcoal drawing and several sketches of particular city location • Charcoal large scale drawing: one large drawing and a few smaller drawings during the scheduled Liv-drawing sessions Each of the tasks is presented in a graphically consistent manner. Material presented is both visual and textual in nature.


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07 architectural technology

coursework1

This project was aimed to have an experience of structural analysis, which includes material weight, proportions, thicknesses of structural elements and safety factor calculation using Slenderness ratio. Additionally primary, secondary and tertiary. Building taken for analysis is a concrete slab structure with steel reinforcement. Building has to load-bearing walls and two non-supporting walls. Calculations were made in order to insure that building structure can stand both dead load and imposed load. Additionally section was made to indicate all walls thicknesses and its components


08 architectural technology coursework2

The main focus of current project was to anylise how light spreads within the building. Two rooms were taket for analysis. With Dialoz program I reconstructed windows in both of them and calculated a Daylight factor. Then According to the numbers, changes in design were made where appropriate in order to reach comfortable Daylighht level. Particularly, window sizes were reconsidered.

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09 architectural principles and theories Essay question: Choose a building that you admire and that you know well. Try to explain, in 1500 words, with illustrations if appropriate, what it is about the building that makes you feel that it is good.


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10 architectural history Essay question: Analyse in depth any characteristic aspect of the building or site. These might include not only architectural discussion but also social or environmental factors or concern processes of designing and building. However, the analysis must deal with all the complexity of the chosen aspect and not be a simple description, as well as it should relate clearly to any architectural aspect or discus-sion.


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11 architectural representation

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12 park cinema theatre design

Main idea behind the design- connection with nature and creating a balance between building and its surroundings. Location in the forest itself calls the creative impulse to use natural materials and organic shapes in the design. Clar-ity of elements brings the feeling of lightness top the building. Although, in current project it is not only essential to reach an aesthetic approach, but consider whether design follows its function. During a day time when film screen-ing is not possible because of direct solar in the building, therefore it is used as a cafe, bar or just a place where one can get some rest, read and just distract from the glare outside (Section B-B). Primarily, transforming rows of cin-ema theatre are very practical, as they easily constructed in a structure approximately 1 meter wide (Section A-A). This engineer move provides multifunctional character to the design.

In 1:200 plan illustrates diagrammatic orientation of space within the building. Despite the interior space, there is an arrangement of secondary seating spaces outside the building (Front Elevation). Steps of the stairs are wide enough for a comfortable seating. Thus anyone who didn’t find a place to seat inside can spend a nice time outside enjoying shade coolness and a nice view.

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Profile for Polina  Morova

Morova Polina 2016  

Stage 1 Architecture Portfolio.

Morova Polina 2016  

Stage 1 Architecture Portfolio.

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