Tareikina Uliana portfolio 2024

ARCHITECTURE

DESIGN

PORTFOLIO

TAREIKINA ULIANA 2020-2024

CV

TAREIKINA ULIANA

15.03.1999

WORK EXPERIENCE:

CONTACTS:

IN THE OFFICE

E-MAIL: ULATAR3@GMAIL.COM PHONE.: +7(926) 25-06-68 INTST: TAR3LO4KA

Architect in the «Project Meganom» — summer 2022 - summer 2024 Responsibilities: analysis, design of architectural concepts, preparation of project documentation and presentation materials, meeting and discussion with clients

FREELANCE

Teaching Assistant in the group prof. Grigoryan Y., MArchI- September 2022 - present Responsibilities: support of students’ learning process, consulting in project preparation, methodological support

THE EDUCATION: Moscow Architectural Institute — 2017 - 2022 *meganom studio prof. Grigoryan — 2019-2022

ARCHITECTURAL COMPETITIONS:

Design and architectural guide for the festival “THIS SUMMER” — spring-summer 2024 *realisation Responsibilities: design concept, preparation of presentation materials, project documentation and technical tasks, meeting and discussion with clients, architectural support Architect in Citizen studio — autumn 2023 - winter 2024 Responsibilities: analysis, design of architectural concepts, preparation of project documentation and presentation materials

docedoce competition 2018 120 hours 2019 UNI competition «light of city» 2019 Rural tourism accommodation 2020 Competition ASI «24 hours Idea » 2020

Design project of the flat on the Kutuzovsky avenue — spring 2022 *design Responsibilities: design of the architectural concept and plan, preparation of the project documentation and presentation materials, choice of building materials and equipment, meeting and discussion with clients

LANGUAGES:

Design project of artist workshop— 2021 - 2022 *realisation Responsibilities: design of the architectural concept and plan, preparation of the project documentation and presentation materials, choice of building materials and equipment, meeting and discussion with clients

Russian - native English - upper-intermediate B2

Design of stands and items for the MOWE brand— 2021-2023 *realisation Responsibilities: design concept, preparation of presentation materials, project documentation and technical tasks, meeting and discussion with clients, architectural support Internship in the «Project Meganom» — summer 2021 *in progress Responsibilities: historic analysis, design of the architectural concept for the historic building in the territory of the Pushkin Museum of Fine Arts, preparation of presentation materials, meeting and discussion with clients

SOFTWARE REVIT

RHINO

A-CAD

Mc.Of.

50%

70%

40%

80%

Ad. Ph.

Ad. Il.

Ad. In.

V-RAY

ENSCAPE

90%

80%

80%

40%

60%

Project manager of the cafe EGGsellent — summer 2020 *realisation Responsibilities: choice of building materials and equipment, project management (control of duality, timing, budget), meetings and communication with clients and contractors

“This summer” festival

Residential estate «Tiger-Park»

House in «Tiger-Park»

28-29 30-35

Lodge in the Pushkin Museum

36-37

Residential district “Mitkovo”

38-47 48-51 52-57

20-21 22-27

16-19

12-15

6-11

CONTENT

Artist workshop

Work with the MOWe brand

Archetype “the game”

Theatre «In a search of lost time»

Survey of the canonical building of my diploma

canonical building

THE PART 1

RESIDENTIAL DISTRICT “MITKOVO” THE CONCEPTUAL MASTERPLAN AND DESIGN FOR NEW RESIDENTIAL COMPLEX TEAM: CITIZEN STUDIO+ TAREIKINA U. TASKS: DESIGN OF MASTER PLAN, FACADES, LANDSCAPING, PREPARATION OF PRESENTATION MATERIALS

Chapter 1. GENERAL DEVICE

diagram of pedestrian traffic

pedestrian traffic

diagram of venicle traffic

venicle traffic

landscaping scheme

green area

scheme of public spaces

boulevard square park yards lanes streets

territory paving scheme

diagram of joining different types of paving

2024

The redevelopment project of the former industrial area along the railway tracks include three theses: a linear high-rise city along the railway, urban sculpture, and spatial scenography.

The linear shape of the site sets a new dimension and is supported by a boulevard. The mixed-height buildings with high-rise accents and contrasting typologies create diverse levels of perception and spatial richness.

6

ground floor plan

typical floor plan

retail lobby kindergarten office retail office lobby

studios two-room euro ap. three-room euro ap. four-room euro ap. office

7

Chapter 2. MAIN POINTS materiality of facades

One of the tasks was to achieve a variety of facades, which is achieved through the choice of different materials and their colors.

improvement

boulevard-sport-rest zone

boulevard - playground - rest zone

boulevard-square

boulevard-square-alley

The territory is divided into areas of different intensity and scenarios, which create a reflection of the different urban characters.

apartmentography

studios 2room euro ap. 3room euro ap. 4room euro ap.

8

9

THE PART 2

LODGE IN THE PUSHKIN MUSEUM 8H. 11 B.

DETAILS 1.

THE PROJECT OF«PUSHKIN MUSEUM LABORATORY» OFFICE «PROJECT MEGANOM» TEAM: TAREIKINA U., ALEXEENKO P., NESTEROVA E. TASKS: THE HISTORIC ANALYSIS OF BUILDING AND PLACE, DESIGN OF CONCEPT, PREPARATION OF PRESENTATION MATERIALS, MEETING WITH CLIENT

5.

the newest masonry

The lodge has a long history and we emphasize it with uncovered masonry.

plastered masonry the newest masonry

gutter

historic masonry

ground sand drainage pipe d110 rain collector drainage pipe around the building

facade

masonry of plinth local drainage system device of pipes

2.

The door is the place where the environment and the artists world meet.

2021

canopy with lantern window - peephole post hole

entrance

4.

3.

The main goal was the restoration design of the 1810 building. We had to create a place for a new function, which was an art-residence. Our approach was a dividing the building into several parts, such as doors or roofs, and then consider them as self-sufficient architectural elements.

My task was to design the exterior of our lodge, including the facade, roof, door, gutters.

12

The plinth is the place of connect between rhizosphere and the lodge. There are some additional functions such as a resting place, a flowerbed with gutters.

historic plinth

flowerbed

the first plan

ground sand gravel drainage pipe d110 sand sculpture of the plinth

13

RESEARCH This building is a wing made of bricks and stones, which survived the Moscow fire in 1812 and has stood to this day. The lodge was built on the site of stable buildings from the 18th century. It had been a continuation of utility and stable buildings on the backyard site from the left border. After its purchase by E.I. Kulikov, the house changed its function to residential. Also, a two-storey wooden utility construction with a gallery was added to the lodge. It is possible that the wing was reconstructed by architect Talmer for the Monakhov family in 1840. Later, in the year 1853, when the area was taken over by Volkov, the building became a residential house again. At the start of the 20th century, due to the assumption of power by the USSR, the lodge started to be used as communal housing.

Throughout different times, our house has been associated with various owners and used for different functions. Originally, it was owned by the Glebov family. In 1814, the land was bought by the provincial clerk Kulikov, and later it was taken over by his wife.

Eventually, it became government property under the USSR. Over the course of a hundred years, the site has been reshaped and transferred between owners, but the lodge itself has remained almost unchanged. analysis of facade masonry

-Вычинка поздней кладки и ее замена -Восстановление кладки -Восстановление кладки -Перекладка замковых камней -Вычинка кладки и ее замена -Перекладка в толщину стены

-Сохрененный исторический кирпич -Перекладка в толщину стены/ восстановление кладки -Вычинка кладки и ее замена -Сохрененный исторический кирпич

1м

overlap

roof with mezzanine and chimney

overlap

interior

base slab

14

1м

2м

designed

originally lodge condition

historic bricks masonry

0м

interior

plinth and porch

15

THE PART 3

“THIS SUMMER” FESTIVAL

vip zone

5

3 4

1 2

agile games

main stage

DESIGN AND ARCHITECTURAL GUIDE FOR THE FESTIVAL TEAM: TAREIKINA U. GAGARKIN D. TASKS: DESIGN OF THE DESIGN’S CONCEPT, PREPARATION OF THE PROJECT DOCUMENTATION AND TECHNICAL TASKS, CHOICE OF EQUIPMENT, ARCHITECTURAL SUPERVISION

food court

2024 lectorium stage

entrance wall quiet games

work shop zone

entrance

festival plan in the garden

garden city movement

Development and guide for festival partners. They were formed around the theme of childhood and family.

Garden city movement is the central idea of the festival space. It is a place where the adult urban world meets the natural world of childhood.

Active and dynamic, urbanized and strict locations for adults are combined with a serene, joyful, and earth-connected place for children.

adult world

world of festival

children world

art

creation

game

+

layher construction

garden

city

lecture hall workshop quiet rest

concert sport active activities

quiet

loud

+

banner mesh

canvases, flags

+

wood (plywood, chipboard, MDF)

festival zoning loud zone

graphic images and identity

general formula of architecture quiet zone

Chapter 2. PLAN OF THE GARDEN VIP ZONE

MAIN STAGE

The VIP area is a light, airy space with interior sails, LED screens like a river, and abundant greenery.

The stage is the main area of the festival. It is as simple as possible, decorated with white banner mesh, and its main feature is the lighting of the interior space.

The food court is an outdoor relaxation area with benches like those in the mountains and similar food pavilions, reminiscent of mountain kiosks.

festival border

festival border ADDITIONAL ENTRANCES LECTORIUM STAGE

AREA LALALALA SOME INF LALALAL SOME INF LALAL

The lecture hall is an educational zone in a tranquil part of the festival, connected with the theme of a garden. Therefore, the stage itself is designed as a large camp canopy made of construction netting.

MAIN ENTRANCE

The pavilion image is a greenhouse. The recognizable shape immediately evokes associations for visitors and conceptually continues the idea of the entire 'Garden City' festival.

NAVIGATION AND ENTRANCE WALL

18

WORK SHOP ZONE

ENTRANCE

The entrance is the first space that visitors interact with. The main thing here is to immediately create the right impression, which will further unfold during the festival itself.

FOOD COURT

19

THE PART 4

Chapter 1. THE NEIGHBOURHOOD

RESIDENTIAL ESTATE «TIGER - PARK» STUDENT PROJECT IN THE GROUP «PROJECT MEGANOM» TEAM FOR THE DISTRICT: TAREIKINA U., GORYACHEVA U.,MOSTOVOI M., KROMARENKO CH. TEAM FOR THE HOUSE: TAREIKINA U. 2021

The area is divided into four various language microdistricts, each of which has the same main structure.

RESIDENTIAL HOUSING MSU STYLOBATE PARK ROADS

The project is a shifter. Firstly, a park is developed, as well as its history and stories. Then, its shape and design influence the public stylobate. Only at the end residential housing arise.

The project resolves several problems of the site and its surroundings, such as the lack of rich infrastructure, monotony in the city landscape, and a loose and fragmented environment.

The project suggests some solutions, including a unified park that forms the main public space and development.

Thanks to this, every house has access to the park.

20

residential housing

tiger- park

public stylobate

Master plan of the full area

21

Chapter 3. HOUSES IN “TIGER-PARK” PRINCIPALS OF THE BLOCK

1 STYLIBATE

GENERAL SYSTEM

* commercial area + MSU

* one module * connection of cores

TYPE 3 housing: flats inhabitant: teachers and professors

3 TYPES OF HOUSING * dormitory * flats for short-term living * flats for long-term living

MODULE

TYPE 2

1 М = 6000 мм 1/2 М

1/2 М

housing: apartments inhabitant: teachers and PhD students

1/2 М

1/2 М

Дом 1/2 М

1/2 М

4/10 М 1/10 М

7/10 М

1/10 М 4/10 М

Стилобат

TYPE 1

1/10 М 2/10 М 3/10 М 4/10 М

housing: dormitory inhabitant: undergraduate students and PhD students

3М

VARIANTS OF CORES LOCATION Блок 9 х 9 метра

Блок 6 х 12 метра

Блок 3 х 18 метра

MSU- STYLODATE

TYPES OF STAIRS

freestanding

bearing wall

22

around the elevator

bearing column

bearing construction

23

Chapter 4. TYPES AND DEVICES OF HOUSING The best module was found for our master-plan, which is an 18x18x18 meters cube. This uniformity allows for a wide range of interior possibilities. The starting point for the research was the main core of the building, which is a stair lift unit.

Furthermore, I began developing three types of housing with three different configurations and using stories cores.

Т2 HOUSING: APARTMENTS INHABITANT: TEACHERS AND PHD STUDENTS

There are stairs that are divided and located in different corners of the floor.

The public balcony surrounds the levels and becomes a meeting place, not only a route between layers.

15 NOBOL

Section 1-1

Т3

HOUSING: FLATS INHABITANT: TEACHERS AND PROFESSORS

The most interesting aspect is the flats, which are combined together as tetris.

Т1 HOUSING: DORMITORY INHABITANT: UNDERGRADUATE STUDENTS AND PHD

The main space is an X-shaped hallway, connecting with the public part of the students' block, and together they constitute the main resting area for the residents.

24

25

Chapter 5. CONSTRUCTION

MODELS

Ceiling finish Reinforced concrete slab 200 mm Shockproof soundproofing layer 20 mm Reinforced cement-sand coupler 60 mm Leveling screed 5 mm Porous substrate 3 mm Piece parquet 14 mm

model of the full area

Ventilated facade system Stone slab 30 mm Air gap 60/130 mm Insulation layer 30 Thermal insulation layer 120 Monolithic reinforced concrete wall Interior wall decoration

model of the one quarter

26

27

THE PART 5

ARTIST WORKSHOP THE PROJECT OF MISHA NIKATIN’S WORKSHOP WITH AN ABILITY OF LIVING TEAM: TAREIKINA U. TASKS: DESIGN OF THE ARCHITECTURAL CONCEPT AND PLAN, PREPARATION OF THE PROJECT DOCUMENTATION AND PRESENTATION MATERIALS, THE CHOICE OF BUILDING MATERIALS AND EQUIPMENT, MEETING AND DISCUSSION WITH CLIENTS

equipment

2021-2022 storage and closets

partition

original box

The studio is the general place for an artist's oeuvre. Here, they create. My task is to design a convenient space for both art and life. Thus, the project appeared with everything fitting into a hidden block of furniture, such as the kitchen. All the furniture can change its location in the area and be folded or stacked.

28

desighn

plan

hallway / bathroom / kitchen-living room-studio

29

THE PART 6

Chapter 1. SHELF IN THE KRUZHOK SHOP

STANDS FOR THE MOWE BRAND THE PROJECT OF EXHIBITION’S STANDS WORKSHOP FOR THE MOWE BRAND TEAM: TAREIKINA U. TASKS: DESIGN OF THE DESIGN’S CONCEPT, PREPARATION OF THE PROJECT DOCUMENTATION AND TECHNICAL TASKS, MEETING AND DISCUSSION WITH CLIENTS, ARCHITECTURAL SUPERVISION

Stand for the exhibition PIR

2021-2023

Stand for the exhibition "Chef's breakfast"

Shelf in the Zruzhok shop

The essence of the tableware brand, named MOWE, is creating everyday beauty. Every item is simple, practical, and functional, while also being aesthetic and elegant.

Because of this, every stand must display that essential idea in their architecture.

30

Stand for the Coffee Tea Cacao Expo

photos of the project

31

Chapter 2. STAND FOR EXHIBITION PIR

Chapter 3. STAND FOR EXHIBITION COFFEE TEA CACAO EXPO

The most important aspect of the project is the tail of an each item's creation, design and production. These stories take a place on the linen canvas on the walls of the stand. photos of the project

32

photos of the project

33

Chapter 4-5. VASE FOR HLEBZAVOD

The inspiration for the vase shape was taken from Tatlin counter-reliefs, who was a constructivist artist.

The conical object form is dissected into two parts and connected again with a shift. The asymmetrical composition becomes more dynamic thanks to the additional lower volume.

Chapter 6. SET OF PATTERNS FOR MOWE & GZHEL PLATES We are all loved observing grandma's flowered sets of dished/ during childhood.

Rethinking this story I applied to abstract patterns which were similar to florets.

Them images softly come to the plate surface like our dreams and memories in mind.

All drawing are made in the moment of dropping brush to the paper in random. The more blows the more flowers, leaves and buds .

photoes of the vase

34

drawings of patterns

plates visualisation

35

THE PART 7

ARCHETYPE “THE GAME”

THE PROJECT OF TRANSFORMED TABLE TEAM: TAREIKINA U. GAGARKIN D. TASKS: DESIGN OF THE DESIGN’S CONCEPT, PREPARATION OF THE PROJECT DOCUMENTATION AND TECHNICAL TASKS, ARCHITECTURAL SUPERVISION 2024 YR. фасад

1 ПОЛЬЗА

КРАСОТА

ПРОЧНОСТЬ

АРХЕТИП ПИРА-

МИДЫ

ДЕТСКАЯ ИГРУШКА

ТВОРЧЕСКИЙ АКТ

МЫ ЗДЕСЬ

НАЧАЛО ИСТОРИИ АРХИТЕКТУРЫ

ПЕРВАЯ ИГРА

A transformable pyramid can be a stool, a table, or just a tray. Its image and outlines are a reflection on the theme of the initial form. At the source of everything is the shape of a pyramid or ziggurat. At the beginning of each person’s life there was their own pyramid, which was easily changed during the game.

In the project, it was important for us to explore the theme of play as the first active act of creation by man, and what he can create during this process.

36

1

ТЫ ЗДЕСЬ

план

d 480 d 440 d 400 d 360 d 320 d 280 d 240 d 220

сечение 1-1

37

THE PART 8

“IN A SEARCH OF LOST TIME” THE PROJECT BETWEEN PAST AND FUTURE THE DIPLOMA PROJECT N THE GROUP «PROJECT MEGANOM» TEAM: TAREIKINA U. 2021-2022

The essential goal of the project is to find a connection between the past of architectural history and its future.

I aim to unite these two points in the timeline through my building.

My approach helps me achieve this goal. In this particular spot, I reverse the typical process of designing. The ruin was created firstly,for people in the future. It takes a place in the middle of my timeline. And after I made a historic reconstruction of it, also I tried to understand what it was in the past. During the reconstruction of this quasi-ruin, I analyze, criticize, and question the architecture.

38

THEN A canonical building of the past that needs to be reconstructed in our memory

BEFORE the ruin

NOWADAY

AFTER A recreated monument of an imaginary past

FURTHER the theatre

39

The start of the project is the search for an absolute building. What could named ideal construction? The main idea is to create a building that exists and does not exist simultaneously.

The concept of the ruin becomes the architectural answer to this challenge.

Theatre also is a unreal and abstract thing. And a performance space is a fiction, however , which borrows all its features and characteristics from the real world.

So the ruin is chose as the context for the theatre project.

Chapter 1. ABSOLUTE BUILDING “RUIN”

capitel

combination of top and lower columns answer the question "What is the ideal architecture for me?”

stay in a two conditions at the same time

built from the stone or concrete

The embodiment of my ideal architecture is an integrated into nature building. We look at it through the hundred or hundreds years after its creation. What had it been before? Temple?

Memorial? Or it had been a burial and a tomb. Nowaday it is difficult to realize. The altar has managed to survive the test of time. A colonnade winds between trees, and forces us to forget where is the interior or the forest. The part of construction is covered by roof with the hole under the ceiling. Here, the stranger may lurk from rain, wait out the bad weather and admire with graceful traces of decoration on the wall.

located in the nature

memory architecture has a roof has a decoration, which tells us some information about building's history

1.

The theatre of the past borrowed and appropriated

2. the theatre of the present is an intervention

3.The entire space of the theatre is performance space

=

1st step axis

40

2nd step original system

3rd step delineation of columns

4th step final system

+

4. The theatre consists of a set of functions, where the hall is main but not essential

plan of the original ruin

41

Chapter 2. PRESERVATION OF THE PLACE

1519 yr. the building near Novo-alexeevsky monastery

1878 yr. near the church of Elijah the prophet

Храм Хиста Спасителя Ново-Алексеевский монастырь

The most famous Moscow wasteland in the Khamovniki district was chosen as the site and place for my quasi-ruin project. This area is surrounded by Soymonovsky passage, Kursov lane, and Obydensky lanes. My interest in this site was sparked by its deserted character.

As I observed it, I started to ask myself, "What was the reason for this empty space in the city center, surrounded by dense development with a multitude of functions, active traffic, and overall high density?"

Step by step, I delved into the history and researched the real stories of the inhabitants and events related to the area. I compared this with the course of the building's life, trying to understand how it could change and why.

Process

1819

4th stage Volume of building

3rd stage Destruction of wooden construction

1852

2020 - nowdays

ого го

рода

-рек

Стена Бел

ква

М ос

1518

2nd stage Land development

а

Алексеевская башня

1st stage Wasteland

Соймоновский проезд или Ручей Черторый

ой

ий п

ов рс

ер.

Ку

Религия Посольства Жилое Жилое+общественное Офисы Музеи/галереи Образование Театр / концертный зал

2022

2026

2nd stage Ruin discovery

3rd stage Ruin arrangement

3-ий

Обыде

е.

нск

п

contemporary situation

Храм Илии Пророка 2-ий Обыденский пер.

2025 4th stage Creation of internal volumes

overlay of general plans of 1787 and 2022 year

1787 yr. map

42

overlay maps

2022 yr. map

1518

2026

5th stage

5th stage

The consult committee Building

Theatre the "Among the ruins

43

Chapter 3. DEVICE OF THE THEATRE The theatre is integrated into the ruin with diffuse way. Performance area take a lot of space in different corners of the building. From the main hall the space slowly go to -2 floor. Which is completely stays open to theatre transformation. And the lobby also could be use for performance. The general site is the open summer theatre pavilion.

It takes a free space between upper columns rows

1-1 section -1st floor. 1. entrance 2. lobby 3. wardrobe 4. toilets 5. utility rooms 6. cabinets 7. dressing rooms 8. workshops 9. theatre hall and stage

-2nd floor. 1. theatre hall and stage 2. additional hall 3. backstage 4. toilets

variant of the 2nd floor * blue is new

-1st floor plan

44

50

0

50

150

-2nd floor plan

50

0

50

150

45

And now, we come to the ruin, and as we go down the stairs, we arrive at the theatre. In the lobby, we are greeted by the sight of only the capitals of enormous, huge columns.

Within these columns' internal space, rooms are hidden. Descending further down, we reach the theatre stage and lower level.

upper colonnade

main hall

main lobby

theatre's level

46

model of the theatre

47

Chapter 4. SEARCH OF THE CANONICAL BUILDING

1

2

3

4

I created a detailed file of buildings that were built before the 16th century, and I marked the most interesting ones. Survived buildings made of brick or stone were usually covered by plaster. They have one common feature: heavy volume walls, with windows covering less than 10 percent of the surfaces and 15-20 percent of the plan.

What does the canonical building mean to me? What characteristics does it have? What am I searching for?

The second part of my project forced me to delve deeper into discovering the site and its context. I also researched Russian historical architecture, past constructions, and their functions. I read a lot of literature, and one essential book was Peter Eisenman's "Ten Canonical Buildings.

5

6

The portrayal of Moscow architecture in the chronicles is incredibly significant.

It appears unreal and mythical due to its planar character. The images are so typical that after a single glance, one can immediately recognize the place. Perhaps the world back then also resembled the images we see in the chronicles. Could it be that the non survived homeland of the past was the same? And Is this the canonical architecture of Russia?

Something went wrong?

What can be fixed?

In the absolute building, the most important component was precisely that it was dual - it exists and does not exist.

This same characteristic was preserved by the ruin itself.

However, when I began to strive to "revive" the ruin, I took the position that the building simply exists and, by some criterion, it is remarkable.

The researched project should also remain dual. It also needs to be examined from multiple perspectives to give it a definition.

IT IS NECESSARY TO RETURN THIS INDETERMINACY

I GAVE UP MY MAIN PECULIARITY - DUALITY.

не существует

моя руина

существует

не существует

мой дом

существует

Все вопросы к времени К пространству никаких вопросов

ICHNOGRAPHY TRACE WRITING ORTHOGRAPHY

Literally, an imprint, for example, in our minds or on the ground.

It can be considered a plan or a map of the area. Here, the description of the route is important to us.

The description of the object in the form of its own image, a certain picture. How it presents itself before us.

STENOGRAPHY

Literally scenography, that is, a narrative about the interior content of the building.

PERSONS

Studying history through faces makes it much easier for us to imagine what was happening back then.

ВСЕ ВОПРОСЫ К ПРОСТРАНСТВУ -ВРЕМЕНИ

Кремлеград, гравюра XIV века

Спасо- Андроников монастырь

Палаты князя Андрея Боголюбского во Владимирской области, 1158

The new perspective, as a scientist-researcher, was needed for me during the historic reconstruction. The method was taken from Vitruvius. His system of storytelling is also used by the Russian philologist Gasan Huseynov. He proposes to not only code architecture but also encode memory. Huseynov adds a person to the original tirade, who becomes the driving force and the face of history.

Старый Английский двор, Алевиз Фрязин

Церковь Рождества Богородицы в Старом Симонове, Алевиз

Симнонов монастрь Хозяйственный корпус «Сушило» («Солодежня»)

Церковь Ильи Пророка на Воронцовом поле, Алевиз Новый

Успенский собор Крутицкого подворья, перестройка Осипом Старцевый

Никольский собор Антониева Краснохолмского монастыря, Великий Новгород 1461 г.

София Новгородская, 1050

Старая трапезная палата (келарский корпус)

Собор Преображения Господня в Новоспасском монастыре

Владычная палата, 1433

Резиденция Андрея Большого в Угличе

The external image

The internal image

He is simple and concise, that's why he is good. And the main thing is that he was obtained by proportioning from the column capital. The object is self-sufficient, and that is its main advantage.

It doesn't need any other additional form.

The internal image is not built on forms. It is built on planes - these are endless walls with frescoes of some architecture.

Церковь Козьмы и Дамиана с Примостья, 1462

The house, in its essence, will cease to exist as an explicable building. For example, spaces will be replaced by walls.

The overall form will not narrate the structure of the house from within, but inside it will be disrupted by frescoes, creating illusions.

Historically, frescoes have always been a story about a new world that has no flesh, but has a metaphysical presence.

Indeterminacy is achieved through the discrepancy between the internal and external.

Кирилло - Белозерский мужской монастрь

Further, I attempted to convey the image of historic Russian architecture.

8

9

10

The sketch of a new image is based on a previous research and assumptions.

There is a external simplicity and inaccessibility, while here is difficult and unusual courtyard and interior space.

11

12

These forms appear due to the connotations of some types of columns on the same level. I aimed to create an illusion of overlapping one facade onto another, resulting in a unified composition.

During the transformation from the drawing to construction, the building acquires a "forest" made up of columns and beams. Together, they form delicate frames that support the structure.

THE LEGEND OF THE CONFRONTATION OF WALLS AND COLUMNS The story was written many years after it happened.

Only the sturdy columns or what is left of them - the stone ruins - have survived to the present day.

So, dear reader, let's begin. It all started in the 16th century, in Rus, in the Earthen City of Moscow, at the confluence of the Moscow River and the Chertory Stream, flowing by the western walls of the White City.

A foreign merchant built his residence there to host his foreign guests and showcase his hospitality in a foreign land. He decided to construct it in a European style, with a colonnade in a manner known only to him. The columns were colossal - 2 arshins in girth at the base and nearly 4 sazhens tall. As they rose higher and farther, they became slimmer and lighter. At the top of the building, thin wooden columns were placed, reaching the clouds. No one could take their eyes off these marvelous columns; everyone admired their beauty and the exoticism they brought to the country since no one had ever built such structures there.

Years passed, and the merchant passed away, and the colonnade that had enchanted many with its charm became unnecessary. A new ruler came to power, and his merchants decided that the colonnade should not stand idle; it should serve a purpose. Thus, the transformation of the colonnade and the walls began.

Initially, an outer wall was built around the pylons to shield people from the cold. Everything was covered with wood, attached to each other, small windows were made for daylight, and it was left as it was.

However, the columns revolted and did not allow the walls to enter inside, preserving the beauty of the local columned halls. Instead of thick brick walls, thin wooden partitions appeared, light and easily rotated with a simple touch, opening up a path and a view to the chambers. Each chamber had its own perimeter between the four supports. The columns and walls lived in such a fragile harmony for several more years.

Then, the walls realized that they needed more space, and they wanted something greater. So they went on the offensive. They positioned themselves in small groups amidst the former grand halls, enclosing emptiness around them. And in these voids, a new life was born. The columned halls lamented their lost beauty, but there was nothing to be done. They had to continue living this way. And as the years passed, this world of columns and walls became ordinary and commonplace. But the columns discovered how to live easily, how to unite with the walls. Frescoes came to them and enveloped the walls, decorating them with previously unseen interiors, with columns, porticos, and cornices. Unknown worlds, previously hidden, blended with the world of columns. Thus, the long-standing enemies - columns and walls - came together.

Общий вид здания Внутренний двор Деталь Крыша

Стены+ перекрытия

Каркас

Общий объем

Life leaves the project when the game leaves the creation process. Similarly, in this case, the desire to create a canonical building takes precedence over the desire for research and experimentation.

The exercise for my mind becomes an architectural burime. According to the proportions of my house, I begin to draw fantasy orders on each level. Furthermore, I stack the resulting Frankenstein structures on top of each other and combine them.

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This is the turning moment that changes the way of design. All past iterations had more morphological meaning, where every detail had distinct shapes and volumes. I aimed to define them precisely, and as a result, they lacked enough uncertainty. It was at this stage that the idea emerged.

I decided to unite all forms into a single line and then combine all the simple drawings into one picture. This approach resulted in all shapes losing their exact form and association with a specific historic phase. As a consequence, they break free from the constraints of history.

Chapter 5. THE CANONICAL BUILDING OF THE PAST

Chapter 6. CONSTRUCTION

rafter roof system with roofing

surrounding "forest"from thermowood architectural detail scale 1 : 100

overlap with stiffening cores

axo of the building in the environment

wooden construction

The building's shape exhibits a reverse tectonics, and its full construction form resembles original capitals. It borrows the proportions and the relation between parts and the whole from the capitals, creating a harmonious and cohesive architectural design. +103.000

rock colonnade +52.000 +52.000

+19.000 +26.000

inner courtyard

+24.000 +0.000 +0.000

Sweep on Soymonovsky Lane 1787

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axo of construction

The full plan is based on the existing column grid, which was created at the stage of ruin.

I don't change or move it; it remains in its original state. All of the spaces I designed in my building are founded on this grid.

The inner yard, which I used as the site for the theatre, and the interior spaces were designed based on the axes and the columns' shape.

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Chapter 7. DEVICE OF THE BUILDING +52.00 +46.000

According to the legend, the canonical building from the past is the Moscow consult committee from 1519.

The construction works as a unified organism, integrating everything needed for life. Each floor has its own function, including front entrances, rooms for the consult committee, residential mansions for the staff, and the throne hall of the committee.

+34.800

+31.800

+27.400

+23.000

+21.000

+16.200

+10.800

theatre

+9.600

+0.000

-3.600

the consult committee

Throne hall Technical level Resid. mansions Technical level The consult comm.

Library Entrances

combining the shine through facade and the section | shine through plan and plan

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library

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5th floor. Residention maisons 1. stair lift unit 2. lobby 3. visitors toilet 4. kitchen-living room 5. toilet and bathroom 6. bedroom 7. cabinet 8. wardrobe 9. playroom

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3rd floor. The consult commitee

8th floor. Throne hall

1. stair lift unit 2. canteen 3. dark kitchen 4. workspace 5. toilets 6. utility room

1. stair lift unit 2. Throne hall 3. toilets 4. wardrobe 5. lobby

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