Tareikina Uliana portfolio 2024

TAREIKINA ULIANA

CONTACTS:

E-MAIL: ULATAR3@GMAIL.COM

PHONE.: +7(926) 25-06-68

INTST: TAR3LO4KA

THE EDUCATION:

Moscow Architectural Institute — 2017 - 2022

*meganom studio prof. Grigoryan — 2019-2022

ARCHITECTURAL COMPETITIONS:

docedoce competition 2018

120 hours 2019

UNI competition «light of city» 2019

Rural tourism accommodation 2020

Competition ASI «24 hours Idea » 2020

LANGUAGES:

Russian - native

English - upper-intermediate B2

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

Teaching Assistant in the group prof. Grigoryan Y., MArchI- September 2022 - present

Responsibilities: support of students’ learning process, consulting in project preparation, methodological support

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

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

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

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

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

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

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.

pedestriantraffic

venicletraffic

Chapter 2. MAIN POINTS

materiality of facades

Oneofthetaskswastoachieveavarietyoffacades,whichis achievedthroughthechoiceofdifferentmaterialsandtheircolors.

improvement

boulevard-sport-restzone

boulevard-playground-restzone

Theterritoryisdividedintoareasofdifferentintensityandscenarios, whichcreateareflectionofthedifferenturbancharacters.

apartmentography

boulevard-square-alley

boulevard-square

studios 2roomeuroap. 3roomeuroap. 4roomeuroap.

LODGE IN THE PUSHKIN

MUSEUM 8H. 11 B.

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

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.

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

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

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.

Thisbuildingisawingmadeofbricksandstones,whichsurvivedtheMoscowfirein1812andhasstoodtothisday.Thelodgewas builtonthesiteofstablebuildingsfromthe18thcentury.Ithadbeenacontinuationofutilityandstablebuildingsonthebackyard sitefromtheleftborder.AfteritspurchasebyE.I.Kulikov,thehousechangeditsfunctiontoresidential.Also,atwo-storeywooden utilityconstructionwithagallerywasaddedtothelodge.ItispossiblethatthewingwasreconstructedbyarchitectTalmerforthe Monakhovfamilyin1840.Later,intheyear1853,whentheareawastakenoverbyVolkov,thebuildingbecamearesidentialhouse again.Atthestartofthe20thcentury,duetotheassumptionofpowerbytheUSSR,thelodgestartedtobeusedascommunal housing.

Throughoutdifferenttimes,ourhousehasbeenassociatedwithvariousownersandusedfordifferentfunctions.Originally,itwas ownedbytheGlebovfamily.In1814,thelandwasboughtbytheprovincialclerkKulikov,andlateritwastakenoverbyhiswife. Eventually,itbecamegovernmentpropertyundertheUSSR.Overthecourseofahundredyears,thesitehasbeenreshapedand transferredbetweenowners,butthelodgeitselfhasremainedalmostunchanged.

analysisoffacademasonry

THE PART 3

“THIS SUMMER” FESTIVAL

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

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.

TheVIPareaisalight, airyspacewithinteriorsails,LEDscreens likeariver,andabundantgreenery.

ADDITIONAL ENTRANCES

Thelecturehallisan educationalzoneina tranquilpartofthefestival, connectedwiththetheme ofagarden.Therefore,the stageitselfisdesignedasa largecampcanopymadeof constructionnetting.

Thestageisthemain areaofthefestival.Itis assimpleaspossible, decoratedwithwhite bannermesh,andits mainfeatureisthe lightingoftheinterior space.

Thefoodcourtisan outdoorrelaxation areawithbencheslike thoseinthemountains andsimilarfoodpavilions,reminiscentof mountainkiosks.

Theentranceisthefirst spacethatvisitorsinteract with.Themainthinghere istoimmediatelycreate therightimpression, whichwillfurtherunfold duringthefestivalitself.

Thepavilionimageisa greenhouse.Therecognizableshapeimmediately evokesassociationsforvisitorsandconceptuallycontinuestheideaoftheentire ' GardenCity' festival.

WORKSHOPZONE

MAIN ENTRANCE

FOODCOURT

MAINSTAGE

VIPZONE

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.

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.

Chapter 3. HOUSES IN “TIGER-PARK”

1STYLIBATE

3TYPESOFHOUSING

*dormitory

*flatsforshort-termliving

*flatsfor long-termliving *onemodule

connectionofcores

andPhDstudents

Thebestmodulewasfoundforour master-plan,whichisan18x18x18 meterscube.Thisuniformityallows forawiderangeofinteriorpossibilities.Thestartingpointforthe researchwasthemaincoreofthe building,whichisastairliftunit. Furthermore,Ibegandeveloping threetypesofhousingwiththree differentconfigurationsandusing storiescores.

Section1-1

Т1

HOUSING: DORMITORY INHABITANT: UNDERGRADUATESTUDENTS ANDPHD

Themainspaceisan X-shapedhallway,connectingwiththepublic partofthestudents' block,andtogetherthey constitutethemainrestingareafortheresidents.

Т2

HOUSING: APARTMENTS INHABITANT: TEACHERS ANDPHDSTUDENTS

Therearestairs thataredividedand locatedindifferent cornersofthefloor. Thepublicbalcony surroundsthelevels andbecomesa meetingplace,not onlyaroutebetween layers.

Т3

HOUSING: FLATS INHABITANT: TEACHERSANDPROFESSORS

Themostinterestingaspectisthe flats,whichare combinedtogether astetris.

Ceilingfinish

Reinforcedconcreteslab200mm

Shockproofsoundproofinglayer 20mm

Reinforcedcement-sand coupler60mm

Levelingscreed5mm

Poroussubstrate3mm

Pieceparquet14mm

modelofthefullarea

Ventilatedfacadesystem

Stoneslab30mm

Airgap60/130mm

Insulationlayer30

Thermalinsulationlayer120

Monolithicreinforcedconcretewall

Interiorwalldecoration

modeloftheonequarter

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

2021-2022

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.

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

2021-2023

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.

Standfortheexhibition "Chef' sbreakfast"

StandfortheCoffee TeaCacaoExpo

Standforthe exhibitionPIR

Shelfinthe Zruzhokshop

Themostimportantaspect oftheprojectisthetailof aneachitem' screation, designandproduction.These storiestakeaplaceonthe linencanvasonthewallsof thestand.

Chapter

photosoftheproject

photosoftheproject

Theinspirationforthevaseshape wastakenfromTatlincounter-reliefs, whowasaconstructivistartist.

Theconicalobjectformisdissectedintotwopartsandconnected againwithashift.Theasymmetrical compositionbecomesmoredynamic thankstotheadditionallowervolume.

Chapter

6.

SET OF PATTERNS FOR MOWE & GZHEL PLATES

Wearealllovedobservinggrandma's floweredsetsofdished/duringchildhood. RethinkingthisstoryIappliedtoabstract patternswhichweresimilartoflorets. Themimagessoftlycometotheplatesurfacelikeourdreamsandmemoriesinmind.

Alldrawingaremadeinthemomentofdroppingbrushtothepaperinrandom.Themore blowsthemoreflowers,leavesandbuds.

drawingsofpatterns

platesvisualisation

photoesofthevase

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

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.

“IN A SEARCH OF LOST TIME” THE PROJECT BETWEEN PAST AND FUTURE

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.

THE DIPLOMA PROJECT N THE GROUP

«PROJECT MEGANOM» TEAM: TAREIKINA U.

answerthequestion "Whatistheideal architectureforme?”

stayinatwoconditions atthesametime

Thestartoftheprojectisthesearch foranabsolutebuilding. Whatcould namedideal construction? Themain ideaistocreateabuildingthatexists anddoesnotexistsimultaneously. Theconceptoftheruinbecomesthe architecturalanswertothischallenge. Theatrealsoisaunrealandabstract thing.Andaperformancespaceisa fiction,however,whichborrowsallits featuresandcharacteristics fromthe realworld. Sotheruinischoseasthecontextfor thetheatreproject.

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.

locatedinthenature

memoryarchitecture hasaroof

hasa decoration, whichtellsussome informationabout buildingshistory builtfromthestoneor concrete

1.

Thetheatreofthepastborrowedandappropriated

thetheatreofthepresentisan intervention

Theentirespaceofthetheatreis performancespace

Thetheatreconsistsofasetof functions,wherethe hallismainbutnotessential

capitel

combinationof topandlowercolumns

1519yr.thebuildingnearNovo-alexeevsky monastery

1878yr.nearthechurchof Elijahtheprophet

ThemostfamousMoscowwastelandintheKhamovnikidistrictwas chosenasthesiteandplacefor myquasi-ruinproject.Thisareais surroundedbySoymonovskypassage,Kursovlane,andObydensky lanes.Myinterestinthissitewas sparkedbyitsdesertedcharacter. AsIobservedit,Istartedtoask myself, "Whatwasthereasonfor thisemptyspaceinthecitycenter, surroundedbydensedevelopment withamultitudeoffunctions, activetraffic,andoverallhigh density?"

Stepbystep,Idelvedintothe historyandresearchedthereal storiesoftheinhabitantsand eventsrelatedtothearea.Icomparedthiswiththecourseofthe building' slife,tryingtounderstand howitcouldchangeandwhy.

Thetheatreisintegratedintotheruin withdiffuseway.Performancearea takealotofspaceindifferentcorners ofthebuilding.Fromthemainhallthe spaceslowlygoto-2floor.Whichis completelystaysopentotheatretransformation.Andthelobbyalsocouldbe useforperformance.Thegeneralsite istheopensummertheatrepavilion. Ittakesafreespacebetweenupper columnsrows

variantofthe2ndfloor

-1stfloorplan

1-1section

-2ndfloor. 1.theatrehallandstage 2.additionalhall 3. backstage4.toilets

-2ndfloorplan

blueisnew

-1stfloor. 1.entrance 2.lobby 3.wardrobe 4.toilets 5. utilityrooms 6.cabinets 7.dressingrooms 8.workshops 9.theatrehallandstage

Andnow,wecometotheruin,and aswegodownthestairs,wearrive atthetheatre.Inthelobby,weare greetedbythesightofonlythe capitalsofenormous,hugecolumns. Withinthesecolumns'internalspace, roomsarehidden.Descendingfurther down,wereachthetheatrestageand lowerlevel.

theatre' slevel

mainlobby

uppercolonnade

modelofthetheatre

mainhall

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.

ICHNOGRAPHYTRACEWRITING Literally,animprint,forexample, inourmindsorontheground. Itcanbeconsideredaplanor amapofthearea.Here,the descriptionoftherouteis importanttous.

ORTHOGRAPHY Thedescriptionoftheobject intheformofitsownimage,a certainpicture.Howitpresents itselfbeforeus.

STENOGRAPHY

PERSONS Literallyscenography,thatis, anarrativeabouttheinterior contentofthebuilding.

Studyinghistorythroughfaces makesitmucheasierforusto imaginewhatwashappening backthen.

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.

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.

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

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?

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, took the position that the building simply exists and, by some criterion, it is remarkable. GAVE UP MY MAIN PECU-

What can be fixed?

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

Heissimpleandconcise, thatswhyheisgood.And themainthingisthathewas obtainedbyproportioning fromthecolumncapital.The objectisself-sufficient,and thatisitsmainadvantage. Itdoesntneedanyother additionalform.

Theinternalimageisnot builtonforms.Itisbuilton planes-theseareendless wallswithfrescoesofsome architecture.

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.

The external image

The internal image

THE LEGEND OF THE CONFRONTATION OF WALLS AND COLUMNS

Thestorywaswrittenmanyyearsafterithappened. Onlythesturdycolumnsorwhatisleftofthem-the stoneruins-havesurvivedtothepresentday. So,dearreader,letsbegin.Itallstartedinthe16th century,inRus,intheEarthenCityofMoscow,atthe confluenceoftheMoscowRiverandtheChertory Stream,flowingbythewesternwallsoftheWhiteCity. Aforeignmerchantbuilthisresidencetheretohost hisforeignguestsandshowcasehishospitalityina foreignland.HedecidedtoconstructitinaEuropean style,withacolonnadeinamannerknownonlyto him.Thecolumnswerecolossal-2arshinsingirthat thebaseandnearly4sazhenstall.Astheyrosehigher andfarther,theybecameslimmerandlighter.Atthe topofthebuilding,thinwoodencolumnswereplaced, reachingtheclouds.Noonecouldtaketheireyesoff thesemarvelouscolumns;everyoneadmiredtheir beautyandtheexoticismtheybroughttothecountry sincenoonehadeverbuiltsuchstructuresthere. Yearspassed,andthemerchantpassedaway,andthe colonnadethathadenchantedmanywithitscharm becameunnecessary.Anewrulercametopower,and hismerchantsdecidedthatthecolonnadeshould notstandidle;itshouldserveapurpose.Thus,the transformationofthecolonnadeandthewallsbegan. Initially,anouterwallwasbuiltaroundthepylonsto shieldpeoplefromthecold.Everythingwascovered withwood,attachedtoeachother,smallwindows weremadefordaylight,anditwasleftasitwas. However,thecolumnsrevoltedanddidnotallowthe wallstoenterinside,preservingthebeautyofthe localcolumnedhalls.Insteadofthickbrickwalls,thin woodenpartitionsappeared,lightandeasilyrotated withasimpletouch,openingupapathandaviewto thechambers.Eachchamberhaditsownperimeter betweenthefoursupports.Thecolumnsandwalls livedinsuchafragileharmonyforseveralmoreyears. Then,thewallsrealizedthattheyneededmorespace, andtheywantedsomethinggreater.Sotheywenton theoffensive.Theypositionedthemselvesinsmall groupsamidsttheformergrandhalls,enclosing emptinessaroundthem.Andinthesevoids,anew lifewasborn.Thecolumnedhallslamentedtheirlost beauty,buttherewasnothingtobedone.Theyhad tocontinuelivingthisway.Andastheyearspassed, thisworldofcolumnsandwallsbecameordinary andcommonplace.Butthecolumnsdiscoveredhow toliveeasily,howtounitewiththewalls.Frescoes cametothemandenvelopedthewalls,decorating themwithpreviouslyunseeninteriors,withcolumns, porticos,andcornices.Unknownworlds,previously hidden,blendedwiththeworldofcolumns.Thus,the long-standingenemies-columnsandwalls-came together.

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.

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.

11

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.

12

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.

13

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.

Chapter 6. CONSTRUCTION

axoofthebuildingintheenvironment

Thebuilding' sshapeexhibitsareversetectonics,anditsfullconstructionformresembles originalcapitals.Itborrowstheproportionsandtherelationbetweenpartsandthewhole fromthecapitals,creatingaharmoniousandcohesivearchitecturaldesign.

SweeponSoymonovskyLane1787

axoofconstruction

rafter roof system with roofing surrounding "forest"from thermowood

overlapwith stiffening cores

woodenconstruction

Thefullplanisbasedontheexistingcolumn grid,whichwascreatedatthestageofruin. Idon' tchangeormoveit;itremainsinits originalstate.AllofthespacesIdesignedin mybuildingarefoundedonthisgrid. Theinneryard,whichIusedasthesite forthetheatre,andtheinteriorspaces weredesignedbasedontheaxesandthe columns'shape.

rockcolonnade innercourtyard

Chapter 7. DEVICE OF THE BUILDING

Accordingtothelegend,thecanonical buildingfromthepastistheMoscowconsultcommitteefrom1519. Theconstructionworksasaunified organism,integratingeverythingneeded forlife.Eachfloorhasitsownfunction, includingfrontentrances,roomsforthe consultcommittee,residentialmansions forthestaff,andthethronehallofthe committee.

5thfloor.Residentionmaisons

3rdfloor.Theconsultcommitee 8thfloor.Thronehall

1.stairliftunit2.lobby 3.visitorstoilet 4.kitchen-living room 5.toiletandbathroom 6.bedroom 7.cabinet 8. wardrobe9.playroom

1.stairliftunit2.canteen3.darkkitchen 4.workspace 5. toilets6.utilityroom

1.stairliftunit2.Thronehall3.toilets 4. wardrobe 5.lobby

CONTACTS:

E-MAIL: ULATAR3@GMAIL.COM

PHONE.: +33(769) 20-28-02

INTST: TAR3LO4KA