ARB / RIBA PART | ARCHITECTURE PORTFOLIO VoL 2‘Analytical Thinking Problem Solving Team Collaboration ‘Organisation and Planning Data Gathering Interpersonal Communication ‘Q PERSONAL STATEMENT. > Passionate Architecture graduate [RIBA Part I with an eye for detail, underpinned by af impressive academic backoround. Gained skils needed to analyse how the bul envronmment is perceved.itabited and interpreted we learing how to think outside thebox Strong cuturl awareness and biingual sls (English / Russian) gained vie 8 Unique mix of expenence on a European stage Techncaly-sawy, proficient in ACCA, Rhino, Revi, SketchUp, trained n archtectural visualisation, including 30S MAX, Corona and Adobe Photoshop ~ receptive to new and emerging technologies. 3 PROFESSIONAL EXPERIENCES. © Freelance |4PR2015- PRESENT. 30 Designer [Architectural Visualisations] * Consulted wth lets to evaluate, delineate ther design requirements, and promote talored solutions; project manage busness card and logo design in ahghmert with lent requrements + Invotvedin archtectural visualisation [Corong+VRay, 30 modeling evit+20S MAX] {Organised and prortised workloads to satisty ever-changing demands © PRS Architects Fen 2016- MAR2016, Part 1 Architectural Assistant [Student Placement] + Contibuted to desion wark on a new entrance tothe Science Museum, facitated design co-ordination and planning assistance + Drew and presented arctvtectural details im AutoCAD for diverse mix of projects + Ensued CAD drawing compliance wih strct quality standards + Improved awareness encompassing architectural desion competition rues. © Private Practice - Moscow, Russia JUN 2015 -au62015 Part 1 Architectural Assistant [Volunteet] + Supported a team af three architects + Consulted with clients tohelp with their design requirements. Worked on 2 collaboration projet with WikHouse Created physical architectural models [Lacercuting + 20 Printing + Supported BIM models and documentations [Revt} © Private Practice - Moscow, Russia JUN 2014- SEP 2014 Part 1 Architectural Assistant [Voluntees] + Supported an architect + Produced and disseminated reports for ste survey and feasbilty studies. * Collated information regarding design specications, materials and equipment + Supported 30 modeling [SketchUp] alongside daly administrative controls, + Supported technical drawings [AutoCAD] & BKH Academy ‘Nov 2012 - JAN 2013 raphic Designer [Intern] 7 Perfcted skis in grapine design including use of Adobe Creative suite [Photoshop, Iustrator and indesign '@ EDUCATION. University of Westminster 2013-2016 Architecture BA Arch [2:1 Hons] ‘Gained abilty to hameas and promote conceptual awareness and practical skill in architectural design while bulding a 360-degree skill set covering intial concent design, development, planning and project proposals. + Developed qualities needed to record preliminary ideas, sketches and analysis, alongside design development, and technical research. + Analysed history and theory of architecture and design, alongside theories about urban space + Distinctions in Design and Technical Studies, © Richmond upon Thames College 2011-2013 A2 Levels: Architecture [A+] Graphic Design [As] Maths [C+] © Addey & Stanhope School 2009-2011 ‘Ten GCSEs [all grade Av-C], including English and Mathe References available upon requestDESIGN APPROACH Today most of the new buildings could be categorised by two types. On one hand, we have avant-garde designs by “starchitects", Which are very expensive, and sometimes lack functionality. One the other hand, we get ordinary, boring boxes that look like they have been copy-pasted without any consideration for the site constraints. The recession has shown that we cannot keep spending crazy sums of money on the looks. At the same time, we do not want our cities to turn into fields of identical boxes. | believe that we can take the best aspects out of two types and combine them to make functional yet individual architecture. PROJECTS ART STUDIO 4-11 [V4 OLD OAK COMMON CONTEMPORARY 12-19 DYNAMIC SHADING SYSTEM 20-27ART STUDIO KENSAL GREEN | LONDON | UNITED KINGDOMART STUDIO KENSAL GREEN | LONDON | UNITED KINGDOM The invention of photography would revolutionise culture and commu: nication in the West forever. For the first time, images of real’ ife could be captured for posterity and sent around the world. Portraits of royalty and other celebrities (far more accurate than paintings) allowed mem- bers of the public to feel they were viewing these people ‘n the flesh The dead could be remembered, the fleeting could be fixed. From now on, artists could draw what they FEEL rather than what they SEE. ASMALL PAVILION, FUNCTIONING BOTH AS A CREATIVE STUDIO AND AN EXHIBI- TION SPACE FOR A VISITING ARTIST AT THE SAME TIME. THE STUDIO WORKS AS ‘AN INVERTED CAMERA, INSTEAD OF CAPTURING THE REALITY IT HELPS THE ARTIST TO CONVERT HIS FEELINGS INSPIRED BY THE REALITY INTO AN ART- WORK. AT THE END OF THIS PROCESS, THE PAVILION WORKS AS A DISPLAY, BOTH FRAMING AND EXHIBITING THE RESULT OF THE CREATIVE PROCESS. SINCE ‘THERE IS A CONSTANT SHIFT IN THE ROLE OF THE SPACE, IT CREATES A BLURRED EDGE BETWEEN BOTH WORLDS. THIS FEELING IS ENHANCED BY THE DESIGN WHICH HELPS TO BLUR THE EDGE OF THE INSIDE AND THE OUTSIDE SPACES. Richard Serra's works were the most influential for the design develpment. His abstract geometric sculptures like "The Intervals" impose a feeling of confusion and disorien- tation. Spaces that merge into each other, yet we are not able to identify the actual border of each zone. The studio is made of repeating rectangular frames, with open areas in between them, These spaces act as transition zones between the outside and the inside. This design allows for a borderless space to appear, The courtyard wall further enhances this feeling by running both externally and internally.The studio, ust like Serra's sculptures is made of intersecting shapes that create extra spaces as a result,TRANSPARENCY The studio presents a strong feeling of transparency to those on the inside as well as the outside. The thin structure becomes almost invisible when viewed directly, Which visually removes the barrier between those on the opposite sides of the frame. From the inside one feels a complete sense of openness to the outside world, There is a framed view that helps to direct the attention. Instead of using normal glass it was decided to apply a highly reflective (almost mirror like) coating to the external side of the glass, which has completely hidden the inside and created a feeling of empty space, where one looks through the studio, rather than, into it, The external courtyard wall enters the studio and becomes part of the interior. Clean lines are at the heart of this project, so all the furniture and storage is, hidden inside of the wall, so everything is always available when needed, yet it is hidden when not used which doesn't create unnecessary distra[1] STUDIO VOLUME [2] THE SITE “The volume is composed of the Golden Ratio dimensions: “The studio would be placed on a slope in a public park (211358) Iwill generate views, but the studio could be too visible Q [3] FRAME STRUCTURE [4] FRAME DEPTH The studio is made of repeated rectangular [picture] frames No direct sunlight can get inside the studio, this meant an This help to “frame” the view from the studio increase in frame depth to keep the direct sunlight out [61°] (S| ADDITIONAL FRAMES [6] NEW GARDEN Extra frames must be added in order to keep out the direct ‘Alot of exotic plants inthe park need warmer climate sunlight from the south side of the studio Solar warmed concrete box would radiate out extra heat[7| ORGANISATION [3] COURTYARD ‘train ine lies to the north of the studio generating noise The remaining 80m? of concrete are used for the courtyard ‘Moving all ‘services" to the north would block it The wallruns from the outside in, thus bluring the edge [9] ORGANISATION [10] STUDIO / EXHIBITION ‘The courtyard wall has separated the intemal space into two The building works as a studio during artist's presence (On one side there is the studio and services on the other tworks as an exhibition space atthe end ofthe term [11] CONVERSION (10) STAGE ‘The frames are stacked together when the studio is vacant {At this point the frame is used to focus our attention on the Althe furniture is placed in the storage Inside rather than the outside lke it was before2 6 8 S Fa F4 8 = 2 5 z a r=} 2 S‘SPACES? EXHIBITION YN STORAGE / SERVICE| LIBRARY / SHOP 191 OFFICE ty CAFEOLD OAK COMMON CONTEMPORARY KENSAL GREEN | LONDON | UNITED KINGDOM Matta-Clark created Conical intersect ss part of the Paris Biennale of 1975. In this project. he used a pair of abandoned 17th-century buildings that were slated for demolition, creating what appears to be a massive drill hole that charges right through the structures. Essentially anyone walking past could look through the building and up unto it to see the various layers of its structure. THE OOCC [ART CENTRE] IS SET TO EXPAND CULTURAL OFFERINGS IN THE AREA AND CREATE A PERMANENT HOME FOR AN IMPORTANT LOCAL ART COLLECTION AS PART OF THE OLD OAK COMMON DEVELOPMENT PLAN. IT WILL PROVIDE ART CLASSES, GALLERY SPACES, ARTISTS’ RESIDENCE AND A NEW PUBLIC SPACE. ‘A redundant brick warehouse in west London converted into an art centre by “dropping” three cubes on top of it, which overlap and bite through the original brick structure. On the other hand, a whole section of the warehouse was removed to provide new space for the lobby. The warehouse is not listed but considered locally significant. The completed development seeks to rehabilitate the once redundant building, celebrate its industrial heritage and make it relevant to its newly vibrant context. It is parasitical in nature, engaging with the host structure in a couple of locations, where the new cubes bite into the existing building. The proposal is intended to enhance the existing building and create a striking landmark in the area; a symbol both of the area's past and its aspirations for the future. 115‘SPACES. ‘The Old Oak Common Contemporary consists of four main space types. The outside public area is open to everyone; it can be used for group gatherings, extemal exhibitions and performances as well as general recreation activities. A lobby and a cafe make up the second type. Since they are open to the public, they translate this property into their design by appearing almost transparent when jewed from up close. This feeling can be achieved by extruding a thin beam profile along the outline of the warehouse. The third space resembles Mata-Clark’s ‘onical intersect". The two exhibition boxes cut through the warehouse, which gives them a feeling of an open, courtyard with plenty of natural light. The inter segtion ofthe main gallery spaces with the existing Warehouse geometry has created the "leftover" spaces that make up the last typology. These spaces are very dark and used for art created with light.(1] SITE BOUNDARIES \ [2] MOVEMENT Be Ithes both open and closed spaces Vehicles, people, boats, trains aA \ ‘ S ~ S [3] RURAL SOUTH [4 URBAN NORTH ‘Anvindustrial alley creates an SAA, Plenty of sunlight in the open plaza enclosed exhibition space (S| OBSTACLES “<2 [6] EXTENSION BOUNDARIES The new structure can'textend beyond these boundaries Removing redundant structures te connect both spaces \ [7] VISUAL CONNECTION Visually connecting both spaces [8] PHYSICAL CONNECTION Physically connecting both spaces Extruding existing buiding profile to create the new ‘extension building[9] WAREHOUSE STUDY ‘The warehouse walls are built at 45" angle to the road '1| TRANSITION ‘\. The new spaces act as transition zones between the existing building and the outside = (13] GALLERIES Gallery spaces are “dropped” ‘onto the warehouse < [15] STRUCTURE ‘Beam depth is determined by the maximum sunlight angle (10] SECTIONS Cone section ofthe building can be removed in order tocteate lobby space (11) NEW VOLUME ‘The new programs and their tepresentative volumes [14] TRANSFORMATIONS Gallery spaces are fit around ‘set restrictions Le, floor area, walkway thickness [16] EXTERNAL SPACE Vegetation and artificial landscape are ereated around the art centreDYNAMIC SHADING SYSTEM Ie ookDYNAMIC SHADING SYSTEM EL POBLE-SEC | BARCELONA | SPAIN Mes Etoiles is an interactive wall that responds to proximity of people with a luminous reaction on its surface. Getting close to the wall activates the magic effect of hundreds of light dots in the translucent surface activated by the sensors that are part of the surface as well giving the feeling of being drawing with the light. People can use the wall to express, play, communicate or building collective cr ations using their bodies as instrument. A SMALL CAFE IN BARCELONA [SPAIN] REQUIRED SUN PROTECTION FOR A. ‘SOUTH ORIENTED WINDOW. THE BUILDING IS SURROUNDED BY OTHER CAFES AND RESTAURANTS, WHICH MEANT THAT THERE IS A SIGNIFICANT COMPETITION, SO IT WAS DECIDED THAT THE SHADING SYSTEM HAS TO BE BOTH INTERACTIVE AND DYNAMIC. THE PROPOSED IDEA WAS TO TURN THE WHOLE WINDOW INTO A HUGE INTERACTIVE SCREEN, WHICH WOULD USE KINETIC TECHNOLOGIES TO ACHIEVE THE REQUIRED RESULT. ‘The Al-Bahar Tower's dynamic shading system became the main inspiration for the mechanism with which to accomplish the idea. The system is composed of individual “origami triangles that open to provide shade when needed. It was decided to adopt a similar system but with a much-reduced scale. The ability to produce different states and versatility is an ideal system to use it on an interactive wall. Each unit would be equipped with sensors and a motor, which would allow it to close and open as required by the conditions. 123PARAMETRIC DESIGN ‘The project is technically advanced, to it was decided to use advanced algorithmic tools from the very beginning. Grasshopper is a visual programming language that uns within the Rhinoceros 3D computer-aided design (CAD) application, It allows for high adaptability and ease of use. The unit consists of two connected disks of f- breglass fabric, each vided into sixteen triangles. By using tension connectors, each unit seeks to stay closed. Pulling both ends of the unit together will open it, once the tension is released the unit returns into its default position. Each unit is equipped with a sensor, which means that each unt can incividually respond to it's specific conditions.RRR KK KH HK KKK(i) sie ‘A small cafe located in Barcelona [Sapin].A tree and a busy road are located in front of the cafe. [3] STANDARD SOLUTION By default this problem would be solved by a canopy, but the client wanted something more dynamic and interactive, '5] DAY During the day the facade would protect the interior. ‘Adaptivity allowe for open ateas where shade is not needed [2] PROBLEM ‘A huge surface area of a south facing window generates ‘much heat during hot hours, creating a greenhouse effect, [4] OUR SOLUTION Let's transform the window into a giant interactive screen, This idea requires a physical mechanism to create images. (6) NIGHT The wall would act as an interactive screen during the night. ‘The building would engage with those walking by.(7| PIXELS [8] MECHANISM Barcelona has an alley fully covered in open umbrellas They Theit ability to close and open isthe most important featwe provide shade, and different colours [pixels] ereate en image ‘An image can be crested by regulating the “openness.” (9] FORM [10] CONNECTION Origami technique was used to create the required shapes Each unitis connected to two vertical cables at both ends, This technique allows fora simple production This arrangement allows for a quick replacement ifneeded 11] SYSTEM [12] POWER, Each row of units [segment] is then attached to the frame. Since the cafe is located ina place where there is plenty of Itis possible to pre-make the segments off site sunlight, it was decided to install solar panele.