Columbia University | GSAPP
critics Ada Tolla, Giuseppe Lignano and Thomas de Monchaux
I’m obsessed with a line.
I’m obsessed with starting line somewhere and ending nowhere.
I’m obsessed with fields. Field of buildings, field of columns, field of shapes, field of objects…
I’m obsessed with overgrown, forsaken spaces.
Spaces where entropy increases and therefore inevitably reducing man’s attempts at order. Random urban overgrown fabric that facilitates human engagement with nature. Organic wild world where you breathe the nature, you live in a nature, you experience the nature.
Architecture that is not just a building but is a process. It’s a dynamic process of interactions and relationships between human and nature, it is a naturally formed space. Space where is a perpetual interaction between building and environment: both human behavior and the natural world. Structures that move toward higher entropy. Force of impermanence that constantly reshapes architecture. Field that intersects with surface which is not architecture, mass which creates unexpected, wild spaces. Field of nature that merges with architecture and takes over it.
This wild urban condition inhabits the overgrown island that contains five ecological atmospheres of cult, fitness, storage, retail and hotel.
Cult of nature
In thisworld the cult is a nature. It’s a building dedicated to the protection and experience of nature. It’s a seed bank that conceals the wild nature inside the building. Seed bank cells surround the field of trees, the cells are located at the outer perimeter of the building. All circulation connections are located inside the courtyard. In different parts of the courtyard there are meditation rooms and observatory bridges. Meditation spaces work as an alternative to a praying room. They are lifted up from the ground, they float over the wild texture. The building is a sequence of serene spaces that interflow with nature.
In thisblock the fitness is a training of brain and imagination: learning center and an extreme sports center that help to synchronize randomness in your brain. The building has many entrances, many doors, you can choose which one to open or where to start. Series of narrow paths lead to other doors. Inner spaces of the building are the learning center and the outer shell of the building and green courtyards are part of extreme sports program. The envelope of the building is a climbing surface. The green matter took over the three units of the porous building. This three towers are green spaces to rest, to climb, to dream, to think or to rest. In the end of your journey when there are no closed doors anymore in your brain, you can experience bungee jumping from the top of the building.
The storage is an underground crematory, archive of body containers. It is an underground structure that is hidden under the wild nature. 4 entrances to the crematorium spaces are located inside the overgrown field. In underground floors there are tunnels surrounded by body container archive. Within overgrown ground there is a void-the canyon. Around the canyon there is a gallery, the ramp for walk. The last level of the canyon is the ceremony space.
Nine public islands. Nine retail towers. Nine ways to shop.
The retail is divided into nine section-buildings. Each tower is devoted to one type of shopping-for clothes, shoes, sporting goods, furniture, home appliances, toys, cosmetics and gardening. In different parts islands are open air or closed restaurants and public squares. Towers are interconnected in different floors with indoor pedestrian bridges that duplicate the fluid shapes of the ground.
And the hotel is a space for temporary working, living and storing. The building is divided into three layers of storage, co-working spaces and apartments. The system of walls in co-working and storage spaces become a system of columns in upper floors with apartment cells. These three overlapping structures interrupted with a green matter, with an urban farm that starts deep from the underground and goes across co-working spaces and apartments.
Visitors and inhabitants of this island lose the feeling of time and reality. Serene spaces bring them memories that they never had or did not know that they had.
These are five responsive buildings that are willing to change with the time and enhance the relationship between time and architecture, human and nature.
ICP | International Center of Photography
Columbia University | GSAPP
critic MARK RAKATANSKY
The International Center of Photography is a world-renowned cultural institution involved in innovative exhibitions, education, and publication. The goal is to transform the International Center of Photography into a multi-media and multi-use visualization lab and workspace.
The project site is the famous and infamous area of Manhattan known as the Bowery. Today the Bowery is rapidly becoming a new cultural district, with the advent of the New Museum, designed by SANAA and the Norman Forster designed Sperone Westwater Gallery. This cultural development now cohabits with the still active homeless missions and the influx of businesses coming from the surrounding neighborhoods of Chinatown, the East Village, Little Italy, the Lower East Side, and Soho, a mix in keeping with the long-standing social engagements of the International Center of Photography.
The project defines Photography Museum as a long exposure through which visitors capture the exhibition and the city.
The building itself is as an experience of photography.
By looking into different exposures of the photography history through the permanent gallery, the visitor defines its own lens in the end of the journey. By experiencing extended interactive exposures between programs, the visitor defines it’s own lens and in the end of the journey captures the city.
Toward a Community-Centered Police Station
Columbia University | GSAPP
critic Jeanne Gang
The project embodies ideas of equality, trust and security by creating diverse grounds and spaces with the “column structure”. Heterogeneous, non-scripted space of the landscape and parks provide opportunities for playful and free decision making. The project is about exploring how this sets the stage for better more normalized relations between police and community.
Suggested reforms to policing have recommended that cities focus more on to serve the well-being of understanding of the issues that impacting residents including. Therefore, the building contains third program that is rehabilitation center. The project aims to make police work more as a social service. The rehabilitation center provides family support services, advocacy services, domestic violence and mental health services.
The materials that have been used are wood and concrete. The more public spaces are wooden structures and the more public ones are concrete. In different parts of the building these two materials are colliding. The roof merges the three programs by creating common top for the column forest and people.
Playground | Gathering Space
Columbia University | GSAPP
critic Jeanne Gang
Advanced Architecture Design Studio | Fall 2015
| Playground | is a space to gather for police and community members. The project creates various grounds for conversations between police and community.
BRAIN RESEARCH CENTER
Dessau International School of Architecture | DIA
Spring 2013 | Berlin, Germany
critic Arie Graafland
The challenge is to design the Brain Research Center in such a way that it provides an innovative and inspiring environment for researchers, which will improve teamwork and foster communication between researchers and the public.
The main concept of the center is based on the idea of the noosphere, which, according to Vladimir Vernadsky and Teilhard de Chardin, denotes the "sphere of human thought". The noosphere is the third in a succession of phases of the development of the Earth, after the geosphere and the biosphere. Just as the emergence of life fundamentally transformed the geosphere, the emergence of human cognition fundamentally transforms the biosphere. The noosphere emerges through and is constituted by the interaction of human minds. /Wikipedia/
By creating a space that is a visual representation of the noosphere, the aim is to promote the creative interaction of human minds and encourage scientific discoveries.
The building is detached from the ground and floats above the campus to open up vision and movement. Only pillars and elements of circulation are touching the ground. The terrain is free for green and informal meeting spaces. In some parts the terrain is opened to the underground spaces, where are located open-air green spaces and an amphitheater for open-air meetings. There are three underground floors with workshop spaces, laboratories, and parking. Above the ground there are thirteen floors with laboratory spaces, formal and informal meeting spaces, an exhibition hall, a library, and conference and workshop spaces.
The volume of the building wrapped into a steel space frame, which represents the “Noosphere” floating over the campus.
Spring 2015 | Jermuk, Armenia
neverending project | daily procrastinations
with Karen Berberyan
Helsinki, Finland | Fall 2014
The new Guggenheim Museum is intended to be a unique structure yet subtly semblant of the other Guggenheim Museums. Wave-shaped tubes were arranged in step-like fashion with uninterrupted, obstacle-free connections between them to enable spiraling, smooth flow or visitors. This core structure, although completely new, reminds of the New York museum with somewhat similar flow of people, and Guggenheim Bilbao with its plasticity and tall outline.
The ground floor of the construction is elevated from the ground level to organize public space with leisure and walking area. Once through the main entrance, one walks to the central atrium through a spacious area many bridges, exhibition galleries and viewing platforms hanging above. It is from this area that one starts discovering the chain galleries and multi-purpose zones located between them in the corners. it is possible to access the external spiraling roof from any floor.
Dessau International School of Architecture | DIA | Spring 2012
with Claudia, Elen, Angela, Raushana, Manthas, Sham instructor ALEXANDER KALACHEV
The challenge was to produce a module that is flexible, stable and also has the ability to grow in various directions. By multiplying, this module would then transform into a shed.
The initial step was to develop a 3-dimensional module from the most basic geometry which was a square using cutting and bending. From the multiple options produced, we chose a simple yet elegant component. Our main criteria were flexibility, stability and also the aesthetic quality of the component. After experimenting with different materials, including paper, plastic and wood, we decided to use wood. On one hand, building the component with wood was challenging as it involved the process of bending; however, on the other hand, it provided more structural stability when compared with the other materials. Aside from the spinal length, the component was designed with minimal linearity. The flexibility in the wood was achieved by adding moisture to it.
FASHION MUSEUM ON OMOTESANDO STREET
with Narine Gyulkhasyan
Tokyo, Japan | Spring 2010
CHALLENGE To design a 100 meters high tower-museum located at Omotesando Street, containing exhibition halls for decades of 20th century fashion history and becoming a landmark for Tokyo.
CONCEPT: WEARING THE WOVEN GOWN
Like a human body is draped in fabric: the genuine matter symbolizing fashion itself, the building is draped in its outer shell: the woven gown. 100 meters high tower-museum rising over the Omotesando Street, containing exhibition halls for decades of 20th century fashion history, is a new landmark for Tokyo.
As the history of fashion flows uninterrupted and the end of each decade is not the boundary, the transition through the whole exhibition area is organized as a uniform gallery. The gallery is branched out from the core building, stretching arms to embrace the air around, enhancing the relation between inside and outside, adding an extra dimension to the environment over dense area of Omotesando street. The system of moving walkways directs the visitors through exhibitions starting from ninth level to the top.
The striking volume of the catwalk: the main venue of fashion shows, cantilevers on 35 meters at the Omotesando Street. Green terraces above the stretched galleries and the sky bar at the top of the building allow a complete 360 degree view of Tokyo's cityscape keeping visitors in interaction with the city.