Green corridor on 14-th line is an investigation of the former railway of Sofia – the capital of Bulgaria, and a proposal for integrating the trace into the city and further looking into a specific neighborhood, analyzing the territories there, the shift of the ownership of land and future potentials for integrating all of the interventions into a system, connected by the line.
What prompted the project?
The initial stimulus was investigating the development of Sofia – it is a city constructed by many different layers of cultures, building styles and historical imprints, which overlap and enrichen the city. This is providing a big front for research and resulting in many interesting topics to continue focusing on. In the end, it is fascinating how this diversity of different intentions, plans, and visions for Sofia are all resulting in a symbiotic system.
How instrumental was the map as tool to combine and and map data important for the development of the project?
Mapping the urban data was an important part of the whole process. In one hand it is a tool that allows to visualize and reveal processes in the city that could be sensed, but not perceived fully without the pragmatism of the map. Zooming out of the human perspective, it reveals how cities have become organisms by their own, complex systems, where each individual act is following the tendencies of the whole. Through gathering information and visualizing it, patterns of inhabiting, dynamic processes, relations of units and movements are revealed, how systems with different directions overlap and the more complex the system, the more layers are there to be studied. Visualizing, in the end, becomes a tool of research.
What is your take on the hyper realistic render?
Rendering is becoming a forceful tool, taking a big part in the architecture field today. Depending on the intention for the project – if it is thought as an experiment, a paper project, rendering gives an opportunity to simulate actual physical qualities to a virtual and non-material environment. In the end, the final image should reveal the atmosphere we are imagining for the space, which could also be achieved with a more abstract way of representation.
What is your take on colour? What defined the use of a monochromatic palette?
Colour is a field which I would like to study more, in relation to materials, objects, and form. It should be integrated into the whole structure and not added later as an addition or finishing, because of its ability to strike us immediately. Now we can find a lot of elements in branding, architecture or public space, demanding for our attention through the use of color. This creates disorder and also lack of harmony. But color is also deeply rooted in our perception, it has a direct connection to rhythm, light, shape. I find, for example, Kandinsky’s color theory very interesting, it provides a field for observation – how we can assume qualities such as “noisy” to very color-polluted environments, we as well assign compositional terms similarly to painting, music, sculpture, and architecture. This dialogue between fields is what is making the experience full and enrichened.
Through less color in the images, I find it easier to reveal the “naked” qualities of the architecture – such as light, empty space, material. It also provides more space for imagination, there is no distraction in focusing on the details.
What was the kind of atmosphere intended in the views? How was this achieved?
I was striving for an architecture which provides a background and outlines the qualities of the nature – either it is the shadow imprint of a tree, which changes with the time of the day, or framing the movements of clouds, different plans in the views, how light is “playing” with surfaces – sometimes it gets through and some places are darker.
How important are the silhouettes in your images, how do they inform the architecture?
The silhouettes are what brings a cinematographic quality in the images, they help to create a small scenario about how these spaces could be inhabited.
If you had to reveal the project through a single drawing what would this be?
Ralitsa Timeva, born in 1993 in Sofia, Bulgaria, graduated from the University of Architecture, Civil Engineering and Geodesy in Sofia, where she completed her master degree in History and Theory of Architecture.
During her studies, she took part in Erasmus exchange program, where she joined a course of Urban Design at the University of Malta.
Currently, she is collaborating with an architectural office, located in Porto, Portugal.