Pixels & Architecture

Project

House on the South Bay shore

Two-story private house is solved in a smooth, rational and futuristic forms. Finishing of the facade – decorative plaster with a bright, vigorous color. The most comfortable natural illumination is provided due to large areas of glazing in each of the main rooms.A large living room / kitchen / dining room is the compositional core of the house, thanks to which the whole family can constantly maintain communication. In the room there is a kitchen set with all necessary household appliances, entrances to two storerooms, combined with a washing and boiler room. The dining table for 6 persons unites the areas of the kitchen and the sofa group located near the fireplace.

From the house, the dining table can be moved to a spacious, stone-tiled terrace in front of the entrance.

From the hallway the door to the master bedroom is designed, equipped with a bathroom with panoramic windows and a dressing room with a closet and dressing table. From the bedroom, you can access a small area of ​​the lawn covered with a hedge.

On the second floor there are two children’s rooms, each of which has panoramic glazing with a beautiful view of the surrounding landscape. Also from each room there is possible access to the roofed roof, covered with a lawn, on which it is pleasant to spend a warm season.

Architectural solutions embedded in the concept of this building will provide a comfortable and esthetic living environment.

Garden of the Growing Columns

…Vertical for vertical. Growing up, ready to cut through the clouds constructions, unable to bend and fall…
The Garden of the Growing Columns is a combination of elongated cylinders located on an open stretch of land. Cylinders copy the model of plant growth: at the initial stage, these are circles with a near-zero value of height, in the subsequent stages of the construction they constantly increase their upper mark, which has no limit.
The form of growth is cellular. Individual cells of the structure are divided and stretched, thereby increasing both the size and the amount of cellular material. The intensity of growth is constant, because as a resource, any solid substance contained in the earth’s crust is used. A solvent in the form of water or other liquid is not required for this object.
Self-regulating shape control system does not allow deviation of the design from the design vertical by more than 1 mm. The columns are rigid and do not respond to wind. Also, there are no characteristics that suffer from wear and tear – the Garden is an construction that is absolutely beyond the control of time.
An important feature of the growth of the components of the Garden is its rhythmicity (alternation of the processes of intensive and slow growth). It depends not only on changes in external factors of the environment, but also is controlled by internal factors fixed in the process of evolution.
Growth processes can be interrupted by long periods of inhibition, the offensive of which in the northern latitudes is associated with the end of summer and the approach of winter. At a favorable time of year, the growth rate is increasing.
The Garden of the Growing Columns is intended for accommodation both in a deserted environment and in densely populated areas of the planet.
Trojan Horse

Not quite the usual building presented in this concept, prepared for possible construction in a remarkable art-park in Nikola-Lenivets.

In fact, this is a guest house with the possibility of accommodating guests (it is possible to accommodate 2 guests in a room on a double bed and 3 more guests in sleeping bags on a terrace of the second level – on a bench and hammock).

Ideologically, this is interpretation of the Trojan horse from the Iliad, which by architectural function was a dwelling for warriors. When working out the form, I started from some of my illustrations in the Pixel Art style.

Construction of the building: a wooden frame on the foundation of 4 screw piles, the frame is trimmed with a board from all sides. Roofing – flat type, with a roll coating.

Dimensions of the building: length – 6,12 m, width – 4,8 m, height – 6,95 m. The length of the building is chosen such that it corresponds to the maximum of the widely accessible lengths of the beam (6 m).

At the first level there is a dining table for 9 seats, as well as a vertical staircase to the second level. Overlapping serves as a canopy over this area in case of rain.

Access to the second level passes through a vertical ladder, the opening in the floor can be closed from above with a hatch with a latch. On the second level there is a living room (with a double bed, electric lighting, sockets and the possibility of connecting an electric heater). The roof is on the second level operated, with a covering of wooden boards. Also on the second level there is a bench (the width of which allows you to sleep on it in good weather, in a sleeping bag), a small table, and a hammock as an extra bed.

For convenient delivery to the second floor of things a system of blocks with a lever and a metal grate for loading is provided.

Interview

How do you approach the act of drawing?

To prepare for the drawing, I usually look through the works of other professionals –  on books, magazines, sites (KooZA/rch, Pinterest, ArchDaily). Any new work of art is almost always a distorted copy of something created earlier, so it is very important to find a suitable basis – what can be processed, mixed, and added by your creative ideas.

How important is this when developing your projects?

The selection of references is extremely important for choosing the direction in which the project will move. This helps to avoid the invention of a bicycle and excessive naivety in the final result.

What role does the client hold when thinking about how you are going to reveal and explore projects of housing?

Now I’m inclined to think that the client should play a minimal role in the design. Architecture – in appearance a fairly accessible form of art:  in the childhood we all drew houses or painted a fence on the site. And the client often feels that he can be well versed in this sphere. Because of this, the project often added strange things which make professional’s eyes pop!

An architect is as much a professional as, for example, a neurosurgeon. It is unlikely that any of the patients will come to mind to give advice to an experienced surgical specialist.

In my opinion, designing is a dictatorship rather than a democracy. A good dictator (architect) can, of course, listen to the basic requirements of the masses (client), but he will make the final decisions by himself, focusing on his knowledge, experience and ideas. A beautiful and comfortable building can only be obtained if the client fully trusts his architect and allows the implementation of professional ideas on his object. And this applies to all kinds of art, not just architecture – from music to painting.

How important are plans and sections compared to views in this scenario?

At the initial stage, the plans are as important as the perspective and axonometric views. The sections are important for the later design stage, when we move on to working on the details.

What is your take on the axonometric projection?

I think the axonometric projection always looks very stylish. In fact, its magic is that it does not even matter which object is depicted.

And I like the fact that axonometry is a pure product of the human mind. In nature, the axonometric projection is practically impossible: this is what we, humanity, brought to our world.

To what extent do you trust this is the most complete form of drawing?

Axonometric projection provides an opportunity to show what is not visible in the perspective projection or in a flat drawing. But all these forms of design are mutually complementary, and are necessary in the aggregate. Still, axonometry can not replace a plan/elevation/section drawings (which engineers and builders are working on) and a perspective views (which photorealistically shows what we will see in the end).

What is your work process when developing a project?

First I take a detailed interview with the client to collect as much information as possible about what is required of me. Then I search for suitable references of what I need in books, magazines and Internet. After that I come up with a preliminary model, fix it in a 3D-design program and for several days I do not do this project at all to give the brain a time period for inventing a good idea. A few days later I return to the preliminary model, correct it, prepare the floor plans, the layout plan for the site, perspective images and show it all to the client.

And then begins working design, adjustments from engineers, bundling and communication with builders at the construction site till the building is ready.

What programs / softwares do you use?

Recently I had the opportunity to work in Grasshopper, and this program struck me with a completely new approach to design. This is exactly the future, and the new architecture is more likely to be a product of programming than pure creativity, to which architects are accustomed to the previous millenniums of civilization.

What would you say are the architects most important tool?

I think the main tools of the architect are the brain, eyes and hands. All the rest – things are certainly useful, but not necessary.

As a proof of this statement, one can cite the architecture of the Prehistoric Epoch and the Ancient World – megalithic constructions or Egyptian pyramids. These stunning works of art were designed, most likely, by a minimal set of the most primitive instruments, but nevertheless, they amaze our imagination so far, unlike many modern buildings created with the help of the latest technologies.

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