A little about me.
Ujal
Gorchu 0.1 EDUCATION
B a k u Turki s h An atolian Sch ool 2 0 02 - 20 1 3
I E S c h ool of Ar c h i te c tur e an d D e sig n 2 015 - 2 02 0
T e x a s H i gh Sc hool 2 0 1 4 - 20 1 5
S y r ac us e U n i ve r s i ty S p r i n g 2 018
0.2 WORK EXPERIENCE F eb ru ary 2 0 1 9 - O n g o i n g /
Fe bru ary - Ju n e 20 17
Bolo gna,I T
B er l i n , GE R
T h e Plan A rchitec tur al Magaz ine As one o f t h e e d i t o r s f o r th e E n g l i sh pa r t o f the ma gaz i n e as we l l as th e a c a de m i c j o u r n a l I h a ve ex p eri e n c e i n e d i t o r i a l , n e tw o r k i n g , sc o u ti n g a n d cura tio n al as p e ct s of a n a r c h i te c tu r a l pu bl i c a t i on . Curren t l y wo r k i n g fr e e l a n c e o n r e qu e st.
Mola A r ch ite cte n Was i n ch arge of t h e St . Pi e t ru s Ki n d er gar ten com pe t i t i on i n cl u d i n g e arl y d e si gn pro p os al, proje ct d e ve l opm e n t , an d vi su al i zat i ons . Ju n e 20 16 - O ct obe r 20 19
“ Sa ba h in Me ma r la r ı” Commun i t y Sep temb e r 2 0 2 0 - J u n e 2 02 1
P o s t - B ache l or Reseaar c h Fellow ship Sego vi a , ESP
As a p art o f t h e fe l l o w sh i p g i v e n by th e IE S c hool of Arch i t e ct ur e an d D e si g n I h a v e spe n t a ye a r inv olv e d i n a r an ge o f te a c h i n g pr a c ti c e s a s a TA as w el l as a ran ge of su ppo r t a c ti v i ti e s l i k e c u r ation o f e x h i b i t i o n s , so c i a l m e di a a n d o f c o u r se p erson al re s e ar ch o n a r c h i te c tu r a l pe da g o dy i n the ag e o f d i gi t al m e di a .
B aku , AZE
Fou n d e d t h e st u d i o i n 20 16. SB C be i ng o ne o f t h e fi rst st u d e n t com m u i t i e s f or y ou n g ar c hitec ts i n A ze rbai jan w as d e si gn e d t o i n cre ase the com pe t e n cy of l ocal st u d e n t s. So f ar we’ ve c ome f rom m ast e r cl ass se ssi on s i n 20 16 t o r ec ieving ou r fi rst com m i si on f or a sm al l ru ral s c ho ol in A ze rbai jan i n 20 17 . O u r goal i s t o at t r ac t s tudents f rom d i f f e re n t fi e l d s t o w ork col l aboratively on arch i t e t cu ral proje ct s.
Decem b e r 2 0 1 8 - J u n e 2 02 1
Ju n e 20 18 - Se pt e m be r 20 18
Sego vi a , ESP
B aku , AZE - Ki ev, UKR
P o s t - B ache l or Reseaar c h Fellow ship Co F o un d e r o f t h e m a g a z i n e i n 2 01 8 a n d c u r r en t ly the curat o r an d c o - de si g n e r f o r th e se c o n d issu e “ P o s t h umo us G e o g r a ph i e s. ” P r o l o g u e i s an interd i s c i p l i n ary p l a tf o r m c r e a te d w i th i n IE Univ er s i t y . We h ave a n e xpe r i e n c e o f w o r k i n g w ith arch i t e ct s , d e s i g n e r s, po l i ti c a l sc i e n ti sts, sociolo gi s t s an d o t h e r s e xpl o r i n g th e fl u x o f intelle c t ual l an d s c ap e s a n d ba n a l i ti e s o f da i l y li f e .
“ Sa ba h in Me ma r la r ı” Commun i t y Worke d as an e d i t or f or t h e En gl i sh editions . I n i t i at e d e ve n t s t ry i n g t o bri d ge t h e l o c al b ody o f arch i t e ct s an d vi si t i n g prof e ssi on al s. Reac hed o ut t o, i n t e rvi e w e d an d w orke d w i t h se ve r al lo c al and i n t e rn at i on al arch i t e ct s as C h ri st os Pas s as ( C o- d i re ct or at Zah a H ad i d A rch i t e ct s ) and Nari m an I m am al i y e v ( Nari m an M e m ar lig).
0.3 FORTES
M o del l i ng and Vi su al i z z ati o n
Rh i n o ce r o s A ut o C A D
G ras s h o p p e r C i n e ma4 D D İ VA Vray Lumi o n
Photoshop
0.5 INDEX 04.
I l l us t r at o r
21.
Languages
Ad o b e S u i t
I n D e s i gn
A ft e r Effe c t s P re mi e re P ro
Mr. Sandman Bring Me A Wet Dream Un d e rgrad u at e T h e si s Proje ct
Almost Kayaköy
Gh ost - t ow n d e ve l opm e n t
36.
Nocturnal Barcelona
44.
Potato Pavilion
50.
Prologue Magazine
Sh ort fi l m
Param e t ri cal l y h om e m ad e con st ruc tion C u rat i on , d e si gn an d pu bl i sh i n g.
E n g lis h ( C2 ) Rus s ian ( C1 ) Aze rb aij an i ( C 1) T urkis h ( B2 ) S p an is h ( A2 )
0.4 CONTACT C al l e Ve l ard e 5 , a pt. 1 0 4 0003 , Se go vi a, Sp ai n U ja lgo rc h u @ g ma i l .c om S pa in : + 3467 5 0 1 3 8 6 7 A ze rba ija n : +9 9 4 5 0 6 7 5 73 77
For al l w orks pl e ase vi si t :
P igeo n tales.o rg
Dear Angewante Team, This is a letter with hope to be a part of Studio Díaz Moreno and García Grinda as a part of the Master of Architecture program offered by Angewante. I believe that at a time when higher education becomes either a luxurious commodity or a tautological formality the program offers its students an equitable opportunity for the so-badly-needed exploration of speculative mode of thinking and designing beyond mere problem solving. As someone who is endlessly excited about the prospect of working at the shifting periphery of the architectural discipline I look forward to an opportunity to dive into an environment of an applied arts school. I have received my undergraduate degree from IE School of Architecture and Design which gave me a comprehensive set of tools to start developing my personal opinions on the industry, academia and the discipline as a whole. During my education I’ve had the opportunity to work at several offices around the world, start a student union in the country of my origin, work on professional commissions and establish an independent architecture and design magazine. My graduate thesis -- ranked in the top 5% of my class -- was a logical culmination of all these efforts and the time during which I became almost obsessively interested in the work of Amid Cero9. However, the year following my graduation I started doing research as a part of my fellowship at IE and a very grim picture of our discipline formed in my head. A market-driven discipline that merely survives in the world of Realpolitik. It seems like there is a strange anxiety in the air as we go through the last two decades and constantly fail to find a new place for our discipline. This is why even after successfully applying to several firms I felt like my immediate path lies in an “institution”. After extensive research I decided to devote the next three years of my life to Angewante because I believe that at a time when an overwhelming majority of architecture schools in Europe focus on raising generations of students based on the merit of “calculable impact” and effective problem solving Angewante tries to carve up a space for students where they can project alternative readings of our current state through thinking and making. I write this letter with a genuine hope of being on Angewante’s team starting from upcoming semester. To be in an environment that would nourish, challenge and contextualize the knowledge and skills I’ve gathered throughout the years and I believe that I can actively contribute to the body of work and the general discussion within the school.
Motivation Letter.
0.1 MR SANDMAN BRING ME A WET DREAM
Hedonistic bathhouse on the shore of Valencia Type: Academic (Thesis) Professor: Matan Mayer Year: 2020 Location: Valencia, Spain Group: Individual “Rooted in post-structuralist thinking, Ujal Gorchu’s project seeks to question the role of architecture as a mediator in spaces where ideological agendas collide. Taking an experimental approach, he explores the interplay between identity, politics, urban development and how we interact with nature. These theoretical musings come together to create a piece of transgressive architecture that meets the needs of human/non-human assemblages.” ArchDaily Link here
0.1 MANIFESTO +RESEARCH A: When was the last time you felt discomfited yet aroused by an idea. B: *** A: What about an architectural one? B: *** A: Wouldn’t you like that? B: *** A: I thought so. Right kind of questions are seductive. Yet we seem to cling to our fetish for answers. We seem to have a lot of answers. Answers to questions we stopped asking ourselves a long time ago. Most of us stopped re-asking the questions once they settled for a convenient answer. What happened to the architecture of transgression? What happened to the attempts to understand the “paradoxical relationship between architecture as a product of the mind, as a conceptual and dematerialized discipline, and architecture as the sensual experience of space and as a spatial praxis” This paradox doesn’t seem to push new architectures of transgression anymore. “In the paradox of architecture, the contradiction between architectural concept and sensual experience of space resolves itself at one point of tangency: the rotten point, the very point that taboos and culture have always rejected. This metaphorical rot is where architecture lies. Rot bridges sensory pleasure and reason.” The point Tschumi skillfully identifies is where the project hopes to start operating within. It utilizes post structuralist thinking to destabilize and hijack the conventional ‘truth’ based in the Cartesian cogito, and focusing instead on surfaces of bodies, effects, intensities, impulses, flows and eroticism. How does architecture relate to eroticism anyway? In his 1957 book L’Erotisme, Bataille outlined a distinction between eroticism and sensuality. Where sensuality is the pure pleasure of the senses, eroticism incorporates sensuality, but includes an additional element, an excess. This somehow pschoanalytic excess is essentially conceptual, held in the mind, and relates to given historical and social meanings, limits, and taboos around sexuality. “The existence of these limits, and their skirting or transgression are necessary for a merely sensual experience to achieve the level of the erotic.” How can one design a project around concepts or transgression, eroticism and excess? How can these ideas be synthesized in a single project that grapples with a myriad of issues a contemporary architectural project needs to address? A project that deals with issues of identity, politics, urban development, and relationship with constantly evolving concept of nature. In a site where different ideological agendas collide and influence the built space overtime how can architecture mediate a dialogue between different “natures,” agents and bodies? Using a pre-existing condition of ambivalence of the site as a starting point, the project tries to become a petri dish for experimentation. Experimentation in self exploration, relationship with other bodies and the environment these bodies reside in. An interdisciplinary project that tries to see how the necessities of new human-non human assemblages can give rise to a different kind of architecture of transgression (temporarily). A project that asks what an architecture tailored to exploring objectophilia would look like or “how does the contemporary queer theory hybridize with a century long architectural typology of the bathhouse in a edonistic landscape of psychoanalytic excess”? How does an architectural project encourage exploration of erotic yet not necessarily sexual pleasures?
0.2 LAYOUT Basic logic of distribution revolves around several existing artifacts (abandonded gay cruising boat, family restaurant and the old factory chimney) and the programmatic additions. The project semantically and architectonically consists of two parts: the stereotomic underground part accommodating two bathhouses and the tectonic part on the surface housing lighter structures for crusing, sunbathing and socializing.
+2 Chimney Rooftop
+1 Accommodation Deck Sunbathing
Ship 0 Abandoned Existing Restaurant Existing Chimney “The Path” Synthetic Garden
Existing Restaurant Existing Factory Chimney
Entrance -0.5 Bathhouse See through Pools Skylights S.Garden Roots
l -1 Bathhouse Bathhouse ll
Conceptual visualization.
Cruising maze.
Stereotomic Bathhouse
Section A-A’
1
0.3 BATHHOUSE Since the project is placed in the middle of an artificial sand dune it had to adapt to the specificities of the climate, however, one of the things that a project tries to make clear that there is no such thing as the Nature, but rather a myriad of natures. Thus respecting nature is not a mere effort to replicate the organic, but rather thinking of ways we can add layers of complexities and synergies to the existing natures. Tectonic structures Ground Floor Plan
A
1
2
A’
Synthethic Garden Transversal Section
0.4 SYNTHETIC GARDEN
Creating a synthetic oasis in the middle of the dune ecology. This of course had to be made out of engineered materials and for that I consulted my bio-chemist friend, in a language she would understand.
“Okay Natavan, so imagine there is a bed. It has a frame that goes from being vertical to horizontal and its roots go to the ground. On top you have a mattress made of jelly like growth medium which people can use for their intimate experiences. By adapting and changing with the introduction of new microbiomes it serves as an interface between humans bodies while maintaining an agency of its own.”
0.5 SYNTHETIC GARDEN ll This type of synthetic garden is a way to rethink the way we relate to our bodies all of the micro organisms we carry on daily basis.
0.6 CONSTRUCTION SYSTEM For a project that deals with a myriad of construction systems it was important to think of how the construction systems come together with other considerations like water management and thermal properties.
1. Arenosol Soil 2. Compressed Soil 3. RCC Mat Foundation 4. Water Storage for cooling 5. Drainage Pipe 6. Extruded polystyrene insulation 80mm 7. PVC-P based Waterproofing Membrane 1.5mm 8. RCC Retaining Wall 800mm 9. Rammed Earth Wall 500mm 10. Boilers 11. Water Filter 12. Oak Coating 13. Steel Tube 14. RCC Beams 800 x 500mm 15. Hollowcore Slab 600mm 16. Active Ventilation (Exhaust) 17. Active Ventilation (Intake) 18. RCC Lintel 300 x 500mm 19. Wooden Boards 20. Pool - Slab - Thermoplastic polyolefin 21. Steel Plate (TPO) membrane 1.5mm 22. Wooden Beam - Screed 120mm 23. Glass Panels with rubber joints - Light Fixture 24. Friction Wooden Sticks Ø50mm - Ceramic Tiles 15mm 25. Olefin Fabric 2mm - Water
1. Glory Hole Room 2. Human Aquarium 3. Main Queer Pool 4. Volcano 4. BDSM Dungeon
0.7 EPISODES Once the general layout was there it was time to start exploring the intermediate scales that lie between what we call architecture and furniture. These scales help to explore, develop but also exhibit the peculiarities of this complex program. Potential realities that are commonly disregarded by the general public simply due to misrepresentation. The series of drawings are meant to be an interface or a keyhole into something new. Something uncanny yet beautiful. A different kind of mindset where we constantly ask “what if” and answer “why not”. We ask these questions until the subjects stop feeling alien and become something we are willing to incorporate in our daily lives.
0.2 ALMOST
KAYAKOY Architectural and urban re-appropriation of a Mediterrenian Ghosttown. Type: Academic Professor: Izaskun Chincilla Year: 2019 Location: Kayaköy, Turkey Kayaköy, anciently known as Lebessos is presently a village 8 km south of Fethiye in southwestern Turkey in the old Lycia province. Both Anatolian Muslims and Greek Orthodox Christians had lived here in harmony since its origins in the 14th Century until the Greco-Turkish War of 1919-1922 culminated in the emptying of its 6,500 Christian inhabitants: both Turkey’s Christian citizens and Greece’s Muslims were expelled from their homes in a population exchange between Greece and Turkey. The townspeople were subsequently barred from returning by 1923. The ghost town, now preserved as a museum village, consists of hundreds of rundown but still mostly standing Greek-style houses and churches which cover a small mountainside and serve as a stopping place for tourists visiting Fethiye and nearby Ölüdeniz. The village is now empty except for tour groups and roadside vendors selling handmade goods.
0.1 INITIAL THOUGHTS
WHAT IS KAYAKÖY?
Thoughts on architectural identity What kind of things contribute to the formation of ON RUINS an architectural identity? Is it the way we “use” it? Maybe how we think and talk abou it? Or maybe it is What is the importance of ruins in the architectural cycle of life ? the act of remembering that keeps it alive? Kayaköy is focal point for discussions on politics, cultural heritage and identity and even though the place is mostly underused right now there are definitely specific expectations about how this place should be “activated”. Some people say that it needs to be rebuilt to meet its former “glory” but trying to completely replicate the old city fabric is not only impossible and naive but also quite unnecessary. As Michael Hays mentioned in his essay on critical preservation “The preservationist impulse is predicated on a paradoxical anteriorizing process that takes a present remainder – a building or district designated as significant – and assigns it present meaning by declaring that this meaning was already given in the past...The consequence, then, is that the remainder inevitably is perceived in a kind of pure present, a piece of time compressed to a sliver with no actually perceptible past and no predictive power.” Part of the identity of the place is definitely what it used to be: relatively densely populated, lively and dynamic (at least we think so). However we cannot deny the fact that the condition it has been under for almost hundred year is also an undeniable part of its identity. A lot of people are drawn to it because of its current state. This mysterious ambient place marked itself in history through academic writings on cultural heritage, ordinary people’s blogs, or even movies by people like Russel Crowe. So how can an architectural intervention try to frame this condition in a way that would be respectful to the several identities of the place? “History should not be understood as homogeneous and continuous but rather as comprising allegorical moments and occurrences – remnants and incidents that must be constantly interpreted and performed, and which can therefore be used to construct alternative futures from alternative pasts.”
I think it is an important thing to think about this because trying to restore every building to its former “glory” is like not letting your grandma die. If we admire and respect our grandmother why do we put her in a mausoleum? Sometimes we have to let it go and let buildings complete their life cycles. Falling in entropy is a beautiful thing if we let go of our modernist ideologies that tell us that buildings are built to last for ages. Moreover, we cannot deny the fact that deep down we have an admiration for ruins.“Perhaps the strong force behind architectural ruins are tied to the fact that they are concrete evidence of a past civilization and, a connection to our common quest for survival and a pursuit of greatness.” I would argue that one of the reasons for our awe towards ruins is that they somehow manage escape one of the things that has been limiting architecture as a practice making it unfit for a range of historical and theoretic discourses, namely its limited association to anthropomorphic functiona narrowly defined telos. We never hesitate making the definition between sculpture and architecture and we make that definition (I want to avoid the banal argument about some objects having “more history” than others) based on a primitive criteria of “inhabitableness”. Following the same logic architectural ruins are nothing more than sculptures that were once pieces of architecture. However, one feels certain unease placing historical ruins of Kayaköy under the same umbrella term as lets say Jeff Koons work. Why do we feel bad if the our logo-centric evaluation criteria has clearly put these things in the same category? One of the goals of the project would be to blur the lines between habitable/inhabitable and rethink the idea of dwelling outside of earlier mentioned anthropomorphic limitations. Thinking of architecture not as a mere container but as a vessel for history, memory and identity.
0.2 DESIGN STRATEGIES 0.1 Static vs Dynamic Components
MEMORY & PERCEPTION
However, even though memory is associative and fluid this fluidity happens in the connection between the more solid memory pieces. These memory artifacts can range from the feel of our grandmothers doorknob or a specific frame that got linked to the feeling of being left out by our parents. These feelings are more permanent than others and oftentimes make up the core of our identity. These elements are in a constant reciprocity while having different functions and properties. Solid memory artifacts help to keep a consistent identity at a given time while the fluid links between the constantly change molding our perception of the core memories ensuring a constant state of change. One can almost think of it as the waves slowly eroding the solid pieces of rock little by little. Individual or collective identity analyzed through the relationship of these two elements can be potentially very fruitful. The same applies to Kayakoy.
0.3 Cyborg Environments
Similar to the concept of the “real” the concept of memory has been highly misrepresented in popular culture and everyday language. We often think of memory merely as objective recalling of specific events in our lives but just as post-structuralism proved linguistic relationships to be subjective and almost untraceable the way our memory works is also associative, fluid and oftentimes chaotic. We do not remember things in a vacuum, we remember things in relation to other things. “This is, exactly how events and memory both proceed: associatively, digressing, jolting, looping.”
0.2 Inversions & Reals
Thoughts on architectural identity
0.2 TERRITORIAL STRATEGIES
1. ACCOMODATION UNITS 0.1 Components
Designing the relationships between the existing and the new proposed use, materiality and operational logics.
1. ACCOMODATION UNITS 0.2 Operation
For a project that deals with meditation in a complex setting like this it was important to understand the haptic differences between the existing and the proposed as well as how the proposal interacts with existing sources of water, heat and light. Some solutions may be at odds with what people may think a restoration project should be like but then again, what should it be like?
1. ACCOMODATION UNITS 0.3 Visualization
Visualization of the accomodation unit
i. Section of the old church and the proposed addition.
2. UPPER CHURCH
Re-purposing of the abandonded church was an opportunity to apply previously developed concepts and tools in a much broader scale. Main idea was creating a doppelganger for the existing church which has been in ruins for more than hundred years.
3. CYBORG INFRASTRUCTURE
The main idea was that promenade from the city to the harbor would serve not only human transit but would act as infrastructure that would support animal species, water distribution and local flora. The structure was meant to be adaptable to the terrain as well as being easily dismantled when necessary.
5. HARBOR
As the last point of the promenade from the city to the sea the harbor was supposed to communicate the ambiguity of the whole process. It follows similar idea of grappling with dualities as “natural” and “artificial,” lightweight and heavy, human and non-human. It is a mix of an animal habitat, artificial marine cave and a swimming deck which is common in the Egean sea.
i. CONCLUSION
JUDGMENT & ETHICS How are architects supposed to decide what is for the best? How do you tackle a place where every decision will be wrong for someone and regardless of which decision you make, you’ll exclude the others. Every architectural project deals with ethical questions in some shape or form. In some cases this ethical boundaries are more clearly defined than others but it is definitely a challenge fo. But is naive to assume that if we spend enough time “researching” we can get to the absolute truth and have the best proposal for a specific space. In fact our perception of truth is just another constructed narrative and sometimes it is really hard to say what makes one narrative better than the other. However, there are some things that we can definitely argue for being unethical: trying to restore the town as a monument to “the happy times” when everyone used to live together ignoring all the other phases of its architectural cycle. We have to address the problematic nature of the site and talk about how “Every decision will leave others behind and every act of remembering is an act of forgetting.”
Visualization of the interior of the chu
urch
0.3 NOCTURNAL BARCELONA
Short speculative film on the nightlife of the Barcelona Pavilion and the statue. Type: Academic Duration: 10 days Professor: Sergio Irigoyen Ramirez Year: 2019 Location: Barcelona, Spain Group: Ujal Gorchu, Mikhail Frantsuzov, Aaron Hesse As a part of the Alternative Practices: Digital Systems course we were asked to utilize some of the possibilities of the Unreal Engine working with the famous Barcelona pavilion. As this was only a ten day course we decided to go for something daring and tell an alternative/non-human story of the famous statue.
0.1 DAYTIME Barcelona Pavilion is a unique phenomenon in the history of 20th century architecture. From its political, economic and social context during its erection to its subsequent demolition and eventual re-building the project has gone through a long and turbulent life yet somehow managed to survive. But how did this conceptual pure artifact manage to survive over the years? What is it that guards it through its life? Maybe a spirit?
The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an eagle in his flight.
0.2 NIGHT TIME But what if the guardian angel of the pavilion is not an angel all?dolor Whatsitif amet, it is anconsectetur evil spirit living in the Loremafter ipsum adipstatue of ased beautiful woman? What incididunt if she was a beautiful iscing elit, do eiusmod tempor woman but the pressures of modernity hasad darkened ut labore et dolore magna aliqua. Ut enim her soulveniam, and now she seeks revenge? minim quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
0.3 PARTICLE SYSTEMS What made Meisian architecture so... Miesian? Non-cartesian fluid geometry is what came to mind first and X-particles plugin for Cinema 4D was a suitable software for fluid simulations.
0.4 POTATO
PAVILION
Parametrically optimized shell structure from homemade potato? Type: Academic Professor: Fermin Blanco Year: 2019 Location: Segovia, Spain Group: Ujal Gorchu, Derin Evcim As a part of the Construction Systems ll class we were asked to develop a construction system involving a specific design material. We decided to combine complex optimization tools with primitive techniques for creating hommade bio-plastic.In terms of work distribution I was responsible for developing the procedure for creating the potato-based organic plastic as well as setting up the grasshopper definition that would link several plugins together. Derin was the person responsible for making the idea fit the construction requirements and the beautiful detailed section. Visualizations are done by me as well.
1. Splitting the surface into workable segments
1. Defining static and parametric point loads.
0.1 OPTIMIZATION Using the Galapagos and Octopus optimization plugins for Grasshopper I tried to optimize for the following parameters (fig. 2&3). Using the Karamba plugin as the main tool for structural calculations (fig. 1) we went through 4 ,673 iterations. 1. Reducing total moment in the nodes (0.4 coefficient). 2. Reducing average transverse shear forces in the nodes (0.4 coefficient). 3. Reducing the total amount of the material used (0.2 coefficient)
5. Considering habitability aspect.
Fig.2
3. Figuring out the range and type of forces to be considered.
Fig.3
4. Identifying the main nodes.
Fiber Paint Polylactic Acid (PLA)
Fan Chimney Plastic Honeycomb Sandwich Panel EPS Insulation Polycarbonate (PC) Window
Polycarbonate (PC) Window
Aluminum reinforced polycarbonate
Timber panels
PVC roll finish Mortar EPS Insulation
Heating Shaft Polycarbonate (PC)
Concrete foundations PVC roll finish Timber Panels
0.2 CONSTRUCTION Equally important part of the project was trying to figure out how this bio-plastic can make sense within the industry. How is it manufactured on a big scale? What is the installation look like and of course what would be the most suitable application for an experimental product at its infancy.
Phases Installing the foundations (2-3 people for transportation).
Precast plastic body pieces 3-4 people (for the 4x5m module)
Secondary and tertiary structure of the interior (2-3 people for transportation)
Installations Windows, insulation and internal ventilation for temperature control.
0.5 PROLOGUE MAGAZINE
Curator and co-designer of a student-run magazine of IE School of Architecture and Design. Type: Academic/Commercial Year: 2018-Ongoing Location: Segovia, Spain Co-founder of the magazine in 2018 and currently the curator and co-designer for the second issue “Posthumous Geographies.” Prologue is an interdisciplinary platform created within IE University. We have an experience of working with architects, designers, political scientists, sociologists and others. For this issue we had the honor of working with people like Juhani Pallasmaa, Linda Zhang, Nikolas Ettel and others. The issue was meant to be a zeen mixing high culture and pop-culture or as the motto of the magazine goes “exploring the flux of intellectual landscapes and banalities of daily life.”
TAKE A STAND.
What happened to the culture that took pride in its critical student body? Why are students incapable of expressing their thoughts or even forming opinions?
Oversimplified diagrams and hyperrealistic renders are not the only ways architectural narratives can be effectively communicarted.
DESIGN
That’s the end folks.