PORTFOLIO OFARCHITECTURE

E K AT E R I N A BAG I C H E VA5 2 4 0 N E 6 t h a v e , 2 6 hOakland Park, FL 33334baguitcheva@hotmail.com

321.663.5127Z 2 3 3 5 1 7 8 5

Design 5

2012

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4

C O N T E N T S

Design I

Design II

Design III

Design IV

Cartographer ConstructSpace definition using tectonicand stereotomic elements

Joint ConstructConstruct based on the “Picture Window House”

Matrix ConstructArt Gallery, PaintingFine Arts Building

MetaphoreWelcome Center, Andros Buddist Monastery, Smoky Mountains

Design I Cartographer Construct

In this project, I learned how to define space by using tectonic and

stereotomic elements. Cartographer is a construct, which maps

out and defines space. It is the final model designed through over-

lapping of the smaller components illustrated. In addition, to iden-

tify the intricacy of the shifts in space I have designed an element

that I call Vessel. It further defines the space and fits the cartogra-

pher like a key. It allows for space to be transformed into new field

for discussion. In this process, I gained higher appreciation of the

vital roles solids and voids play in design.

PROCESS

Solids Voids

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Vessel (plaster) Cartographer (museum board)

Ink on Mylar

D1

Design II Joint Construct

GroundFloor Plan

PROCESS

During this project, I learned how to analyze living space, understand architects work, and use context

as a design inspiration. In this case the chosen architect is Shigeru Ban, who designed “Picture Window

House”. Analyzing, I was able to convey meaning through graphic notation and interpret analytical

drawings into three-dimensional diagrams. In the last examination, I have constructed a spatial joint,

which was mainly inspired through “pause and circulation” diagram. To highlight the location of the joint

I have used a plexiglass. This project is very abstract and does not cross the border between character-

istic of space and characteristic of inhabitable place.

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Public/Private Pause/Circulation Sun light Rhythm/Structure

1st floor

2nd floor

Joint

Rooms

Garden

Hierarchy

Upper Level

Lower level

D2

PROCESS

Design III Art Gallery

This project was based on a painting “Kettle”, by Antar Spearmon. Along this design I learned how to work with a two-dimensional surface (painting in this case), analyze it based on design principles, and use this context to create a matrix. Matrix became a landscape and main code for other fragments involved. Next, I fractured a painting and positioned it on the matrix. I found logical connections between separated pieces, which created opportunity to insert a program of several spaces. For the final construct I have framed every piece of the painting, as it would be its own art piece of the gallery, so if a viewer would walk the gallery he or she will be able to admire the walls as art pieces. This project helped me achieve a learning of more realistic aspect of design, use the 2D con-text and derive information for design from it, which allowed me to use something simple and yet create a complex volumetric form.

Growth

Hierarchy

Repetition

Rhythm

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2nd Floor

3rd Floor

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PROCESS

Design III Fine Arts Building

The project inspiration is obtained from a site located in Downtown of Fort Lauderdale next to Broward College cam-pus. Through this project, I learned how to analyze the site, use analysis context to build matrix, extrapolate folds from the matrix to create spatial tension, and find logical con-nections between the folds. I was able to construct under-ground spaces, define the roof, and build series of spaces that are connected to one another. I decided to work with more diagonals this time, which allowed we to get experi-ence working with new context. I learned that whatever context I will choose to use it will directly influence my design.

RiverBuildings Trees

Grass

NS

W

ESun

Pedestriants Vehicles

Traffic

Views

Traffic

Views

Sun

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MatrixMatrix

Gesture (East West)

Gesture (Northwest-Southeast)

Gesture (North-South)

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Hierarchy

DatumCentral space organization

Gesture

Growth

organization

Gesture

Hierarchy

Datum

Growth

Gesture

Datum/Central

Growth/Hierarchy

Ground Level

Arial View

D3.2

D4.1

PROCESS

Design IV Welcome Center, Andros

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-ered within this folded pieces of fabric. During this project, I have conducted a photographic study of folded mesh, and than created a

-structs through the use of basic architectural elements like line, plane, and volume. This project was created for the sloped sight in Andros Greece. Lastly, I have developed a conceptual meaning of the project and inserted a program of set spaces.

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D4.1

Growth

Hierarchy

Metaphrical Relation to Andromeda

Andromeda: "ruler of men" from Greek. In Greek mythology, Andromeda is the daughter of King Cepheus, an Aethiopian king, and Cassiopeia. When Cassiopeia's hubris leads her to boast that Andromeda is more beautiful than the Nereids, Posei-don sends a sea monster, Cetus, to ravage Aethiopia as divine punishment. Andromeda is chained to a rock as a sacri�ce to sate the monster, but is saved from death by Perseus, her future husband. The gods as a memorial set the whole family amongst the stars as constellations.

Andromeda

Andromeda. The myth speaks about Andromeda being res-cued, her life is being saved, thus the design represent life and goodness of a Welcome center project.

according to Socrates, is light, life, and goodness. Again, the main purpose of the Welcome center is to bring life and good-ness into Andros.

Metaphore: Welcome Center represent life and goodness of the Andros

View

View

View View

View

CentraL CirculationEntra

nce

Aproach

D4.1

D4.2

Design IV

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dency study and re-organize them according to the geometric logic

develop the conceptual meaning behind my design. Also, I have spent -

PROCESS

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N

S

EW

Winds Winds

Winds

Winds

View

View

View

Highest elevation

ChoosenLocation

North Carolina Purchise Knob, Smokey Mountines

Elevation Analysis Tulle 2

Main Ribon

Tertiary Ribon

Main Shapes

Secondary Ribon

D4.2

Main Ribon

Tertiary Ribon

Main Shapes

Secondary Ribon

Main Ribon

Secondary Ribon

Tertiary ribon

Circle - EternityEternal Destiny Course

Eight Spoken WheelChanges Course of Destiny

Metaphore: Conceptual meaning of the Monastery is Change of Destiny

1. A mystic syllable, considered the most sacred mantra. It appears at the beginning and end of most Sanskrit recitations, prayers, and texts. San-skrit, sometimes regarded as three sounds, a-u-m, symbolic of the three major Hindu deities, which reflect three main ribons in the construct.

2. Overlapping at the center, straight above the shrine where meditation happens. Through meditation the change of destiny occurs.

3. Buddha was a reluctant to accept images of him, so to symbolize Bud-dha eight spoken wheel is used. The wheel symbolizes the Buddha’s turn-ing the wheel of truth or law. The wheel refers to the story that shortly after the Buddha achieved enlight-enment. The Buddha is known as a wheel turner: he who sets a new cycle of teaching in motion and in conse-quence changes the course of destiny.

LIBRARY

LOBBYDINING

KITCHENOPEN TO BELOW

OFFICE

CLASS ROOM

MANUSCRIPT ROOM

MEETING ROOM

Overlaping ofRibons

Overlapping at the center, straight above the shrine where meditation happens. Through meditation the change of destiny occurs

D4.2

Growth=Emotional Growth = Change of Destiny through Growth

CirculationApproach

TOP

Bottom

Entrance

Shrine

Lobby Kitchen Dining

Library

MeetingRooms

ClassRoom

Manuscript room

Quiet / Noisy

Guests

Monks

Garden

“The Mother Art is Architecture. Without an Architecture of our own we have no soul of our own civilization.”

Frank Lloyd Wright