A Journey of Experiences

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Monochromatic, Students

A Journey of Experiences

Marco De Vincentiis & Emanuel Falappa


The Trans-Siberian is the route where continuous experiences and paths create connections between reality and physically distant places. It ‘s the journey that makes this possible, that elevates the Trans-Siberian has no mere link, but as a symbol of knowledge, sharing and unity of different realities. So our architecture is made by this significance. A trip is made by key moments by words that have different significance for each of us .Words that represent moments and feelings here want to be able to generate architecture.
The two large wings that embrace the central body symbolize the rhytm of time. the path is suddenly interrupted so the customers can assimilate what has been and what perpahs is going to be continuing the journey. The structure leaves no compositional references in dealing with the place except through the large openings that let perceive as interference outside. Because our architecture doesn’t have to be placed only in one spot but it is essential not to lose the main references. This is the reason why the two more external pillars change in height depending on where our “stop” is placed, referred to Mosca and Vladivostok that are the more external stops of the Transiberian Route , describing visually where you are compared to the most extreme points of the railway. Reference points for the visitor but which do not interfere with the perception of the surrounding space. Every place is different, the architecture helps to perceive it without imposing a point of view.
The path has to tell a story as well as driven into the building. Understanding requires knowledge, the architecture must be used as support. So the structure is has a dual role, able to support but at the same time to teach.
See and observe impose peace, expressed by a path that wants to guide you, helping you perceive the environment, moving towards the central space. The relationship with the external changes as you get closer to the core, gradually changing from a direct relationship with the outside mediated by windows, to the complete negation of the front light, that once the center becoming zenith, thanks to a skylight in the roof. Similarly if you go the other side, this time the mirror, replaces the glass, and allows the time to confront  with ourselves.
The center of the project is the heart of what the journey is, is the static break as opposed to the dynamism of crossing. This is the moment in between the past and the future of our trip. The calmness of the pause is able to reveal feeling and experience otherwise imperceptible. Here the “stay” is represented from the fundamental services to the dining.



Who influences you graphically?

We think every project has its short story to tell, that’s why we describe every project with several graphics every time. Today, softwares allow us to use and try different techniques, that we discover from time to time.
Nowadays the web is our main source of inspiration, and thanks to it we discovered the main references of our works: online platforms like Axonometric and Library pages on Facebook; many architecture firms such as Fala Atelier, Atelier, Bow-Wow, Fosbury Architecture, Office KGDVS, 2A+P/A or Salottobuono; Illustrators and Designers like Malika Favre, Eva Le Roi and Raul Soria; and of course we were also inspired by symmetry and colours in Wes Anderson’s movie.


How could the theme of the journey and narrative influence the way the proposal is formatted in order to reinforce the thesis? 

We decided to use this representation and to produce these images in order to involve the observer in a clear but surreal visual path field like in a graphic novel. Drawings are made and organized according to a narrative logic, which enables you to have an overview of the project and, at the same time, you are free to interpret each frame. We tried to step into the shoes of the Trans-Siberian traveller who wants to discover new places and people. In this project we considered the structure not only as a simple arrival point of the journey but as a place where the discovering of places and people takes place. Considering the impact of the different stories that everyone can tell as implies path in-between the image. For doing this we used canonical representation of architecture and we distorted them in order to create a time fame.

What dictated the choice of a monochromatic palette?

The importance of a narrative project must not necessarily be expressed through a simulating reality image. Sometimes the market prefers this, and so do competition platforms, suggesting us the best way to let people understand what we are “selling” to them. But Architecture, in our opinion, has the ability, through the graphic choices, to tell a short story that may not be perceived in a unique image. Is the selection of the type of representation that leave you to choose what to see. Who tell us to use brown for wood or grey for concrete? Colours could be a stance and the choice of a certain palette could be an unconscious design choice. Black and white, define obviously how architecture is, but not how looks like. In this case black and white mean simplicity and clarity but also free interpretation of the drawings.


How does the inclusion/exclusion of people reflect on how the images and thus proposal is perceived?

Use of people is based on the way the point of view changes. We used them when the point of view is far from the human scale, to better describe which are the functions of the representation (Axonometry and Perspective plan). For the other drawings we didn’t use people because we tried to see the image at eye level. It represents the perception of the human being who, looking at the architecture, is free to observe and understand it.


What defined the choice of representation methods through which you chose to reveal your project?

“make everyone able to identify the story of our project, giving them the tools to do it”. This is how we are used to do architecture from design to drawing. This is the reason why we decided to give the same importance to the narrative as the choice of the material. Here the narrative of representation starts from the first axonometry where you can see the project and the context together. With the plan and the first view you can see inside and the core of our project and finally you come back to the outside where you can see the elevation and the last perspective view. As a farewell to the next station. So everything is set up, the basement of the project is there, to support who want to see it.



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