Graphic Representation As A Field of Exploration
This is a 14-unit residential complex located in the middle of Pasadena. Originally, this project was an adaptation of Seijo Apartments by Kazuye Sejima and Associates, but it eventually was developed to fit the site and its program. Each unit is a walk-up type, constisting of three one-story modules, connected and manipulated differently according to the location of each particular unit. All units have extensive private outdoor areas that fill in the spaces between buildings, tying up the indoors and outdoors on the ground level.
Who influences you graphically?
I cannot name a single main influence. At this point graphic representation is a field of exploration rather than a tool to express my ideas.
I try to be as observant as possible, – reviews at schools, books, lectures, koozarch, pinterest, my classmates – all contribute in some way.
I would say I became curious about perspective representation during my second year in school when I started to notice how people find ways
to walk around a rendering in a classic sense, and even bring more to the project by doing so.
When it comes to orthographic drawings, I look up to Japanese architects, Junya Ishigami, Sou Fujimoto and SANAA, for example, who simultaneously manage to keep drawings clean and alive.
What’s the reasoning behind the choice of diverse formats? How could one format served at reinforcing the idea of a modular system?
As a student, I get to do a lot of different formats for each project I work on. Only recently I started noticing (mainly during senior reviews) how one format can either benefit or take away from the project.
You talk about an initial adaptation and later development, what do these terms mean for you and how apart do they sit?
We were given an option of adaptation of a case study during my last studio project. It was scary in the beginning and surprising in the end. I think the point of adaptation is to borrow a certain set of rules for yourself, and during the process decide at what point you need/want to break them.
What is the effect of exploring texture and materiality through both lines and patterns as in the axe when compared to material images?
Ideally, lines and textures (adjustable; vague for interpretation) and material images (not so adjustable; concrete) should have a symbiotic relationship, where both start to make sense only when both are present.
What does monochromatic aspect of the drawing establish both for you and the viewer?
Being born in Eastern Europe, I am used to, and I love rainy foggy weather. I constantly miss white and gray skies that make everything else stand out. You would never get the same effect with a blue sky. I think this relationship translates into my drawings. I use monochromatic color and textures because they bring unique attention to the project itself without neglecting the background.