Orchard Farm With Cider Factory
the project focuses on creating a simple yet functional architecture which could aid a process of producing and tasting the cider, as well as reinforce sheep breeding and would also act as a storage space for the equipment and the living space for the farm’s inhabitants. The distances between the buildings are a result of the needs of a modern orchard farm, as well as the project-related decisions. The buildings enable an alteration of a direction and the way of production. Furthermore, they also promote a possibility of further development and redesign of the interiors. The apple tree planting system form a network on the farm’s plot of a module size 2m x 4m. In order to create an architecture that is consistent with the surrounding orchard, the masterplan, along with the building plans were designed on the same network as the apple trees. Thanks to the use of natural materials and proportions, the project features and displays an architecture which is adequate to peaceful and honest profession of an orchardman.
Who influences you graphically?
Fala atelier, OMA, Takuma Yamaguchi, Junya Ishigami.
What defined the language of representation of the views? How do these relate and stem from the atmosphere and intentions of the project?
In my visualisations I wanted to convey that the interiors of the buildings, as well as their relative juxtaposition with the surroundings are more important than the actual outlook of the architecture. Henceforth, amongst the visualisations one can find a picture of the orchard farm as it is seen by a person who would be resting by the tree. Another illustration represents the immense fermenters inside the cider factory. There is also a simple cider-tasting facility where the ladies from Matisse’s paintings sip the cider near the Klimt’s trees. It is a combination of architecture of production and the tranquillity of a quiet countryside.
Could you talk a bit more about image two with the sliced views?
The illustrations represent the elements of elevations of each of the buildings situated on the farm. Starting from the left there is a cider factory, then there is a part of the orchardman’s house, a sheepfold, a cider-tasting facility and a storehouse. A bright and dark wood, milky-white polycarbonate, white brick, corrugated and perforated steel. The views portray simple yet honest materials and combine them together on a single sheet. These materials, along with the orchard trees, establish the general atmosphere of the farm.
What was the through process behind each frame?
The outlook of the buildings was conveyed by utilising various collages, sketches and models. The materials I utilised include balsa, cardboard, paper, plexi. My intention was to bring up the subject of the aesthetics of the rural architecture of production. The materials used suited the functions of each of the respective buildings. Utilising transparency helped to uncover the parts of construction. The elevation no longer acted as a building cover. Everything on the farm becomes apparent and proud.
You choose to explore the project through all means of representation, do you trust that only in this way is it possible to fully convey an architectural project?
I honestly believe that the project presentation is like a tale. The author must tell it outstandingly. My tale is all about living amongst the apple trees in a Polish countryside and about the hard work of the orchardmen. I wanted to express the technical aspects of cider production and show how the buildings are constructed – hence the plans, views and sections. The poetic character of the work was also played a vital part in the project. I cannot imagine anything dreamier than resting underneath the fruit of your labour after a hard day’s work. Therefore, there are painterly collages apparent in the project. The model’s intention was to depict the scale of the farm and its relation to the orchard. Five buildings and tens of thousands of trees surrounding them.
What was your work process in terms of project development and drawing?
The initial months were devoted to learning all about the cider production processes. I would go and talk with numerous orchardmen, producers and other people involved in the business and I would ask them how they had imagined their cider factory in their dreams. The typical questions asked would be: What size should the fermenters be? How does one bottle the cider? Does labelling occur on the spot or elsewhere? What happens to leftovers after the apples are pressed? I would also read books about the typology of rural buildings and about the Polish farms in general. I would write all of the essential information in my orange notepad which also played a part during the final bachelor thesis presentation. What followed was the process of draft sketching, creating collages, models, designing of the wood construction and the technical drawings of the plans.
What role did the sketches play?
I am unable to think and process without drawing. Everything comprised in this project derived from the sketches.
Where do you situate the model? What was its purpose?
The models complemented the visualisations. The illustrations convey the atmosphere of the project. The models depict the shape of the buildings and portray their relative positions in the orchard. The cider-tasting facility’s highly promotional purpose convinced me to make a dedicated model of it.
In 2014, the Russian Federation imposed an embargo on the import of Polish apples. The Polish orchardmen took the advantage of the surplus, slowly rotting fruit by producing cider.
Poland is one of the world’s top apple exporters. My intention was to create an architecture that would make cider become a regional Polish product.