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 _Pri rešerši na projekt Gymnázia Pamäti Národa som sa zamerial na architektúru vrámci Česka a Slovenska, kedže problémy ktoré sa vrámci projektu budú riešit ako napríkad typologické normy či klimatické pásmo sú dôležitým odpichovým bodom pre projekt. Taktiež som sa zameral na menšie objekty   kedže projekt je obmedzený 4 triedamy.  _ ZŠ VREŠOVICE, VREŠOVICE, ČESKO      _ Arch. štúdio_ Fuuze, Public Atelier     _ Plocha_ 950 m2     _ Rok. 2019     _Link.  https://www.archdaily.com/941509/elementary-school-vresovice-public-atelier-plus-fuuze?ad_source=search&ad_medium=projects_tab _ ZŠ GULIVIER, BANSKÁ ŠTIAVNICA, SLOVENSKO      _ Arch. štúdio_ Richard Murgaša     _ Plocha_ 1700 m2     _ Rok. 2021     _Link.  https://www.archinfo.sk/diela/obcianska-stavba/sukromna-zakladna-skola-guliver-v-banskej-stiavnici.html _ ZŠ A ZUŠ V LÍBEZNICÍCH, LIBEZNICE, ČESKO      _ Arch. štúdio_ Grulich architekti, Projektil architekti     _ Plocha_ - m2     _ Rok. 2020     _Link.  https://www.czechdesign

 _the post showcases the work on the logo for the Southlight Cultural Center  _the first picture showcases the new proposed typography for the Providence based center _i tried to abstract away the dominant architecture from the mass and place emphases on the polycarbonate vwall system _this became the bases for the new logo, created only through the usage of  dominant vertical lines  _the last GIF depicts the process of abstraction during the logo creation  _

_FIRST ATTEMPT TO PLACE THE WORKING MODEL IN THE ORIGINAL ENVIRONMENT.

 _WHEN THINKING ABOUT THE PROJECT _PLACENONPLACE I IMMEDIATELLY STARTED THINKING ABOUT THE DICHOTOMY BETWEEN A PLACE AND NON-PLACE.  _I BELIEVE THAT IT IS THIS EXACT DICHOTOMY  THAT SHOULD BE EXPLORED AND UNDERSTOOD AND TRANSFORMED INTO SOMETHING TANGIBLE  THROUGH THE MEANS OF THIS PROJECT.  _THE CONCEPT OF NON-PLACE AND THEIR RELATION TO SPACES WAS FIRST DEFINED IN LITERATURE BY THE FRENCH PHILOSOPHER MARC AUGE, WHO IN THE YEAR 1992 PUBLIS THE BOOK " INTRODUCTION TO AN ANTHROPOLOGY OF SUPERMODERNITY". IN HIS WORK HE COINS THE TERM NON-PLACE WHICH HE UNDERSTANDS AS "SPACES WHERE HUMAN ACTOS PASS THROUGH AS ANONYMOUS INDIVIDUALS BUT DO NOT RELATE / IDENTIFY WITH IN ANY INTIMATE SELF. THEY ARE DESOLATE SPACES WHICH ARE CONTINUOUSLY WIPED OUT BY THE STATE". THEY ARE OFTEN OF ARTIFICIAL NATURE (MATERIALITY). _IN ACCORDANCE WITH AUGE'S THEORY, THE NON-SPACE DOES NOT HOLD ANY CULTURAL, SOCIAL, OR HISTORIC VALUE.  SUCH SPACE IS DUE TO THIS OF A STRICTLY TRANSITORY NATU

_ THE FIRST STEP AFTER CREATING A THEORETICAL FOUNDATION FOR THE PROJECT _PLACENOPLACE WAS TO CONDUCT A RESEARCH ON EXISTING STRUCTURES WHICH HOUSE OR COULD HOUSE A MARKET, SHELTER OR SQUARE.  _THE FOLLOWING STRUCTURES REPRESENT SOME EXAMPLES OF SIMILAR ARCHITECTURE, WHICH I WOULD LIKE TO FOCUS ON DURING MY FINAL PROJECT FOR THIS SEMESTER.    _MVRDV; MARKTHAL ROTTERDAM, NL; (2014) ( https://www.archdaily.com/552727/first-look-mvrdv-completes-largest-covered-market-in-the-netherlands ) _SIMPLE.ARCHITECTURE; COVERED MARKET; LYON, FR; (2009) ( https://www.archilovers.com/projects/235159/covered-market-lyon-france.html ) _FRIEDTICH HITZIG; COVERED MARKET; BERLIN, DE; (1865-1868) (http://www.all-art.org/Architecture/22-11.htm) _DANSHEN DONG; YIWU CULTRAL SQUARE; YIWU CITY, CHN; (2015); (https://www.world-architects.com/en/architecture-news/works/yiwu-cultural-square) _MOSSESSIAN ARCHITECTURE; MSHEIREB DOWNTOWN SQUARE; DOHA, QA; (2014); (https://www.mossessian.com/al-barahat-square)

 _THIS ARTICLE DISCUSSES THE MASS STUDY FOR THE SOUTHLIGHT PAVILION LOCATED IN PROVIDENCE, RHODE ISLAND.  _THE MASS STUDY FOLLOWS A VERY SIMPLE SYSTEM. THE ULTRAMODERNE STUDIO STUDIO HAS ALTERED THE EXISTING CATALOGUE GREENHOUSE IN ORDER TO ERACT THE PAVILION.  _DUE TO THE EXPERIMENTAL NATURE OF THE STUDIO, THE ORIGINAL PANELING OF THE GREENHOUSE HAS BEEN SWAPPED FOR A MORE MODERN AND TECHNOLOGICALLY ADVANCED POLYCARBONATE PANELS WHICH ARE PARTIALLY TRANSLUCENT. THIS ALLOWS (ESPECIALLY DURING THE NIGHT) PARTIAL VISIBILITY OF THE INTERIOR, CREATING A "BEACON STYLE" EFFECT IN THE NEIGHBOURHOOD.  _OTHER CONSIDERATIONS COULD HAVE TO DO WITH THE SOFT BORDER INTERMEZZO WHICH THE PAVILION CREATES BETWEEN THE "INDUSTRIAL LIKE" PARKING LOT AND THE HISTORIC BUILDING OF THE SOUTHSIDE CULTURAL CENTRE. THE OPACITY CREATES A SOFT TRANSITION BETWEEN THE TWO STRUCTURES.  _LASTLY I BELIEVE THAT THE TRANSLUCENCY CAN BE INTERPRETED IN THE SENSE OF TRANSPARENCY TOWARDS THE VISITOR. YOU

 _THIS VISUAL POST DISCUSSES THE GEOMETRIC PRINCIPLES OF THE SOUTHSIDE PAVILION.  _THE PAVILION IS A MODIFIED VERSION OF A CATALOGUE GREENHOUSE. THE PRINCIPLES UPON WHICH THE DESIGN IS FOUNDED ARE NOT DISCUSSED BY THE ULTRAMODERNE TEAM NOR BY THE MANUFACTURER OF THE GREENHOUSE. THESE FINDINGS ARE PURELY AN INTERPRETATION OF THE EXISTING GEOMETRY. 

_ THIS POST DISCUSSES THE SITUATION OF THE PAVILION AND THE PAVILIONS PLACE ON THE PLOT IN REGARDS TO THE SURROUNDING ENVIRONMENT.  _ A NUMBER OF DIFFERENT ANALYSES HAS BEEN CONDUCTED IN ORDER TO FULLY UNDERSTAND THE STUIOS DECISION TO INTEGRATE AND PLACE THE PAVILION ON THE PLOT.  _THE SITUATION IN THE SCALE 1:500 SERVES ONLY AS A DEMONSTRATIVE IMAGE, IN  ORDER TO GET FAMILIAR WITH THE PLOT. _THE ANALYSES OF GREENERY AND PARKING HAS BEEN CONDUCTED TOGETHER  AS THE TWO  ARE CLOSELY CONNECTED THROUGH THE PROJECT. AS MENTIONED IN THE PREVIOUS CHAPTERS. THE NEW ZONING PLANS MADE THE REALISATION OF THIS PROJECT POSSIBLE. HENCE A LARGE NUMBER OF PARKING SPOTS AT THE CULTURAL CENTER HAVE BECOME OBSOLETE. CURRENTLY ONLY 80 SPOTS REMAIN IN THE PARKING LOT. THE REST CURRENTLY HOUSES THE NEW SOUTHLIGHT PAVILION AS WELL AS THE SURROUNDING GREENERY WHICH HAS BEEN PLANTED DURING THE PROJECT. THE RISK STUDENTS OF LANDSCAPE ARCHITECTURE HAVE DESIGNED THE GREEN PLAINS. A LARGE INCREASE OF GREENERY CAN

  _ULTRAMODERNE POSES THIS QUESTION IN THE OPENING LINES OF ANALYSES “MUCH URBAN ARCHITECTURE IS FRAMED IN TERMS OF SOLID AND VOID: HOW TO MAINTAIN THE SEMBLANCE OF A HISTORIC CITY IN THE FACE OF THE AUTOMOBILE, REGARDLESS OF SHIFTING PATTERNS OF THE GROWTH AND INHABITATION”? _THE PROJECT SOUTHLIGHT REACTS TO NEW ZONING DECISIONS PASSED IN THE CITY OF PROVIDENCE AND TRIES TO CREATE A NEW FORM OF EAST-COAS URBANISM: A.K.A THE URBANISM OF TH EXTENDED BOUNDARY.  THE PAVILION CREATES A SOFT BOUNDARY BETWEEN THE CULTURAL CENTER, THE PARKING LOT AND THE PUBLIC SPACE, CREATING A NEW INTERACTIVE EXPERIENCE FOR THE VISITORS OF THE CULTURAL CENTER. MOST INTERESTING IS THE VERSATILITY OF ITS USE. THE THREE SEASON VENUE LETS THE USER INTERACT AND MODIFY THE SPACE TO THEIR LIKING BY A SET OF 24 OPENABLE DOORS. THE INITIAL INTENT OF THE ARCHITECTS WAS TO CREATE A MAKE SHIFT SPACE FOR GATHERINGS, PUBLIC AND PRIVATE EVENTS AND CHURCH GOERS.  THE SOUTHLIGHT PAVILION IS BUILDING FROM A MODIFIED CA

    _THE ULTRAMODERNE IS A INTERNATIONALLY RECOGNISED AND AWARD WINNING STUDIO. IT IS LED BY AARON FORREST AND YASMIN VOBIS. THE MAIN FOCUS OF TEH STUDIO IS THE CREATION OF PUBLIC BUILDINGS AND PUBLIC SPACES. ULTRAMODERN BELIEVES THAT MODERN GOOD AND PLAYFUL DESIGN SHOULD BE AFFORDABLE FOR ALL AND SHOULD CREATE A BASIS FOR A BETTER WORLD BY CHALLENGING NORMATIVE APPROACHES TO ARCHITECTURE. _ULTRAMODERNE MAKES USE OF EXPERIMENTAL MATERIALS IN ORDER TO FIND NEW AND MORE EFFICIENT WAYS IN ORDER TO ECONOMICALLY AND SUSTAINABLY RESHAPE THE ENVIRONMENT. AS MENTIONED BY THE ULTRAMODERNE TEAM “WORKING BOTH DIGITALLY AND THROUGH PHYSICAL MODELS AND FULL-SCALE MOCK-UPS, WE INTENSIVELY RESEARCH STANDARDISED AND EMERGENT CONSTRUCTION SYSTEMS TO FIND NEW, BETTER WAYS OF MAKING”. THIS LEADS TO THE CREATION OF A MORE CONCEPTUAL AND PRAGMATIC DESIGN, AS WELL AS LEADS TO A MORE INNOVATE USE. _IN THEIR WORK THEY OFTEN MAKE USE OF PARTICULARLY MASS TIMBER TECHNO.LOGIES SUCH AS CLT, AS A MORE SUSTAINABLE

_THE SOUTHLIGHT PAVILION IS A REALISATION BY ARCHITECTURAL ATELIER ULTRAMODERNE. THE PROJECT IS LOCATED SOUTH PROVINCETOWN, RHODE ISLAND IN THE UNITED STATES OF AMERICA.   _THE PAVILION IS A COLLABORATIVE PROJECT BETWEEN ULTRAMODERNE, THE RISD SCHOOL OF ARCHITECTURE (RESPONSIBLE FOR THE SURROUNDING LANDSCAPE ARCHITECTURE) AND THE SOUTH SIDE CULTURAL CENTER OF RHODES ISLAND.  _THE PAVILION REPRESENTS A MAKE SHIFT SPACE WHICH HAS BEEN COMMISSIONED BY THE CULTURAL SECTOR TO INCREASE THE CAPACITY OF THE CULTURAL HUB.   _THE PROJECT WHICH ENCOMPASSES THE NEW PERFORMANCE VENUE AND A NEW PUBLIC GARDEN SERVES AS A REACTION TO THE NEW PARKING AND ZONING DECISIONS OF THE CITY OF PROVINCETOWN. IT UTILISES THE FORMER PARKING ZONE OF THE CULTURAL CENTER TO CREATE A NEW PUBLIC SPACE AND A NEW FORM OF EAST-COAST URBANISM: THE URBANISM OF THE EXTENDED BOUNDARY.  _TECHNICAL SPECIFICATIONS   _PLOT SIZE 371.6 M2   _EXS FLOOR AREA 404.6 M2   _PROP FLOOR AREA 415.9 M2 _SIZE 6,451 X 12,547 MM   _N OF FLOOR

_moje prvé čiary alias moje prvé kompozicie vo photoshop-e. Naučili sme sa pouzívať maska a layers.  

  _Ortomapy od roku 1945 až 2022 ukazujú postupú gentrifikaciu oblasti nádražia. Značná zmena v prostredí je badateľna medzi rokmy 1974 až 1988 kedy bola Nádraží Holšovice projektované a následne vystavané. Dominantnou zmenou ktorú vystavba priniesla bola odstránenie agrikultúry a zelene a postupná výstavba v okoli. Minimálne zmeni su viditeľné po roku 1998. Dôležitim aspektom je strata zelene, ktorú by tento projekt mal brať do úvahy.  _Mapa hlukových limitov zobrazuje aktuálnu situáciu v okoli nádražia. Ako je farebne vyditeľne, pristor v okoly stanice je hlučný kedže sa náchadza pri 4 prúdovej ceste. Nádražie taktiež produkuje nadštandartny hluk pre okolie. Zníženie hluky by malo byť "adressed" vrámci tohoto projektu. Jedných z možních riešení by bola prirodzená výsadba na južnej, severnej a zádadnej strane pozemku, ktorá by slúžila k odhlučneniu pozemku. Priádna úprava možnostkou protizvukových plôch. _Mapa zobrazuje  možnosti parkovania v okolí nádražia (verejného aj pri