Spent the day working on the mould for the resin model - unfortunately the method I chose was so much harder than expected. Wax or adhesive PP tape would have been MUCH easier!! - Will know for the next time I need to cast the 3rd floor of an entire city block. 

The mini 1:250 people and the artefacts have been inserted. The resin poured, now just the 24 hours waiting period to see whether this was successful. I am presuming some sanding will be necessary (hope Master G might be able to help me with that) 

self portrait of my hand. 
The workplace
The Lollipop test

The 3rd Floor @ Night

Hermitage 3rd floor at night.jpg

The Elevation

Viewing the third floor as an elevation permits the possibility to observe the role of the new urban landscape within St Pete. 



Interiors, maps and the polemic


At the table I stated that my project was about reading the city as an interior. by designing the finished product, which is the 3rd floor, my project was at a disadvantage for not posing any questions. 

My proposal should be challenging something, and that something should be relevant to art and St Petersburg

 " St. Petersburg is also known as 'the City of Museums - it can boast over one hundred treasure hives, from the Artic and Antartic Museum to the Zoological Museum. Of course the daddy of them all is the Hermitage and no trip to St. Petersburg can be considered complete without a perusal of the Winter Palace's three million treasures."

A city of a hundred museums or the city as a museum?

The museum is a container of art, a place where people go to view art. Why does art have to be controlled and condensed into a single box? by bringing it into the city am i merely dispersing it into a bigger box?

Seeing the 3rd floor as a large viewing cabinet for the art?

New Map - which may be the base of a new model. 


Layers of the 3rd Floor

Through elevations, peeling them off one by one will reveal the condition of the 3rd floor and how it interacts with the city -  a play between interior and exterior. 


Presentation 420

I have spent the last few days story boarding and composing the plates for my presentation tomorrow with Natasha. Still trying to make it run smoothly. Hopefully by tomorrow it will be! 


Axo Shmaxo


a snap shot view in to the 3rd floor. 

Rhino City

Currently working on my presentation and building the rhino model...

Through building the rhino model, new details have been designed including access and circulation. 


The argument - WIP


-         From the room to the universe and back again.

Within the monotonous Wunderkammer that is the Hermitage the journey is often interrupted with a glimpse of light through a small opening in the green or maroon velvet curtains, offering views on to the Neva and out into the city.


Curiosity prevails and the curtains are pulled aside, before a warden abruptly barks in Russian enforcing its imminent closure. This reverse psychology triggered by such a small prohibition causes the curiosity to grow fonder. Suddenly the imagination tears down the Palace walls. The ornamental plaster, the ancient brick work and the icicles begin to crumble, revealing a breath-taking panoramic view of St Petersburg.   


At that moment, the city was inverted into the room and became a cabinet of curiosities. The space within the Hermitage no acts as the exterior of the city.  


The city has a room nested within, and that is the 3rd floor. 


3 things that my project is addressing. 


1.       Hermitage as insular container of art


The Hermitage demonstrates a very historical way of looking at art. Art displayed in a very linear process and is categorised according to artist, period of history or country of origin.

The art has been contained in this building for many centuries and when the art collection becomes too big for the enclosure, the enclosure expands - in order that it is constantly contained.


The art is contained in an island or annexed part of the city and was once privy only to selective parts of the aristocracy.


Nowadays the art is shared with the public yet rather than the art being brought to the public, it is still contained and controlled in this secluded part of the city. This is also the case with many of the world's leading art institutions. All these institutions were once impermeable membranes only for the upper echelons of society. Nowadays the art is viewable by the public, but is still confined.



2.       The relationship of art and the context


With the erasure of the third floor a new urban topography is created from the existing fabric of the city. By bringing the art into the city we are looking at a different way of experiencing art. Relocating the art removes the idea that art has to be displayed within a confined space, along galleries. The 3rd floor urban landscape provides art with a new contemporary experience whereby layers of exhibits are overlapped with one another. The moment one looks at one artefact, they are automatically attracted to the next. Distributing the art into the city removes any conception of hierarchy and linearity. The experience can be purely a 'derived' one, which is how it should be when looking at art.   


The vistas provide a carpeted view of the diversity of art.



3.       The third floor as a new way to examine the city - new perspectives on the city.


The third floor allows for a new way to examine the city as much as the art within. The third floor allows for constant panoramic views of the city from heights where it has never been explored from before. Long vistas interrupted only by artefacts of history can be viewed anywhere within the 3rd floor. This is not restricted to st P. It could be anywhere. The idea of the 3rd floor in any city. Experiencing art and the city should be one and the same thing. One can't happen without the other. Buildings are a genre of art.





-         Deliverables


1. Real montage's of vistas through the city. - a collection of spaces

-         Plan large scale montages to surround the Jury

-         Specific design moments.

-         Entry, Spatial enclosures Infrastructure - Benches, plants, Bicycles?

-         What is each image challenging - what do they offer?? Spend more time on each image.

-         Create chapters for each scenario?

-         Glass looks too basic


2. Views showing a fabric of layers (or different artefacts using colour?)

        -        Maybe some options of how art can be organised - according to height? Size? Does the art have to be organised?


3. Elevation / sectional drawings cut through city

-         truss, kitchen or someone's interior - texture of home. 

-         drawing  - deep elevation.

-         Could start at the hermitage and work its way into the city??


4. One Rhino model for each of the city configurations. - Make it compatible with physical model?


5. City versus the 3rd floor in plan

-         Nolli overlay with 3rd floor in yellow or something??


6. Plan Physical Model


A New Perspective

After modelling an entire city block with the 3rd floor insertion, it was interesting to finally see the landscape that the 3rd floor creates. 



3 Hours later and the Hotel is booked and the Visa forms are filled out. 
All I need is to go to the Visa centre tomorrow and book my flights!

Can't wait to see the 3rd floor!


Character Building

The project is about the possibility of self curation. 

I have decided to explore in greater depth the relationship of certain stereotypes with the 3rd Floor. 

My Characters are:

The Backpacker (myself)
The Taxi Driver (Vladimir)
The Security Cat (Jenya)
The Bohemian Artist (Alexander)
The elegant Traveller (Samantha)
The Babushka (Ludmilla)
The Businessman (Yuri)

Each will contain their own 'collection' relating to the Hermitagre Museum - Of the characters, small video clips will be developed to show their routes or experiences. 

For example, The traveller will have the lonely planet, A scrap book (containing many pictures, plane ticket to hermitagegrad, hermitage oyster access, tourist map etc...)

Each character will have their typical route through the city and places where they like to go - relating to the Hermitage. 

Meet 3 of the characters: Alexander the artist, Ludmilla - Babushka Warden, Vladimir - Taxt Driver

aa alex.jpgaa ludmilla.jpgaa vladmir.jpg

Glass walls config

This is the configuration of the glass walls on the 3rd floor. 

Trying to get laser cutter files ready for tomorrow



Working on TS model!!!

:(TS MODEL.jpg

Glass Catalogue

The following chart shows the relationship of the strength of glass to the transparency (and reflectional qualities) of glass.

It appears that the higher the load that glass can take, the more non linear the form. 


Total Transparency


The three routes of St Petersburg

Constructing the routes where my videos will travel through in the 3 walk through's. 

CIty BLocks.jpg

Catch up...Technology studies.

So, have not blogged in a while but lots of work to update you on about..

looking at ways in which GLASS can act as a structural load bearing material.

The next step after the interim jury. 

1. analyse transfer deck possibilities.  How can the load be transferred into a new flooring structure?

2. The glass structure:
This will be assessed according to three elements:
a) Shape
b) Composite
c) Transparency. 

3) Calculate the structural loads - formula for the load of the floor above

4) Calculate the glass strength according to the 3 elements above

5) Physical Test

6) conclusion. 

Three Screens

One of the story boards of one of my 3 screens. 


Urban Configuration

Within Hermitagegrad (St Petersburg) exists a variety of building configuarations. Each typology will result in different conditions of light, space and accessability and influences the buildings interaction or intersection with THE 3RD FLOOR.  
      The map below (p62) is of a small area in Hermitagegrad and highlights five main contasting conditions all existing in close proximity to eachother. The physical qualities of the building size and configutation influences the level interaction with THE 3RD FLOOR. 

urban conditions 1.jpg