GEORGE-MICHAEL POP

Materials and
Textures,
graphite
composition

The child in us,

graphite
composition

EARLY WORKS
Take action,
graphite
composition

Pluvieux,
graphite
composition

Axonometric
volumetric
section,
graphite
composition

Axonometric
volumetric
section,
graphite
composition

EARLY WORKS

Axonometric
representation,
graphite
composition

Axonometric
representation,
graphite
composition

EARLY WORKS
Grandpas shed,
graphite
composition

Perspective,
graphite and
watercolour
pencils
composition

Perspective,
graphite and
watercolour
pencils
composition

Orthogonal
projection - facade,
graphite and
watercolour
pencils
composition

Drawing these compositions helped me

understand the proportions of the objects and how
they relate to each other. Also, my drawing skills had
improved considerably during that period of time. I
learnt to pay attention to details and to
3-dimensionally imagine the objects that I am
drawing.

AUTOPSY

Analysis of Rem Koolhaas Villa Dallava using text, images and diagrams

Sheet containing images of the model I made of Villa Dallava.

The Autopsy project was about analysing an architects house that each of us had been given. I was asked to make a model
of Koolhaas Villa Dallava in Paris, France. Beside the 1:100 model, each individual had to make an autopsy not only on the
location, materials and appearance but on the concept, principles and devices that were applied to the building as well.

The Observatory project was intended to teach us how to design a relatively small structure that will respond to the site.
The other crucial part of the observatory was the concept that lies beneath the actual design. Therefore, having to design on
a beach, I was thinking of how I can make people that visit my observatory to experience the sea on a different level. Firstly, I
raised my structure above water so that one could look over the horizon from a different perspective. Secondly, I went for the
idea of journey and the manipulation of light. The journey from the bottom to the top goes gradually from dark to light. Thirdly,
the end of the journey is a glazed cube with a slightly sloping floor that would make one experience the waves of the sea in a
stronger manner.

AN OBSERVATORY

1:50 ink longitudinal section, 1:100 graphite longitudinal section, 1:100 graphite front elevation and plan, graphite perspective, watercolour pencils
background, sand as an element of collage
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1:100 model of the observatory

Model
experimentation for
the observatory

1:50 ink and watercolour pencils section, plan and roof plan, graphite and watercolour pencil perspectives

MISE-EN-SCENE

The Mise-en-Scene project was all about the client and volume and the constraints that come with them. My client was a cellist
who likes gardening. Also, each individual was given a movie to watch and to be related to the design approach. The underground volume I was given had to accomodate a kitchenette, a bathroom, a bedroom and appropriate rooms for the type of
activities undertaken. Given the fact that I watched The black cat, a horror movie, I tried to bring elements from it into my
design (the top-lit boxes for cellos along the corridor). The client has a garden at the end of the volume where they can take
care of the flowers or other plants. A studio is located right near the entrance for cello recordings.

room distribution model experimentation

1:50 model of the volume

Quick sketch of the

triple height exhibition
space

Diagram of the concept - the building seen as 5 fragmented

volumes growing from the ground in a green space

CREATIVE HUB

CREATIVE HUB

1:100 ink and watercolour pencils ground floor plan

Inspired by Louis Kahn, the hub is made out of cast in-situ concrete giving a sense of timelessness and monumentality. Analysing the site at a larger scale, I noticed that there is no green space within a radius of 2 kilometres. Therefore, the building will
act as the lungs of the area, by being surrounded by trees, gardenroofs and vertical gardens. The design accomodates a triple
height atrium for exhibitions, a cafeteria, a kitchenette and storage place, a reading area, rooms for private meetings looking
over the atrium, toilets, reception and entrance lobby.
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1:100 ink and watercolour pencils first floor plan

1:100 ink and watercolour pencils second floor plan

1:100 ink and watercolour pencils roof plan

1:100 ink and watercolour pencils main elevations

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12

models of the hub

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Pictures taken on the site, Niton, The Isle of Wight

A RETREAT
The Retreat project was all about responding to a sloped site. We were asked to design a place of relaxiation,
meditation or a space where people can come and take part in activities far away from the busy life of the urban environment.
My clients were twins, yet very different in their aspirations: one is an astronomer and the other an archaeologist. The
concept is the dichotomy between the sky and ground (astronomer and archaeologist). In regards to volumes, the design is
composed from two cubes, both tilted 16 degrees, one towards the slope and the other one towards the sky. Alongside with
the idea of ground-sky, dichotomies such as heaviness-lightness, darkness-brightness came in. Although the cubes are so
different from each other in terms of activities, materials and concept, the ground floor is mutual to both sides, so that the
experiences between the two teams (5 astronomers and 5 archaeologists) can be exchanged. Both of the cubes accomodate 3
bedrooms ( 1 single bedroom for the host, 2 double bedrooms for the guests) with ensuite bathrooms and 1 studio for
research and exploration.

Graphite and watercolour pencils sketch of the

astronomer

Graphite and watercolour pencils sketch of the

archaelogist

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1:200 ink and watercolour pencils site plan

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1:100 ink and watercolour pencils ground floor plan

1:100 ink and watercolour pencils first floor plan

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1:100 ink and watercolour pencils second floor plan

1:100 ink and watercolour pencils roof plan showing context

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1:100 ink and watercolour pencils west elevation

1:100 ink, graphite and watercolour pencils AA section

1:100 ink and watercolour pencils east elevation

1:100 ink, graphite and watercolour pencils BB section

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The idea of journey and direction

Views

1:50 ink and watercolour pencils section in perspective

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Diagram showing the volumes being

carved out

1:200 laser cut model of the site showing levels

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The materiality of the building (one cube timber, the other one concrete) is reflected in the concept of lightness-heaviness. In the picture
that can be seen below I tried to communicate the contrast between
heavy and light, dark and bright, by choosing appropriate materials for
my model.

1:100 sectional model of one of the cubes showing openings and context

1:200 site model showing the orientation and location of the retreat

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