Iqa // Progress 180220


Initial sketch idea on train station terminal plans before converting to line drawings.

Rearrangement of program layout after discussion with James. 

Structural Progress / Tutorial discussion with james regarding the structure layout.

Masterplan ; Combination of Nur’s Logistic park and my terminal station.

Section of logistic park and train station shows our combined programme. That is by having the shared space and public space merged between Nur’s Warehouse and my train station. 


IQA // Cross Crit

Anaklia can be seen as a potential transit hub where it sits strategically on the middle of east and west situation between Poti and Abhkazia and in the corner of north and south situation of China and Europe. The proposed transit hub is to generate new opening trade routes for neighboring countries (especially Abkhazia) and as a new transit point on part of the silk route.

Hence, the proposed site is to be place next to the future port of lazika that also could help accommodate mediation for travellers and a station that helps navigate commodities.My aim is to to strike a balance and interlinking between the two by not separating the programme and show transparency of how the spatial layout could work together

The aspect of directionality could represent viable choice for access to and from black sea ports. The train station that create interchange meeting point and transition for logistics. Hence, the train station design is to show frontalilty, axiality and alignment. Where the terminal is place perpendicular to the east-west axis which to have fluidity of circulation (for visitors & transport hub for container terminal)


The collage is to show integration of programme and a display of movement where, As people and cargo transverse between the nodes, the hub is the be a centralised as a major infrastructure for the mobility assembly and disposal of passengers and freights.


Main layer
colonade / archways / anything like an aqueduct / pier

Banal Layer
vegetation – trees

Elemental Layer
trees and greenery formally/informally


During my site investigation in Anaklia, my prior is to focus and document on the green corridor of the site. Thus, I’ve taken samples of the types of vegetation, encompasses from all types of urban greenspace, ranging from public and private spaces such as domestic gardens, to the open spaces alongside roads and along the promenade.



Cartographic Grounds: Projecting the Landscape Imaginary


Mapping examples above shows various type of hatch styles that can be apply.





The Modularity theme is attempted by properties such as through the Elements, Repetition and scale Variation, Also, the integration of Modular framework is that you can replace or add any module without affecting the rest of the system.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Refers to the design of any system composed of separate components that can be connected together. The beauty of modular architecture is that you can replace or add any one component (module) without affecting the rest of the system.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hence, by exploring the theme of ‘modularity’ where myself, aqilah and xiao lei looked at 3 projects – Villa Rotunda, Nakagin Capsule Tower gand Climat de France as the subject. We analysed and abstracted the elements that make up this ‘modular’ composition and began to understand symmetry, spatial configuration and the idea of directionalilty. We as group have analysed the ‘modularity’ of these three projects, and understood how the project works through series of diagrams.

The three projects were chosen so we could explore symmetry, directionality and the centralised module in more depth. Having 3 projects with completely different functions, ideology and the relationship with the context, we can distinguish how the modules have been utilised and designed to comply with the initial program. Through this exploration we hope to develop a better understanding of the module which can be applied to our own designs.

That being so, I’ve explored modularity in my individual drawing, by combining the abstraction of each project to show the integration and unity of their modules. On the first iteration (figure 1) is attempted a classification of typical elements in the relationship between the three projects, hence with the plane and the linear element, in a hypothesis of modular “composition” as a form of notation showing repetition of pattern. Then, On the second iteration is attempted by experimenting of abstract drawing. The cube, the base, the linear element (column, tower), the wall are the pieces of a series of formal connections, in an elementary formulation of the “construction”

Figure 1




On the 3rd iteration the drawing is attempted by experimenting on oblique linear drawing of the interpretation of iteration 1st & 2nd. The drawing is attempted by showing infinite built monster wall into it among the constituent elements to show directionallity.


However, on the 4th iteration is attempted by producing combined elements to explore how modularity can be achieved in different language – possibly how it can be developed from its composition into a monstrous tower to show the possibility of attempting verticality of combined elements. The 4th iteration shows work in progress in achieving this initial idea of verticality / monster tower. Which later can be shown the final drawing where the 5th iteration is attempted where the modularity is exhibited in developing repetition composition of the 4th iteration monstrous wall. The drawing is also to show symmetries and balances to expressed characteristics of each three project’s elements to portray the unseen view. The drawing is being projected into an Oblique linear view to show how the spatial composition works.



From what I understand from the concept of New Babylon, Constant attempt to revitalize architecture by means of an exploration of its internal structures to harmoniously’ intertwine order and the pursuit of abandoning the ground for traffic and industrial space and taking their place in the heart of the productive universe through the creation of artificial programming of spaces to its inhabitants elevated above. Under an appearance of openness, privately owned public spaces are in fact extremely selective of their public. He considered vertically as an elevation, where above stretches a new spectacle landscape for play with a massive superstructure linked sectors, within where everything is malleable and changeable at whim. It’s Realization belonged to the real environmental possibilities for a social space. Regardless of the fact, Constant does not make a fetish of technology; rather, it’s a question of thinking the possibilities of social living without limitations.

Thus, this somehow relates to The Fun Palace, by Cedric Price. It was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place.

By assembling their own pedagogical and leisure environments using cranes and prefabricated modules in an improvisational architecture, common citizens could escape from everyday routine and serial existence and embark on a journey of learning, creativity, and individual fulfillment.

As in relating to the concept of New Babylon might be liberating way of the future, or it might be a ‘Nightmare-ish High-Tect Pleasure Prison’ and having the thought of the endless space of daily life in New Babylon is treated as a territory to the exploitation of individual plots to their maximum without dead time. However, this leads to a critical thinking of the social relations inherent to capitalism and paving the way for what urban society ‘could-or should become’. I am interested in looking into the Space in politics relationships starting with politically directed representations of space and how they contribute to its ‘Production’. This poses the question of the political ‘instrumentalization’ of space. Thus, Space is also, therefore, a political stake in the sense that it is the medium, the instrument and objective of struggles and conflicts.