The architectural design will guide more travelers and pedestrians into the center of the block differently and interestingly, giving the block a chance to revive the previously hidden and poorly run shops and allow travelers to experience residents' lifestyles more deeply. There is a mechanism of gates to protect the privacy and quality of life of residents in the area. These gates will limit the places that passengers can reach in specific periods. This project will be a negotiated boundary between residents and tourists, allowing residents and tourists to have different territories at different periods.

In western modern cities there are these spots that still possesses objects of events that where once before. These objects are alienated objects within the modern city, they can take the observer to a place former to them. The topic of the terrain vague got my interest as the leftover of the industrial, within most industrial areas certain parts are redundant due to progression and have been left there to be taken over by nature. Terrain vague, a Term introduced in Anyplaces by Ignasi de Sola-Morales Rubio. (Davidson, 1995). Ignasi de Sola-Morales talks about these spaces as not being colonized by architecture. They are left over spaces or literary translated by its Latin words; vacant terrains. Is this western European term still viable within the context of a condition within the city of Yekaterinburg? What is the Russian terrain vague? How can the understanding of the Russian culture help to redefine the term in a way that it applies to cities where more places have the nature of the vacant place than the one of colonized architecture? Morales explained the terrain vague as a place to escape the city. Can the terrain vague be a place to escape the pressure of the city in a mental space, a space of seclusion? The state of the city resembles the nature of the Russians, an melancholic almost depressing state. But where does this come from and how can this search for the Russian emotion help to better define the Russian terrain vague? Looking at linguistics, the Russian emotion comes much more from the soul. Russian see the emotion much more as a state of the soul someone is in. Can this metal terrain vague express the soul state of the Russians? This depressing nature of the Russian leads to another understanding of the term terrain vague. It is much more within Russian context about a place which can take you away from a bad place. This turns around its premise of something that was un-colonised by capitalism towards a place where there are these archipelagos of freedom from the depression. Which then within Russian context are these capitalist non-places, creating a paradox which result back to the terrain vague that was mentioned by Ignasi de Sola-Morales?

My graduation project deals with the topic of “architectural displacement” that proposes to read the built environment as the existence of multiple entities in each one of the entities. In the process of researching and designing, it has been investigated to see how such an understanding could reveal new potentials in architecture and how such spaces would be experienced through.

The problem that discussed is less an issue to the contexts, but a general critical reflection on the disciplinary of architecture. The determinant role of architects in design process and free interpretation of the inhabitants pose the conflictions. Our (architects) creativities and imaginations are confined within the given role and limited with operabilities. Given the roles of designers, we keep outputting active forms for specific functions under the established rules. Programs, dimensions, functions and circulations etc. are introduced into the design, not necessary for the needs of inhabitants, but the demands for well-functioned and convenient purposes. While inhabitants’ perceptions and sensations are constrained within the frameworks set up by the architects. The understandings of determinacy in space are always structured under the existing systems. Even though, it remains a certain extent of indeterminacy in these spaces which is hardly controllable by the ‘dictators.' The inhabitants construct our understanding of the environments by composing fragmented pieces that we encountered by chance. Even if buildings have significantly been distanced from social life through technical and bureaucratic processes, architecture still reflects society. The fast rate of social and technological change and an increasingly autonomous building process led in the same period to a widespread belief in loose-fit between buildings and their contents, and a romantic desire for open-ended flexibility.

Armenia faces international conflicts especially with Azerbaijan and Turkey. There is always a chance of a sudden intensification of conflicts what results in extreme militarization of country as well as strengthened social control. Social control gains new level as the relation between government and society is also complicated. As a consequence the country and Yerevan city is highly surveilled. The presence of surveillance surely guarantees a certain level of security, but it also affect the privacy and even intimacy of society. This problem escalates when cultural aspect of Armenians is taken into a count. Armenians give a great value for family cult and fellowship. Expressions of intimate relationship often appear in Yerevan city especially in the places where their relatives stay. Such relationship always occur under the gaze of surveillers what becomes problematic as they are not even capable to escape it.
Research findings led to a design of reality show studio which in a form of scenography demonstrates the condition of repressive surveillance and lack of privacy commonly seen the city of Yerevan. Such program was also chosen as the participants are always under the gaze. Reality show fulfills the mental satisfaction of the one who watches it since it delivers voyeuristic elements or cultivates unusual behavior of the participants.

Tilde(~) - Forensic Research Institute aims to question the role of architecture in the field of dialectical perception.

In this project theoretical framework is formulated as a doubling of two different philosophical schools of thought: epistemology and phenomenology. They converge as a bigger theoretical constellation in order to interpret how architecture phenomenon is constructed in the city of Bucharest. The following findings are then converted into series of different mappings, 2.5 models and assemblages. They address the question how architecture and in particular its representation can be used to express this dialectical mods of understandings...
Yet it's only a refraction of a larger phenomena.

This methodology of creating visual apparatus reflected in the final architectural design. Form follows refraction is a architectural design manifesto where architecture is an assemblage of various transparent materials and their various physical characteristics that can refract, reflect, mirror, blur, architecture space. This architecture can't no longer be perceived as a whole and is creating an oligopticon where you can read only a small piece of a larger panorama. So the final architectural result operates in a very similar mods as does Forensic type of work but this time operating on architecture itself. Bridging theory to design.

Seam like spaces is expanding extensively and overlapping with other entities repetitiously.

The seam is a spatial concept that it does exist; however it never reveals its physical properties: rather the seam straddles complexities, and involves itself in other objects converging and diverging. It tells us about an ambiguity of spatial characteristics of interstitial spaces.