Gvantsa Modebadze
Architecture
Portfolio
GVANTSA MODEBADZE
ARCHITECT
CONTACT
PHONE: +995 57413 31 82
EMAIL: gvancamodebadze45@mail.com
TBILISI, GEORGIA 0163
PROFILE
An aspiring architecture graduate with a profound passion for model making and
conceptual design. I possess a solid academic foundation in architectural theory,
history, and design, complemented by proficiency in digital design tools. I thrive in
collaborative settings, contributing innovative ideas and valuing sustainability and
cultural context in my work.
EXPERIENCE
Tbilisi architecture biennale 2022
"Future presence"! Tbilisi, Georgia I 2022-2022
The project is dedicated to the research of the post-war II architectural heritage. worked on the
historical materials, drawings, models, and boards of the former Industrial Pedagogical Techni
cum with a group of four people.
* Working in small groups, we have conducted many-layered research and production around the
historical development, present conditions, and potential futures of three significant works of the
Soviet architectural heritage in Tbilisi.
- Used texturing and painting skills to achieve required finishes.
ETH Zurich Architecture Workshop I Tbilisi, Georgia I 2022-2023
Workshop with students of ETH Zurich architecture students, Christoph Gantenbein, Jesse Vogler
and others. Included site visit. Case study, and visualization Via drawings, diagrams, presentation,
a movie.
Northeastern University In Boston I Tbilist, Georgia I 2023
Audio-Mapping Workshop
Workshop with students of ETH Zurich architecture students, Christoph Gantenbein, Jesse Vogler
and others. Included site visit. Case study, and visualization Via drawings, diagrams, presentation,
a movie.
Tbilisi architecture biennale 2024
Curator & Design Team Memberl
My responsibilities included developing detailed layout plans that integrated artwork, installa
tions, and architectural elements into the exhibition space. I worked closely with the technical
teams to design and construct temporary structures, ensuring alignment with the thematic goals
of the biennial. Additionally, I collaborated with the curatorial team to create an immersive and
engaging environment, addressing spatial and logistical challenges throughout the setup process.
SOCIAL MEDIA
instagram.com / shinigamii_rem
EDUCATION
public school N 180 - georgia
2008 - 2020
bachelor of architecture
Free Universiti ofTbilisi - Georgia
2020-2024
SKILLS
- TECHNICAL SKILLS
Adobe Photoshop
Adobe Illustrator
Adobe lndesign
Microsoft Word
Microsoft PowerPoint
Rhino 3d
AutoCAD
v-RAY
Metronome
grasshopper
sketchup
- PROFESSION SKILLS
Event Planning
Time Management
Teamwork
Problem Solving
Work ethic
Good photography skills
Good eye for detail
01 CHIATURA
Interpretive centre and Hotel
2023
Gvantsa Modebadze
Megi Lelashvili
On the premises, there were a total of 16
concrete reservoir tanks arranged in two
rows, with 8 tanks in each row. These tanks
were specifically designed and employed
for the process of water sedimentation.
Subsequently, locals began dismantling
the structure to extract the reinforcing steel
bars embedded within the concrete for the
purpose of scrapping. As a consequence
of this activity, the majority of the upper tier
reservoir tanks were significantly demol-
ished, and all of the cylindrical tanks were
also dismantled.
Through the placement of a lightweight
cylindrical structure atop the funnels and
positioning a pipe at the center of the
sloped roof, the original form and functional
characteristics of the building can be effec-
tively restored.
Atop the gently sloping roof, we position a
central pipe that plays a pivotal role in the
water sedimentation process, ensuring
efficient and sustainable use of this precious
resource. This modern adaptation is a trib-
ute to the past and a commitment to a sus-
tainable future. The downward-cone roofing,
with its graceful form, echoes the shape
of the original tanks, paying homage to the
site’s history while ensuring the preservation
of its primary function
02 SOCIAL HOUSING
Negative/ shared space
2022
Illuminating Integration
The cube’s divisions are not merely struc-
tural but are purposefully shaped by the
ebb and flow of natural light. As sunlight
filters through, it carves out negative spaces
that are designated for recreation, foster-
ing a sense of playfulness and community
engagement.
The solid portions of the cube are reserved
for the essential function of social housing.
They provide residents with the privacy and
comfort needed for their daily lives.
RECREATION
COMERCIAL
Community Nexus
The negative spaces, bathed in daylight,
become communal areas, encouraging so-
cial interaction and a sense of unity among
residents. These areas can serve as meet-
ing points, green spaces, and recreational
zones, connecting people with nature and
each other.
Commercial spaces nestled within the
structure act as bridges between the resi-
dential and recreational areas. They provide
essential services to residents, creating a
self-sustaining ecosystem
Vertical circulation elements like staircases connecting vertical circulation to private bal-
or elevators to the internal balconies in a conies in social housing creates an architec-
project, where residents must pass through tural narrative that emphasizes community,
someone else’s private outdoor space to shared spaces, and a unique living experi-
access their homes, encourages inter- ence. It encourages interaction, social cohe-
action and a sense of shared community. sion, and a sense of collective responsibility
Residents are more likely to encounter their while also enhancing the functional and
neighbors while moving through these aesthetic aspects of the building. However,
shared spaces, fostering a sense of familiari- this design should balance these benefits
ty and social connection within the housing with the need for privacy and security to
complex. ensure that residents have a comfortable
and positive living experience
By passing through someone else’s private
outdoor space, residents gain a height-
ened sense of shared responsibility for the
common areas. This can lead to a stronger
sense of community and encourage coop-
erative efforts to maintain and beautify these
spaces.
03 A cabin for Agnes Denes
Wheatfield - A
Confrontation
2021
Confrontation of nature and culture
Confrontation of biology and geography
Agnes Denes is renowned for her ground-
breaking artwork, such as “Wheatfield
– A Confrontation,” which symbolizes the
profound interaction between nature and
culture. In this iconic piece from 1982,
Denes transformed a two-acre vacant lot
in the heart of bustling Manhattan into a
flourishing wheatfield. This act was a direct
confrontation, not only with the concrete
jungle but with societal values, emphasizing
the stark contrast between urban develop-
ment and the natural world.
Shared air
The air and the light coming in
from the courtyeard is distributed
throughout the cabin in a semi-
open section.
Confrontation of roof and rain
Instead, rainwater drips out of the
cabin roof, The roof faces the inner
courtyard and all the water run into
the impluvium through the complu-
vium
04 GORI
Multifunctional Public building
2021
Stalini Avenue
circulation
Parking
River
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05 ETHNOGRAPHY MUSEUM
Cultural centre, Workshops
and Residence
2024
SITE ANALYSIS
The planning process pointed to this
specific site within the museum due to its
compelling blend of history and underuti-
lized space. The site includes several
existing structures:
The Kakhuri Brick Building:
A historic structure characterized by its
robust brickwork and plastered surfac-
es, reminiscent of Georgian vernacular
architecture.
A Later-Built Warehouse:
This utilitarian structure, constructed with
minimal ornamentation, stands in contrast
to the more detailed craftsmanship of the
historic buildings.
Cable Car Station:
offering visitors a dynamic way to experi-
ence the site’s verticality.
Water Reservoir and Abandoned Building:
These infrastructural elements, though
neglected, offer opportunities for adaptive
reuse, potentially contributing to the site’s
sustainability strategy.
Agricultural Areas and Workspaces:
These outdoor spaces are rich with
potential for cultural and educational
programming, particularly in the context
of restoration practices tied to Georgia’s
architectural heritage.
ZONING STRATEGY
This site offered me the opportunity to
not only apply my findings on materiality
but also to contribute meaningfully to
the museum’s functionality and visitor
experience. The original planning of the
museum left certain elements unrealized,
leaving gaps in its spatial and program-
matic narrative.
To organize the complex functions of
the site, I divided the space into three
distinct zones: public, semi-public, and
private. Each zone is carefully planned
to correspond with the museum’s op-
erational needs while fostering a fluid
interaction between the different activi-
ties housed within the site.
The public zone serves as the interface
between the museum and its visitors,
housing cultural spaces such as galleries
and auditoriums designed for exhibitions
and public events.
The semi-public zone is designated for
spaces that support the museum’s educa-
tional and restoration functions, including
workshops, studios, and technical areas.
These spaces are designed to accommo-
date both staff and visitors who engage in
hands-on learning and preservation work,
bridging the gap between the public
realm and more specialized functions.
The private zone is reserved for residen-
tial and retreat spaces for visiting schol-
ars, artists, and museum staff. Here, the
design emphasizes privacy and comfort,
providing spaces that are introspective
yet connected to the overall site through
views and spatial continuity.
SOLID/VOID INTERPLAY UNDER THE ROOF
The concept for my architectural project
centers around the integration of a gallery
and auditorium space under a single roof,
creating a dynamic interplay between solid
and void forms. This design was developed
through extensive exploration of various
configurations, drawing inspiration from the
traditional patterns found in Abkhaz sasi-
minde designs.
Wooden cross walls are strategically placed
within the plan, and their perimeters are
defined by glass. This approach ensures
that the space remains transparent, without
directing the visitor’s movement in a spe-
cific way upon entering the ethnographic
museum. The transparency of the design
enhances the sense of openness and
fluidity, allowing for unobstructed views and
creating a more immersive experience.
DESIGN PRINCIPLES AND STRUCTURAL APPROACH
The placement of the building within the
overall site plan was carefully considered to
ensure that it does not obstruct the visual
corridor upon entering the ethnographic
museum, preserving important sightlines.
By uniting two solid volumes with a central
void, the design enhances the permeability
of the structure, allowing for a seamless
connection between the interior and exteri-
or spaces.
The building is constructed following the
principles of the traditional Georgian Oda
house, known for its elevated structure and
open spaces. The roof incorporates a truss
system that spans an 8-meter gap, allowing
for an expansive open area without the
need for intrusive columns. This structural
approach maintains the openness and
fluidity of the interior space, reinforcing the
concept of unity between solid and void
while respecting the cultural and historical
context of the site.
WORKSHOP SPACES:
Solid-Void Interplay and Functional Design
The interplay of solid and void is a funda-
mental architectural strategy in the design
of the workshop spaces. In this project, the
use of solid and void is not merely a visual
or conceptual device but serves a function-
al purpose that shapes both the form and
utility of the workshops.
Heavily influenced by the Lazuri house
design. the workshop spaces embrace a
rhythmic pattern where solid masses are
contrasted with voids, creating a balance of
light, air, and enclosure.
These workshops are designed to serve
two primary functions. The first is to facilitate
restoration work, which is a key component
of the ethnographic museum’s mission. The
second function is educational: the work-
shops host master classes conducted by
professionals, offering hands-on training to
both children and adults. This dual-purpose
design makes the workshops flexible spac-
es, capable of adapting to various activities
and user groups.
Four specific workshop areas have been
created to cater to different types of materi-
als and techniques.
The wood workshop is designed for car-
pentry and woodworking, offering tools
and space for creating and restoring
wooden objects.
The metal workshop is equipped for met-
alworking and welding, supporting both
artistic and functional metal projects.
The clay workshop provides space for
pottery and sculpture,
while the stone workshop focuses on
masonry and stone carving.
Each workshop is designed with the spe-
cific needs of these materials in mind,
ensuring that the spaces are functional and
conducive to the work being done.
The architecture of these workshops em-
phasizes openness and permeability. The
solid walls, which provide structure and
enclosure, are balanced by voids that allow
light and air to flow freely.
Traditionally, Lazuri houses are known for
their solid stone walls that provide protec-
tion and insulation. However, in this reinter-
pretation, bricks are used in place of heavy
stone, offering a lighter, more adaptable
material. The arrangement of these bricks is
far from conventional; they are deliberately
placed to allow natural light and ventilation
to enter the work areas, enhancing the
comfort and functionality of the spaces. This
specific brick patterning not only serves
practical purposes but also creates a visual
and tactile connection to the Lazuri house’s
historical precedent. The aim is to maintain
a dialogue between the past and present.
The system operates on tension, with
cables stretched along the entire length
between the wooden frames and threaded
through the bricks. This tension allows the
bricks to maintain their form and stability
without the use of concrete, creating a
structurally sound yet flexible wall system.
The tensioned cables ensure the bricks
remain securely in place, combining tradi-
tional materials with a modern construction
technique that enhances both strength and
lightness.
Facade detail Section
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RESIDENCE
The residence features four fireplaces, four
bedrooms, and four servant spaces, all
connected to a central core, located at the
heart of the building. Each bedroom has its
own balcony, which can be accessed from
different levels via the stairs. The perimeter
of each balcony is framed by a traditional
Georgian seating area, enhancing the cul-
tural essence of the design.
Structurally, the entire building is con-
structed from wood, with the exception of
the central core, which plays a significant
structural role and is made of brick for
added stability. The columns, though simple
in form, carry ornamental details that echo
traditional Georgian architecture, adding
subtle character to the overall design.
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7 Shingles 6 Insulation 7 7. Core bnck system 76 Wooden balcony ra!lmg 7 00mm X 7 00mm
2 Felt underlayment 7 Roof underlayment 72 wooden frame 200mm X 700mm 7 7 Balcony railing pattern
3 Rafter 8 Steel plate braces 73. nord,c pine wood window 78 Heatmg system
79.. Wooden flooring system
4. Sub-fascia 9. wood casmg 74. Ventilation, sliding system
20. Steel plate braces
5.Eaves dnp 7O wooden frame 7 5. Insulated glass
scale 1.50
The windows, designed for compact spac-
es, have a 40 cm deep frame that also func-
tions as a work table, ensuring efficient use
of space. Ventilation is incorporated into the
upper part of the window frame, providing
airflow while maintaining the room’s layout.
The staircase in my project draws
upon the structural and aesthetic
qualities of the original 19th-century
designs. Using timber as the prima-
ry material, I aimed to replicate the
intricate joinery and spiraling forms
that define these historical staircases.
However, I also sought to reinterpret
these elements within a contempo-
rary context, creating a staircase that
not only honors the past but also
integrates seamlessly into modern
architectural practices.
The insights shared by Nika Gabi-
skiria and the Kibe Project team were
instrumental in shaping my approach.
Their expertise in structural elements,
material selection, and the preser-
vation of traditional Georgian wood-
working techniques allowed me to
apply these methods in a way that is
both authentic and innovative. The de-
tailed knowledge they provided about
the construction methods used in the
19th century enabled me to create a
design that is structurally sound while
maintaining the aesthetic integrity of
the original inspiration.
Incorporating these historical ele-
ments into my project was not merely
a design choice but a way to connect
my work with the rich architectural
heritage of Tbilisi. The staircase be-
came a symbolic bridge between the
old and the new, embodying the con-
tinuity of craftsmanship and architec-
tural excellence across generations.
The Kibe Project’s influence ensured
that my design was not only a modern
interpretation but also a respectful
homage to the traditional architecture
that continues to shape the identity of
Tbilisi.
