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Beyond the Space Albina Aleksiunaite portfolio

Imprint C Beyond The Space. Albina Aleksiunaite Portfolio No part of this book may be reproduced, stored into retrieval system or transmitted in any form, or by no means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the author. Albina Aleksiunaite

Contents 2-3

Curriculum Vitae



Academic Projects

6 - 17

1. INFINITE GARDEN HOUSE Collective Urban Villa

18 - 27

2. HAPTIC PATTERNS Concept Store

28 - 41


42 - 63

4. casas del aguas Interior Intervention

64 - 83

5. utopian city of transcendance Interior City



Albina Aleksiunaite Name:

Albina Aleksiunaite

Phone nr:

+370 609 84737



Albina Aleksiunaite


Lithuania / The Netherlands

Nationality: Lithuanian Born:


2013 - 2016

rotterdam university

Rotterdam, Netherlands

Master in Interior Architecture and Retail Design

(Piet Zwart Institute)

2011 - 2012

Amsterdam Academy of Architecture

Amsterdam, Netherlands

Partial Master in Architecture

2006 - 2010

Vilnius Gediminas Technical University

Vilnius, Lithuania

Bachelor in Architecture

2008 - 2009

Polytechnic University of Valencia

Valencia, Spain

Architecture studies under “Erasmus� exchange programe

Skills Architectural Strong conceptual and critical design thinking skills based on Thinking theoretical, empyrical and experimental design research. Carefull project developement from idea stage to smallest detail. Research and Strong, well structured research Communication skills and information management, advanced presentation skills. Visual and Graphic Sensitive idea translation into comCommunicationprehensible visual language. Excellent hand drawing skills. Organisation Mastered time management skills, self- initiator, flexible, hands-on attitude, proactive team player as well as independant worker. MATERIAL knowledge


Languages English

Extensive experience working in wood, metal, ceramics workshops.

Wectorworks Autocad


Revit Sketchup


Blender + V-ray 3D Max + V-ray


Photoshop Illustrator

Lithuanian 2


WORK EXPERIENCE Educational April - July 2015 Teaching assistant

Rotterdam, Netherlands

I was assisting in supervising architectural design project for BA Spacial Design students; preparing methodical assignments.

2013 - 2016

University’s “Think Tank” member

Rotterdam, Netherlands

Within interdisciplinary research group I was assisting in organising public talks and symposiums with reknown artists and designers.

June - October “Guallart” architects 2009 Assistant Architect - internship

Barcelona, Spain

Office May - August 2012

“Dittmar+Bochman” architects

Additional Time by time

interior and event photographer (Freelance job)

2013 - 2015

Bartender/ Event hostess (Part-time job)

Assistant Architect

Amsterdam, Netherlands

I was involved in a developemt of several housing projects. Responsible for design research and elaboration of multiple design solutions.

I was involved in villa renovation project and was responsible for building’s preparation to restore, its detail drawings making. Besides that I was a part of architectural competition team to design a cultural centre and was responsible for making building’s models and visualisations. Moreover, I was involved in an organic laser-cut furniture fabrication for a beach bar. I was in a team which supervised laser work and components’ assemblage.


October February 2012

“Temp” architects

April 2014

Milan design week 2014

Assistant Architect

Amsterdam, Netherlands

I was involved in several urbanistic research projects. Responsible for project analysis and reserach developement as well as generation of strategical urban growth scenarios. Moreover, I was responsible for projects’ visual representation.

Milan, Italy

My design research project “PAPERSCAPE” was exibited in Ventura Lambrate in Milan Design Week 2014. This project was also featured in variuos design magazines such as DOMUS, HOMEDECORITY, DEZEEN and others.

July 2013

Mandela poster project Selected winner

“OX2” ArchitecteN

Many countries My poster design for international

2010 - 2011

“Mandela Poster Project” competition was selected among 95 winners out of 750 global participants. Selected poster became a part of traveling world-wide exibition and will be auctioned to raise funds.

Assistant Architect - internship

Aachen, Germany

During the course of one year I was one of the leaders of four successive architectural competitions. Together with my boss I was developing each project from idea stage to detailing, eventually I was preparing presentation posters design. Besides that I was responsible for company’s Public Relations. I was archiving company’s projects material and using it to update company’s website. Moreover, I was preparing projects to publish in architectural magazines, often designing exibitions for they public show. Finally. I was one of the host during company’s newly designed building’s opening event.


“Building without Final Image”

Rotterdam, Netherlands

This research project investigating flexible means of city developement and which was conducted in a collaboration with “Temp” Architects was presented at Netherlands Architecture Institute.

April 2010

2nd prize award

Aachen, Germany

Bus Station and Urban Regeneration project that was conducted in collaboration with “OX2” architects was awarded with 2nd Prize. 3

Globalization Neoliberalism Internet Global Water Crisis Mass Consumerist Culture Production Artificial Intelligence


Culture of congestion Limited Natural Resources


Craftmenship Privatization Virtual Capitalism Machine Reality Culture Space Travel


Standartization Technology


“We stand between the future and the past” Kenya Hara From: “Designing Design”, 2011



Probably every architect, interior architect or any other space designer have been thought of how design will look in the future and how we will design in a new rapidly changing world. The world where internet, technology, climate change are inevitably transforming our everyday reality. Such constantly developing environment challenges architect to embrace radical design strategies and invoke innovative yet critical way of thinking. Thinking that goes beyond conventional architect’s profession and practice, or in other worlds - beyond the space. With such altering reality deals and my work which is represented in this portfolio book titled “BEYOND THE SPACE�. My five selected academic projects reveals five design stories that were developed by researching, experimenting and always thinking more than just a space. Interior and architectural spaces in my projects gain an extra unexpected dimension that goes beyond its physicality. Here a tiny courtyard transforms into infinite forest, sand particles create haptic interior patterns, an entire house becomes passing time calculator through sunlight projections, domestic interiors turn into pure water laboratories and cities become interior cities.


1. Infinite Garden House Collective Urban Villa

Status: Location: Tutor: Type: Year:

Academic Project Shibuya district, Tokyo, Japan. Moriko Kira Individual Project 2013

Abstract Speculating on a future of the nature in a highly urbanized city of Tokyo ‘Infinite Garden House’ suggests a new way of natural environment reproduction. Architect and architectural thinker Hiroshi Hara discussing contemporary urban strategies in Japan argues that in the future “planning will demand a new interpretation of nature” and that without such “intermediate domains” future urban life will not be possible. Referring to H. Hara’s thoughts, my design project proposes a new interpretation of nature through reality manipulation and visualizes transforming human relationship with nature in a 21st century. Employing mise en abyme 1 design technique that uses several interfacing mirrors to generate an infinite reality, the tiny garden inside my created domestic environment of collective urban villa is transformed into endless forest experience. Among five villa’s apartments emerged semi-virtual garden becomes a shared experience of being in nature. It unifies all house inhabitants creating a sense of togetherness. Further, as an important Japanese cultural tradition, it acts as an infinite natural meditation space to resile from busy city life. 1. Mise en Abyme - The term is originally from the French and means, “placing into infinity” or “placing into the abyss”. In Western art “mise en abyme” is a formal technique in which an image contains a smaller copy of itself, the sequence appearing to recur infinitely.

Right: Fig. 1. Infinite Garden House. View from the street 6


Top left: Fig. 2-5. Chronometric relationship between traditional Japanese houses and nature Top right: Fig. 6. “Mirror House”. A temporary installation by Ekkehard Altenburger Bottom right: Fig. 7. “Reflected landscapes”. Land art installation by Victoria Siemer

Fig. 8. Garden as a main element of a house that unifies inhabitants 8

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Fig. 9. Scheme representing how Mise en abyme design technique generetes infinite garden experience 9

Fig. 10. Infinite Garden House. Explotion scheme. 10

Fig. 11. Infinite experience of generated garden reflections 11

Fig. 12. View of the Bedroom

From left to right: Fig. 14. Infinite Garden House. Floor plans. 12

Fig. 13. Dinning space and infinite garden


1 2 3 4 5 6 7

1 2 3 4 5 6

22 mm birch-veneered plywood flooring bituminous sealing layer 12 mm chipboard 40 mm subfloor panels 11/22 mm softwood secondary beams between 11/22 mm softwood joists 60/60 mm ceiling timber rails 19 mm birch-veneered plywood soffit

19 mm birch-veneered plywood wall lining 55/110 mm battens between 110/110 mm posts 110 mm rock-wool insulation 19 mm plywood bituminous sealing layer 15 mm Japanese cedar tongued and grooved boarding

Fig. 15. Floor and facade detail 14

1 2 3 4 5 6 7

1 2 3 4 5 6

22 mm birch-veneered plywood flooring bituminous sealing layer 12 mm chipboard 40 mm subfloor panels 11/22 mm softwood secondary beams between 11/22 mm softwood joists 60/60 mm ceiling timber rails 19 mm birch-veneered plywood soffit

19 mm birch-veneered plywood wall lining 55/110 mm battens between 110/110 mm posts 110 mm rock-wool insulation 19 mm plywood bituminous sealing layer 12 mm stainless steel sheet clading with no. 8 mirror finish

Fig. 16. Floor and mirrored walls detail 15

Top: Fig. 17. Infinite garden experience Bottom: Fig. 18. Axonometric section through the garden 16

Fig. 19. Constructional scheme 17

2. Haptic Patterns Concept Store Status: Location: Tutor: Type: Year:

Academic Project Rotterdam, The Netherlands Gabriella Fiorentini Individual Project 2014

Abstract In a thriving world of retail, crafting a unique and meaningful customer experience is a key to success. Taking that in consideration, my concept store design titled ‘Haptic Patterns’ aims to push the boundaries of customer journey design and offers a unique type of shopper experience based on a concept of phenomenology1 and “design of the senses”2. This sensory retail experience tells a romantic story of a handmade bag - an elegant feminine commodity which is characterized by minimal geometric pattern shape. Creating distinctive retail experience these original patterns of a bag are idealized and paralled with the ones formed by a sand while it slowly falls into structural glass containers. A set of such containers with falling sand that visualize this natural phenomena orchestrate the shop with a granular space performance. Slowly falling microscopic grains create an appealing visual and aural experience awakening human sensors and activating positive customer’s emotions. They evoke moments of delight, joy and happiness - the same haptic feelings and pleasure that sense a woman wearing these unique pattern bags. 1. Phenomenology - as defined by C. Cantwell, phenomenology in architecture aims to explore ephemeral, emotional and poetic qualities of a space. 2. Design of the senses - is a design strategy/ methodology explained by Kenya Hara (2011) that employs a philosophy and knowledge of human sensory receptors for a space and product design.

Fig.1. Sand pile. Photograph made by author. 18

Product - geometric pattern bag

Outline of bag geometry

Bag pattern comparison with a pattern of a sand pile made by free falling sand


Through visual experience of a falling sand, the occupant of the space discovers universal secrets of nature. This little marvel activates viewer’s sensors: it creates a small moments of delight and happiness. Bottom: Fig. 3. Sand patterns formation in“Sand Catchers”.

Model photographs made by author.


Fig. 3. Sand fall. Photograph made by author.

Fig. 5. Sand patterns. Model photograph made by author.



Top: Fig. 6. Retail space experience through visual and aural performance of falling sand. Left: Fig. 7. Concept store. Axonometric view.

A range of “sand catchers” create an intimate granular landscape. Oscillating particles of sand forms fragile patterns and tells the story that hides beyond the space. Through this performance interior gains a double meaning - the one that hides in a physical space and another that is generated in a person’s psyche. 23


The physical concept store’s environment is extendent to the virtual one utilising technology: In the entrance and exit area there is integrated a large ‘I-Phone’ look screen that performs a virtual shop-keeper function. It offers a complete show brand products and encourages a customer to buy a product in a shop or order it with delivery at home.


Fig. 8. Product display integrated in a “Sand Catcher”.

Bottom: Fig. 9. Product purchasing screen.


Once containers are full with sand, this granular matter inside is transformed into firm sand sculptures employing sand cementation process. Sand cementation is a biological process where loose sand is transformed into a solid matter. That is done through the injection of Bacillus Pasteuri bacteria and other additives in this material. Solidified sand sculptures stands as a haptic memory of the shop experience.

Background: Fig. 10. Cemented Sand Sculpture. Right: Fig. 11. Sand cementation chemical process.


Bacterium Bacillus Pasteuri




Application of additives

Sand stone

1 week


3. Summer Solstice House Interior Archeology Status: Location: Tutor: Type: Year:

Academic Project Prienai, Lithuania Yukiko Nezu Individual Project 2014

Abstract ‘Summer Solstice House’ is an architectural ‘poem’ dedicated to our perception of time and space through an universal phenomena of light. In the age of technology we often refer to time through mechanical watches, computer screens, incandescent light bulbs and other humankind innovations that evoke our distorted sense of moments we live. However, I have to note that in the past our ancestors were more conscious of time and the world. Their legacy of monumental constructions framing sun movements testify they well-established awareness of passing time by observing celestial bodies. Taking these ancient constructions as a design starting point and referring to Louis Kahn’s theory of “Silence and Light”, Gaston Bachelard’s theory of “Phenomenology in Architecture”, further applying ‘research by making’ design methodology, this project aims to bring these forgotten astrological moments in to domestic interior of a modern man. These moments are created through twelve circular holes that are embossed into building’s walls and that are aligned to celestial sun path during summer solstice. These holes allow sunlight projections into interior space creating ephemeral light performances that makes man more conscious of the living world and brings him into an elevated state of being. In this house time is translated into a spacial experience. This house doesn’t exist - it lives. Lives together with the occupant of a space, corresponding to universal time, thus corresponding to man’s biological time, his cycles of a day, or in one word - his life.



Fig. 2., 3., 4., 5. Summer and Winter Solstices’ markings in ancient interior and architectural spaces. Fig. 6. Scheme showing celestial sun paths during summer and winter solstices and equinox.


Fig. 7. Design technique. Through the hole in exterior wall falling sunlight create ephemeral circular light projections into interior space.

Light and things belong together. When the sun strikes a thing, the light becomes aware of itself, and the thing gains its presence. Thus day and night, earth and sky come into being, and we comprehend the meaning of the first words, “Let there be light.” Henry Plummer From: “Poetics of Light”, 1987


Fig. 8. Sketches of interior visualizing spacial scenario of sun projections, (ink on paper).


Fig. 9. Experimental models visulaising sun light projections into interior space (plaster casts). Fig. 10 . Other experimental models visualizing spacial sunlight performance (plaster casts).



Fig. 11. Experimental ‘Summer Solstice House’ model, (plaster cast)

Fig. 12. Light projetion into a bedroom space. Experimental ‘Summer Solstice House’ model, (plaster cast) Left: Fig. 13. Axonometric house scheme showing sunlight projections into interior during a course of a day.


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Fig. 14. View of the bedroom. Rising sun. Time: 8.00 am. Left: Fig. 15. A diagram representing how building through light corresponds to human biological life cycles.

To me, when I see a plan I just see the plan as though it were a symphony, the realm of spaces in the construction and light. I sort of care less, you see, for the moment whether it works or not. Just so I know that the principles are respected which somehow are eternal about the plan. LOUIS KAHN from: Extracts from a lecture of “Silence and Light�,1969


Fig. 16. View of the bathroom. Sunlight projection. Time: 10.00 am. Right: Fig. 17. View of dinning room. Time: 6.00 pm.

What slice of the sun does your building have? What slice of the sun enters your room? What a range of mood does the light offer from morning to night, from day to day from season to season and all through the years? Luis kahn paraphrasing Wallace Stevens from: “The room, the street and the human agreement�, 1991 38



Left: Fig. 18. View of a living room. Time: 1.00 pm. Fig. 19. View of a bedroom room. Sunset. Time: 9.00 pm.


4. Casas del aguas Instant Strategies of domestic water generation for the urban poor Status: Location: Tutors: Type: Year:

MA Graduation Project Mexico City, Mexico Alex Suárez, Füsun Türetken. Individual Project 2015 - 2016

Abstract Addressing global water crisis and “slow violence”1 my design project titled “Casas del Aguas” aims to deal with such catastrophic water case in Mexico City and its district Iztapalapa. Iztapalapa is one of the poorest sections of the city which inhabitants suffers from domestic water scarcity that was caused by a range of a man-made environmental crimes. Here domestic water is always uncertain: sometimes it is unavailable and sometimes it is highly polluted with unknown substances. Neglected human beings are forced to search for fresh water outside the city or to buy bottled water. However, many poor families in the area cannot afford such expenses. As a response to this “slow violence” I intend to raise the awareness of such invisible environmental crimes and pay the attention to the urban poor that silently suffer an environmental noxiousness. “Casas del Aguas” is an inexpensive domestic interventions toolkit, an anti-disaster manual, a survival scheme hypothetically developed with local people in order to help them to obtain a clean domestic water from rainwater harvesting. Besides that a range of domestic tools - an immediate handmade devices - help to sustain collected water. They purify it, store it, save it and recycle. As a result, these proposed interventions that are built by locals create a new domestic water realm. The realm that deliberately alters human relationship with this precious natural resource and suggests a new domestic interior model of the future in the age of a disaster.

1. Slow violence - a concept that stands for today’s world environmental crises, environmental change and ignorance of the ones who suffers its tragic consequences. This philosophy was developed in 2011 by humanities and environmentalism professor Rob Nixon and is intensively expalined in his book “Slow Violence and the Environmentalism of the Poor”.

Background: Fig. 1. “Houses of water”. Urban interventions landscape 42



Fig. 3. “Mexico City, Waves of humanity”. Photograph by Pablo Lopez Luz.

Bottom: Fig. 2. “Casas del Aguas”. Research book.



Water Crisis in Mexico C

Poor locals are forced to search for water outside the city or buy a bottled water.

Sinking earth in Mexico City is causing land and buildings’ cracks.

Water Truc ing locals w ble water.

Due to overexploited underground aquifers the city is sinking. Environmental pollution of rivers and lakes.

40 percent of pure water in Mexico City is lost through aging hydraulic infrastructure leaks.


Water is ed and natural re

City, Iztapalapa district

Pure water campaign “Nestle’ stimulating to buy a portable water.

Transnational corporate “Coca-Cola” is taking advantage of a crisis and making its business thrive.

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a limitpreciuos esource.

Domestic Horror. Polluted water running from local water-taps. Oil spills near Mexico City.

Mexico’s sewage systems discharging black waters to local rivers and lakes.


Employing Rainw

I think if all of the buildings we at least something like 30 p needs could be coming fr

This part of the city g It gets up to 1,5 So a house [‌] which [‌] has 2 enough for two low-incom

Enrique a young industrial designer,

(citted in La


water Harvesting

ere harvesting rainwater,, [...] percent of the city’s water rom rainwater harvesting.

gets very high rainfall. 500 millimeters. 240 meters of roof [‌] is about me families to go all year.

Lomnitz ,engineer and entrepreneur

azaro, 2014)



Rain water harvesting with gutters and textiles.

Harvested rain water purification with earthy water filters and solar water desinfection tools.

Integrated rain water storing in ferro-cement tanks and various domestic vessels 50


Domestic water appliances transformation that saves water and allows its re-use

Grey water re-use for garden irrigation and domestic cleaning 51

Fig. 8. Hypothetical domestic water cycle. Right: Fig. 9. “Water House” model. 52



Left: Right:

Fig. 10. Interior Interventions model. Fig. 11. Interior Portraits. 55


Fig. 13. Perforated shower stand that collects all grey water. Author’s photograph. Left : Fig. 12. “Bucket Shower”. A hypothetical shower prototype. Author’s photograph. Bottom: Fig. 14. Collected grey water re-use for home cleaning. Author’s photograph.


Fig. 15. An instant earthy water filter that comprises from gravel sand and charcoal layers. Right: Fig. 16.,17. Water filter details.




Bottom : Fig. 20. An instant pedal bases wahing machine prototype, that saves and recycles water. Left: Fig. 18.,19. Washing machine. Details.


Fig. 21. A “Water Houses” landscape Bottom Fig. 23. A “Water Houses” landscape. Detail.


Time Time Fig. 22. “Water houses’” incremental developement.


5. Utopian City of Trascendence Making Interior Cities Status: Location: Tutor: Type: Year:

Academic Project Rotterdam, The Netherlands Aynav Ziv Individual Project 2014


A Map of the World that does not include UTOPIA is not worth even glancing at. Levis Mumford

“Utopian City of Transcendence” is an experimental model of an ideal interior city of the future established in a former industrial shipyard building’s interior space. Inspired by a nearby existing ‘Heijplaat’ neighborhood, that was designed according utopian garden city ideas and by examination of a true meaning of a term ‘UTOPIA’ this project reimagines and simulates the ideal future of human habitation. Term ‘UTOPIA’ according Sir Thomas More (1516) means ‘an imagined place or state of things in which everything is perfect’. Referring to this, to a Wally Pfister’s directed film “Transcendence” (2014) and to a contemporary technological theory of ‘singularity’1, I can claim that today’s ‘perfect’ human condition is the one that is totally controlled by artificial intelligence. Therefore such realm I can call a perfect ‘Utopia’ of nowadays that humkind strives for. My created Utopian City represents this paradise - a perfect human condition where robots and machines does everything for a man. They grow and make food, control climate, transportation and time. They assist man in every step of whatever he does. At the same time one can notice that artificial intelligence in a city slowly transcends and surpass human life. Superintelligent machines, slowly exchanging humanity, can triger one silently pause. 1. Technological Singularity - is the hypothesis that the invention of artificial super-intelligence will abruptly trigger runaway technological growth. Such intelligence explosion will signal the end of the human era, as the new superintelligence would continue to upgrade itself and would advance technologically at an incomprehensible rate.



Fig.2. ‘Heijplaat’ neighborhood and former industrial shipyard building



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Fig.3. ‘Heijplaat’ neighborhood and analysis of Garden City and other Utopian City Models 67

Fig.4. ‘Heijplaat’ neighborhood utopian ideals are translated/ simulated in to the ones of a Future Utopian City.

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Cell Habitation Image: Nakagin Capsule Tower, Japan, 1972.

Robot Workers Image: Robot serving a food to a child.

Artificial Intelligence Image: Robot ‘Tinker’, that can be programed to perform over 180 tasks, 1977.

Virtual Reality Image: The first wearable technology, 1963.

Infa-Red Farming Image: Plant Factory in Jpan exemplifying the future of food production.

Mechanised Reality Image: Flying Hover Car.

Self-Sustainable City Image: Walking City, Archigram, 1964.

Space Colonization Image: An extension of a human survival off planet Earth, 1970. 69

Fig.5. Simulated Utopian City’s location - a former industrial shipyard building.






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Fig.6. Scheme showing interior city’s growth during a period of time.

Fig.7. Interior City’s functional scheme. Left: Fig.8. Interior integration into shipyard’s building structure. Axonometric view.



Fig. 9- 11 . Towards building construction. Material experimentation. Plaster casts. Left: Fig. 12 . Interior’s constructional wireframe.



Fig. 13 . “Utopian City of Transcendence”. Section. 77


Fig. 14 . “Utopian City of Transcendence”. Second floor plan. 79


Fig. 15 . “Utopian City of Transcendance”. Living Cell. 81


Fig. 16. Top floor view. Robotic food gardening plantation. Food is produced using Infra-Red rays and artificial photosinthesis. Left: Fig. 17 . “Utopian City of Transcendance�.



THANK YOU Please feel free to e-mail me and let’s chat in a real or virtual space with a cup of tea!


Albina Aleksiunaite

Phone nr:

+370 609 84737



Albina Aleksiunaite


Lithuania / The Netherlands

Nationality: Lithuanian Born:

29-02-1988 85

Albina Aleksiunaite Portfolio