A COMPILATION OF WORKS 2020-2022 ALESSANDRA MORARU | alessandramoraru_arch@outlook.com PORTFOLIO
CONTENT E.C.C.I. | ETSY’S CRAFT COMMUNITY INSTITUTION THE OUTPOST | SHATTERED PERCEPTION THE WEIGHT OF SALT | A GRA VEYARD OF MEMORIES WE’RE ALL IN THIS TOGETHER 2021 AIA UK STUDENT CHARRETTE COMPETITION | RAIN-POWERED MUSIC MACHINES
01 E.C.C.I. ETSY’S CRAFT COMMUNITY INSTITUTION 2021-2022 STRUCTURAL EXPLODED AXONOMETRIC Existing Building (A): 1.Concrete Frame 2.Brick Wall Envelope Triangular Extension (B): 1.Timber Frame 2.Insulated CLT Panels Envelope 3.Timber Cladding Semi-Circle Extension (C): 1.Timber Frame 2.Rammed Earth Envelope 3. Lime Render Cladding Main Extension (D): 1.Glulam Frame 2.Truss Bridges (walkways) 3.Separate Timber Frame, Stairs 4.CLT Panels Envelope 5. Terracotta Tiles Cladding A. 2 A. 1 B. 1 B. 2 B. 3 C. 1 C. 2/3 D. 1 D. 2 D. 3 D. 4 D. 5
5.art supplies 6. fabrics, handmade
Recent studies show that people are not pleased anymore with online shopping, rather that the online shopping culture has become a normality due to the pandemic People would like to shop close by and in person, by sup porting local businesses in their immediate surroundings.
deprivation areas East London Tech City site location, Chisenhale Gallery N SouthwarkCityGreenwhichofLondonHackneyTowerHamlets
Etsy would have an apprenticeship programme with which it would create ‘work’ spaces for the lower class society in Tower Hamlets, in which they will be able to learn skills required for the endangered crafts
Lack of product uniqueness: Mass-produced goods lack uniqueness. In today’s wolrd, many consumers want customised products that feel personal and express their identity. Loss of jobs for unskilled workers: Today’s systems are less physically demanding than they used to be, and instead, require special skills and knowledge.
87% IN
As the mass production industry has become a bigger part of the production of goods, the handmade crafts insudtry has suffered, and so have the professional craft people.
CORONA VIRUS PANDEMIC AND ONLINE SHOPPING FROM THE START OF 2020 THE PERCENTAGE OF PEO PLE USING E-COMMERCE PLATFORMS HAS INCREASED DUE TO THE RESTRICTIONS IMPLEMENTED BY THE GOVERNMENT.
‘In a time of increasing automation, it’s our mission to keep human connection at the heart of com merce. That’s why we built a place where creativity lives and thrives because it’s powered by people.’
3. pottery 4.
TOP 3 BIGGEST E-COMMERCE PLATFORMS IN THE UK: TOP 3 COUNTRIES FROM WHICH UK IS IMPORTING: CHINA UNITED STATES GERMANY
CRAFTS FOR THE ETSY APPRENTICESHIP PROGRAMME smithing knitting, embroidery woodcarving,furniture making, making clothing GOVERNMENT APPRENTICESHIP PROGRAMME:
2. jewelery,
70% unemployed full time/ part time30%employed 2006, 2010,6.9m2020,16.9m31.6mpotential craft buyers, 6.6 m15%73%40%17%
Pollution: Simply said, factories cause pollution. They also directly release pollutants into rivers and streams. Industrial pollution is still an issue today. 2020, 87% OF UK INTERNET USERS MADE ONLINE PURCHASES UP FROM 78% IN 2018. HYBRID SHOPPING PHYSICAL SHOPPING
DEPRIVATION AREAS least deprived decile most deprived decile N go DISADVANTAGES OF ONLINE SHOPPING
What started my concept was looking at the part of the craft com munity and the crafts themselves that are struggling to remain alive. By doing research I have come across the craft heritage list, that is updated yearly, showing crafts that have dif ferent levels of endangerment, and may soon disappear due to the skill not being passed onto future gen erations. Therefore, the profession al craft people that have mastered the needed skills for them, will be the last people who will be able to practice, if something is not done to stop or slow down this ‘evolution’. The proposal of creating a programme that will teach the skills needed for the endangered crafts started by considering the fact that, as a community, people show the desire to support local businesses, rather than buying mass-produced objects, imported into the country There are also studies showing how an individual would prefer to know how the bought product was cre ated, by who and where in order to connect more with it and its creator. Thus, the idea of people preferring to shop in person, over e-commerce shopping, was added to my concept. By considering e-commerce as a part of my brief, I have come across Etsy, as one of the biggest craft-related e-commerce platforms, and have decided to create an in-per son Etsy shop, where people could go and buy their products physically, whilst, simultaneously, will be able to see how they are created in the work shops situated in the same building. Therefore, creating a connection be tween the seller and the customer, and strengthening the preference of the community for hand-made items. As the last addition to my programme, by looking at the area in which our site is situated, and the high level of deprivation that the bor ough has, I implemented an appren ticeship programme, in which lowclass individuals from the community can join, learn new skills that can be applied further into their future, thus continuing to practice the crafts that will hopefully no longer be endan gered.
The customer cannot see the product phisically. The customer does not know how the product is made, how well it is performing and who created the it, therefore not being able to create a ‘connec tion’ with the desired object. Sometimes, the shipping price can be higher than the price of the product itself. There is a risk of online fraud.
DISADVANTAGES OF MASS PRODUCTION
1.tin,copper,aluminium
toy
75%25% 55%45% 12%23%65% 14%25%61% 46%22%32% 29%23%48%PANDEMICOFBEGINNING PANDEMICOFEND 2019 2020 2021 2022 ONLINE SHOPPING
Amazon has recently made the transition from an only online selling platform, to PHYSICAL STORE that combine the online technology with the feeling of browSing and shop ping in person. Locally sourced goods fromt the Uk vs. imported goodS to the UK. MASS PRODUCTION LARGE QUANTITIES OF STANDARDISED PRODUCTS, USING AU TOMATION TECHNOLOGY.
UNITED KINGDOM AND ONLINE SHOPPING 3RD LARGEST USER OF E-COMMERCE PLATFORMS ONLY SURPASSED BY CHINA AND USA.
THE HCA RED LIST OF ENDAN GERED CRAFTS: First published in 2017, was the first report of its kind to rank traditional crafts by the likelihood they would survive to the next generation.
CROSS-SECTION 1:50 1.SPACES:Exhibiton 2.Market 3.Pottery Workshop 4.Wood Carving, Furniture Making, Toymaking Workshop 5.Tin, Copper and Aluminium Smithing Workshop 6.Jewellery Workshop 7.Art Supplies Workshop 8.Fabrics and Handmade Clothing Workshop 9.Auditorium/Classroom 10.Roof Terrace 11.Viewing Platform 12 Cafe MATERIALS: Bricks wall b.Clt Panels c.Terracota Tiles d.Double Glazed Windows e.Rammed Earth encased in Clt Sheets f.Lime Render g.Timber Cladding h.Glulam Beams/Columns i.Timber Beams/Columns j.Screw and Pile Foundation k.Raft Foundation l.Polycarbonate Sheet ISOMETRIC COUNTYHAMLET 1SPACES:.Exhibiton 2.Market 3.Pottery Workshop 4.Wood Carving, Furniture Making, Toymaking Workshop 5.Tin, Copper and Aluminium smithing Workshop 6.Jewellery Workshop 7.Art Supplies Workshop 8.Fabrics and Handmade Clothing Workshop 9. Auditorium/Classroom 10.Photography Studio 11.Computer Room 12.Meeting Room 13.Toilet 14.Special Needs Toilet 15.Roof Terrace 16.Viewing Platform aMATERIALS: .Bricks wall b.Clt Panels c.Terracota Tiles d.Double Glazed Windows e.Rammed Earth encased in Clt Sheets f.Lime Render g.Timber Cladding h.Steel frame and Cladding i.Glulam Beams/Columns j.Timber Beams/Columns k. Screw and Pile Foundation l.Raft Foundation m.Polycarbonate Sheet CROSS-SECTION CROSS-SECTION 1:50 2.Market 3.Pottery Workshop 4.Wood Carving, Furniture Making, Toymaking Workshop .Tin, Copper and Aluminium Smithing Workshop 6.Jewellery Workshop Art Supplies Workshop 8.Fabrics and Handmade Clothing Workshop 9.Auditorium/ClassroomRoofTerraceViewingPlatformCafe b.Clt Panels c.Terracota Tiles d.Double Glazed Windows e.Rammed Earth encased in Clt LimeSheetsRenderTimberCladding h.Glulam Beams/Columns Timber Beams/Columns Screw and Pile Foundation k.Raft PolycarbonateFoundationSheet BIRD’S-EYE VIEW
CIRCULATION EXPLODED AXONOMETRIC -open to the public, as well as the workers -open to the public, as well as the workers -no access to the public, workers/students only ENVIRONMENTAL STRATEGIES DIAGRAM 1. Photovoltaic panels (solar pan els) 2. A air source heat pump 3. The kiln being used as a heat source 4. Passive ventilation 5. Natural heating and lighting from the sun 6. Skylights 7. Mechanical ventilations system, MVHR 8. enclosed thermal(insulation) line EXTERNAL VIEW EXTERNAL EXTERNAL
FLOOR 1:200 N Ground Floor: Etsy Exhibition 2.Market 3.Heavy WorkshopMachineriesDuty 4.Circulation 5.Elevator 6.Sitting Space PLANS GROUND-4TH FLOOR Ground Floor: 1.Etsy 2.MarketExhibition 3.Heavy Duty Machineries Workshop 5.Elevator4.Circulation 6.Sitting Space 1st FLOOR: 1. Pottery Workshop Furniture2.Woodcarving,Making and Toymaking Workshop 3.Photography Studio 4.Toilet 5.Special Needs Toilet 8.Elevator7.Circulation6.Auditorium/Classroom 2nd FLOOR: 1.Tin, Copper and Aluminium Smithing Workshop 2.Art Supplies Workshop 3.Computer Room 4.Server Room 5.Toilet 6.Special Needs Toilet 9.Elevator8.Circulation7.Auditorium/Classroom 3rd FLOOR: 1.Jewellery Workshop 2.Fabrics and Handmade Clothing Workshop 3.Meeting Room 4.Toilet 5.Special Needs Toilet 8.Elevator7.Circulation6.Auditorium/Classroom 4rt FLOOR: 1.Roof Terrace 2.Caffe 3.Viewing Platform 6.Sitting5.Circulation4.ElevatorArea BACK LONGITUDINALFRONTELEVATIONELEVATIONSECTION GROUND FLOOR 1ST FRONT 2ND FRONT 3RD FRONT 4TH FRONT
02 THE OUTPOST SHATTERED PERCEPTION 2021-2022 During this project, we had to create a character from scratch. We had to think of the smallest details, from what their name is, to the way their clothes could be. In relation to the character, we had to create an outpost for the activity attributed to them by us. My character is a 16 years old teenager called Alya, and her story is a sad one. She is a refugee that was just granted asylum in the UK. Howev er, she suffered a tragic event before she managed to arrive in Folkestone, and this strangely altered her mind. She does not see the world like us. She has a book, called Throne of Glass, by Sarah J. Maas, and her ‘reality’ is the world from that book. What we see as a kite, she sees as a dragon, a dog, as a feral wolf This project will follow one week in her life, as seen through her eyes, as well as from someone else’s point of view.
SKETCHES: EVOLUTION OF THE DESIGN (in both ‘realities’) SECTIONPLAN ELEVATION2
SECTION
1
03 THE WEIGHT OF SALT A GRA VEYARD OF MEMORIES 2020-2021 This project became, through time, a story about the importance of memories. The project tak es a more abstract approach to the conservation of memories, through the building medium used, and the way the memories are displayed in an ‘archive’ People in today’ s society are way more preoc cupied with the future and tomorrow , therefore forgetting to cherish the past and present, yesterday and today By doing this, our brains fail to remember the good times that we had and overlook our suc cesses, due to the tunnel vision people have de veloped. Through my archive, I want to remind society to tak e a step back, to look at what the y have accomplished so far in life, to appreciate the happiest times and worst times, that shaped them into who the y are today and share it with the world.
The
CONTEXT: INITIAL IDEA AND SKET CHES the idea for the archive is the preservation of memories, good or bad, the Designer, myself, thought that I, as well, should consider that during the development. I wanted to connect with this project, to find a piece of myself in it. Therefore, I thought of one of my dearest memories and decided to draw it. When looking at the shape of the balloon, they immediately realised that this is the beginning of their project. This is how it all started. most important building in Canterbury , from a spiritual point of view, is the Canterbury Cathedral. Due to its height, it can be seen from almost all over the city, which I found very inspirational and decided to somehow manage to incorporate the height aspect in my design.
As
CHOOSING THE SHAPE:
Because the salt crystals will grow unpredictably , the way that I decided on a possible shape of the crys tallised structure of the building is by creating random shapes using paper , which would also tak e into consider ation the other criteria that are already in place( the fact that the building has to give the impression, to a certain extent, of a sacred place. Therefore, the shape should have this tower-like structure, as the Cathedral has. As an initial structure, I am considering a hot air bal loon or an immense balloon filled with helium or hydro gen. During the ‘building ‘ process, the only thing that I, as a designer , can input into the shape of the building is the initial distortion of the balloon with the cord, which will later be covered by the cord that will transfer the saline solution and evenly distribute it across the skele ton of the building.
THE BUILDING PROCESS: ST AGE 1-2
When
During this time, the balloon will be manual ly moved by the K eeper, in a way in which through time it will start the form the ‘foundation’ of the col umn. When this will happen, the balloon will have to be anchored, and stopped from moving, so that the formation of the column could properly start. the column will be fully de veloped, the next stage is to create the spear -like tow er at the top of the column. The K eeper of the loca tion will have to add the saline solution on top un til the space will have the desired height and shape.
HIERARCHICAL DISTRIBUTION: hierarchy of the programmes was decided based on the layout of The Canterbury Cathedral, by analysing the way the rooms are positioned and the reasoning behind the priority that the y have. The top rooms are the highest in the hierarchy , except the ‘Sto ry room, which will introduce how this project came to life.
THE BUILDING PROCESS:PHASE 3 During this phase, each room will be built individ ually, in time. The K eeper will start from the bottom with the story room and will build up around the ‘spear ’. The spear will have a set of stairs carved onto it at the same time.
MODELLING THE INSIDE SP ACES: Using a wax model and ice cubes to create the voids.
The
04 WE’RE ALL IN THIS TOGETHER 2021-2022 Our aim for this project was to create a master plan, as well as design a house existing on that specific master plan in detail. We had to choose the type of ‘ family’ for which we would like to design and build that house. After some research of the area, taking into consideration the demographics as well as the lo cation of the city I decided to build for refugees that were just granted asylum, as those seeking asylum refugees are not allowed to leave a specific perimeter The building, in this project, is a modular prefabricated house, and there are 3 existing types of houses in the master plan.
1 2 3 4 5 6 7 A B C D E F G 1. SIP pannel construction 2.Pannel wood interior cladding 3.Timber pannel cladding exterior: reused pannels and charred wood pannels 4 SIP pannel roof 5. SIP pannel floor 6. Foundation using timber bat tens, timber planks and concrete 7.Green roof MODULESCONSTRUCTION:ANDROOMS: a. Module 1: Office, bathroom and bedrooms b. Module 2: Bedrooms, bathroom and Living room c. Module 3: Bathroom and dining area d. Module 4: Kitchen e. Module 5: Covered courtyard f. Module 6: Hallway g. Module 7: Prayer tower
05 2021 AIA UK STUDENT CHARRETTE COMPETITION RAIN-POWERED MUSIC MACHINES 2021-2022 The Charrette was a one-day competition taking place at the Building Centre in London. The challenge was to work analogue and come up with an intervention that would draw visitors into the city again after the pandemic. We managed to win the competition with a rain-powered leaf structure that produced music and offered shelter from the rain. http://www.aiauk.org/news/2021/12/9/aia-student-charrette-2021-a-tale-of-new-cities?rq=uca https://www.uca.ac.uk/blogs/uca-wins-aia-student-charrette-2021/
Having arrived at the charrette drenched, we were able to turn, what some might call an unlucky begin ning of the day, into an evocative starting point for the de sign process, which carefully considered how sound could be used to draw visitors into the heart of Bloomsbury. judges felt they answered the competition brief suc cessfully and praised the team for the sensitivity of their design and their vision for a city that celebrates its connection to the natural world and encourages visitors to think more carefully about their connection to the site and climate.’ 2021-a-tale-of-new-cities?rq=uca
http://www.aiauk.org/news/2021/12/9/aia-student-charrette-
‘The
