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Andra Racasan * PORTFOLIO * 2018


Onisim Colta - Book of Genesis


ANDRA RACASAN 9 February 1991, Bucharest, Romania andra-daniela.racasan@student.kit.edu +4915255659826 Lauterbergstraße 8 76137, Karlsruhe, Germany

CURICULUM VITAE

EDUCATION 10/2017 - 2010-2017 2008-2010 2006-2010

Master Program at the Karlsruhe Institute for Technology, Germany “Ion Mincu” University of Architecture and Urbanism in Bucharest, Romania Drawing classes at the “Nitulescu” school in Bucharest, Romania “Dinicu Golescu” National College, Campulung-Muscel, Romania

EXTRACURRICULAR AND WORKSHOPS 08/2017-10/2017 Intensive German course at Carls Duisberg Centren Köln, Germany 07/2016-08/2016 Summer course at the Humbold University in Berlin, Germany. Language and Movie course 08/2015-09/2015 International summer course for German language and culture at the University of Heidelberg, Germany 03/2015-06/2015 Competition under the supervision of Prof. Florian Stanciu (UAR-library and archive)


07/2013 Volunteer student. Drawing and documenting buildings at Petrila Mine Complex in order to list them as historical monuments and save them for destruction, Romania 08/2013 Workshop at Bunesti school, Romania. Building houses for a future private school 11/2012-06/2013 Paper model of Knappe house, a project made by Starh architects. Organising the exhibition in Bucharest and Brasov SCHOLARSHIPS AND PRIZES 08/2017-10/2019 DAAD scholarship for a master program in Germany 03/2018 Mention prize for the Project CTT.SB_01 in Sibiu within the competition “Ne vedem in Sibiu” 07/2016-08/2016 DAAD scholarship for a German course in Germany 11/2014-01/2015 Prize for the project “Create your Bucharest”. Exposition of the project in Vienna within the Vienne Biennale 2015: “Ideas for Change” 03/2012 Project exposition by “Romania Convention of Architecture and Design”, Bucharest ARCHITECTURAL PRACTISES 05/2018 - Part time internship at Peter Krebs office, Karlsruhe, Germany (working on competitions, cost calculations, presentations) 10/2016-02/2017 Internship at Harter und Kanzler Architekten, Freiburg im Breisgau, Germany (architectural assistent by different projects, construction documentation, cost calculation, presentation models

and working-models for different projects)

10/2014-06/2015 Internship at FFBK Architects, Basel, Switzerland (working on competitions, project studies, presentation models, 2D drawings in Archicad, 3D modelling in

Archicad, Presentations in Indesign and Photoshop for PR-purposes )

01/2014-06/2014 Volunteer assistant of Prof. Stanciu at his Studio, within the project “Collective Housing in Bucharest” LANGUAGES Romanian Native Speaker German Advanced (Test-Daf Certificate) Englisch Advanced Italian Upper Intermediate French Low Intermediate COMPUTATIONAL SKILLS

Archicad 2D and 3D, Vectorworks 2D and 3D, Autodesk Autocad, Adobe Photoshop, Adobe Indesign, Cinema 4d, Corona, Excel, Microsoft Office

INTERESTS History of Art, Theory of Architecture, Mannerism, Architecture criticism, Philosophy, Travelling


Onisim Colta - Project, 2012 Questions about knowledge.

Plan by Bosco Parassio - Accademia dell Arcadia, Rome, Italy, Historic drawing from 19th century Resting on the way.

Bunesti School, Romania The brick vault I have worked on.

Tower house - paper model at 1:10 scale Exposition at Ion Mincu house

Claude Nicolas Ledoux - Maisons de Campagne Typology houses.

Petrila Mine Fighting with mountains.

Stefan Caltia - Wing Seller, 2016 Making deals.

Vilhelm Hammershøi My favorite painter

Antonello da Messina - St. Jerome in his study Silence.

Starh architects - BCU competition in Romania A place where I would study.

Tapisery created between c. 1495 and c. 1505 - The unicorn in captivity The limit.

Miniatures made of clay An old hobby of mine.

Noeh Arch The containar.

Leon Krier - Atlantis Tenerife, 1988 History brought toghether.

The Mosque - Cathedral of Cordoba, 987 AD Rithm and structure.

etc.


1. CULTURAL CENTER 2. CHEOPS CASINO 3. THE CASINO OF PIUS IV 4. SCHOOL OF MEDIEVAL MUSIC 5. UAR - ARCHIVE AND LIBRARY 6. TABLE TALKS 7.MODELS


Perspective from the Hypostyle Hall

1. „HYBRIDE TYPEN“ CULTURAL CENTER Site: Program: Year: Professor:

Paris, France Cultural Center 2018 Morger Meinrad

The site of this project lies in a currently abandoned area in Paris, on the site of the former hospital Sant-Vincent-de-Paul. The proposed building (a hybrid typology) should establish a central point for that area. The task was to imagine a center with different functions, namely a library, exhibition places, rooms for different kind of events, a restaurant and studio apartments.

Underground Floor

My project works on certain spots in the site, in order to revitalize and improve the place. At the street level, a massive building draws the attention and continues the typology of the compact blocks of Paris. Behind the cultural center, a restaurant is located, a tiny, light pavilion, with a piazza outside. At the back of the parcel there are studio apartments. The challenge was to create flexible and light Section


Detail of the vaults

Exterior perspective

Ground Floor

Situation Plan , Before and After my intervention

Section


Urban Situation

rooms which can take multiple functions. The building is divided into two different areas, the library with its garden and the events area. The rooms are configured by a grid of two meters. The vaults are meant to bring light inside, but also to ennoble the interiors. At the basement, pillars with different thickness correspond to the span of the vaults. The pillars have not only a structural function, but they also provide different niches, which serve as showcases. The library has its own structure which separates the study rooms from the archive and the multifunctional halls. The restaurant behind the cultural center creates an urban piazza, whose architectural typology continues the buildings around. The building, made out of a light wood structure, is meant to contrast the cultural center. The studio apartments on the back of the parcel react to a different urban situation. The idea is to create flexible apartments, which can correspond to different needs. The building has a certain autonomy and entails references to Italian palaces. The interior is structured by a raster defining the main rooms of the apartments. The division between outside and inside is outlined by the materials used: concrete for the facade and wood structure for the interior court.

2nd Floor

3rd Floor

4th Floor

5th Floor

6th Floor

The project works with hybrid elements and enriches a clear principle with a multitude of details.

Section through the library


Outside Perspective

First Floor

Facade


Outside perspective

Entrance situation

2. CHEOPS CASINO Site: Program: Year: Professor:

Vaals, Netherlands Casino 2018 Job Floris

Section

The Casino is situated at the border of Netherlands, close to Germany and Belgium and is supposed to become a landmark in that area. This was an argument for projecting a prominent shape which can intrigue passing travelers, embodying a solitary and unusual silhouette in the landscape. The project proceeds with the selection of two basic forms, a pyramid and a dome. The pyramid shape is generally associated with the Cheops Pyramid, which symbolizes the celebration of the dead. This comical analogy suggests that the casino represents both the vivid transfiguration of the individual and the captivity of the players. The interior of the pyramid stands in contradiction with the exterior. Inside the casino, one can find a big dome that organizes the space around itself and an amalgam of different pavilions Groundfloor


Perspective section

Interior

Situation Plan

Facade

First Floor


sheltering the main spaces of the casino. The pyramid shell acts as a big hall covering the casino.

Inside the pavilion

Inside the dome, one can find the main hall of the casino, a luxurious and cozy zone. At the first level, there are poker rooms. At the second level, there is a restaurant and a place for entertainment. The other pavilions fulfill particular functions in the casino, e.g., a space for high limit slot machines, a space for smokers, etc. The pavilions inside the pyramid represent intimate spaces, aiming to bring a classic and luxurious atmosphere in the casino. The used materials are mainly wood or marble. Outside the pavilions the atmosphere is rather industrial, the main materials here being concrete, metal or plasterboards. The contrast between being inside the pavilions and being in the hall under the pyramid shell aims to intrigue the guests. The project brings together different worlds with different references. One world refers to the classical casino, e.g., Baden-Baden Casino, which features a luxurious place with a calm atmosphere. The other world recalls the typology of the Las Vegas Casino, a place with an improvised identity, where kitsch and vulgarity are easily embraced.

Section

The experience of these two different kinds of casino is a metaphor for the dynamics of the gambling in which the guests are captive.

Facade


Paper model

Section

3. THE CASINO OF PIUS IV study project The analysis phase of the Casino project consisted in studying a couple of buildings that are representative for mannerism. The Casino of Pius IV is a project where the building embodies illusion and ambiguity. The Casino is located in Vatican Gardens and was meant to be a retreat house for Pope Paul IV and later for Pope Pius IV. The complex contains four structures which are all connected by an oval court. The Casino responds to the landscape through a multitude of terraces and different faรงades which act differently regarding the context. The oval court can be seen as the main room of the Casino and is at the same time a limit that creates a strong feeling of intimacy. The oval form is directional and at the same gives a certain ambiguity of the project. One can easily remark that the interior organization contradicts the division of the faรงade. The faรงade is divided into three units, but the house itself has only two levels. Referring to the ornamentation language, the exterior of the casino is in contrast with the interior, and both have a certain autonomy. The exterior imposes a certain monumentality which cannot be found in the interior of the Casino. On the one hand, the abundance of white stucco ornamentation strikes in the treatment of the exterior. On the other hand, the interior appears to be overfilled with frescos, decorations and sculptures. Glound Floor


Street Perspective

The Hall

4. SCHOOL OF MEDIEVAL MUSIC Site: Freiburg im Breisgau, Germany Program: School of music Year: 2016 Professor: Florian Stanciu

Ground Floor

The project attempts to establish continuity between a modern building and the past of the place where it is built. The project should also reflect the present both in the construction and in the manner of filling and living the space. The site I chose reflects manifold strata of history and tradition. It is located next to the Cathedral, on one of the oldest streets in Freiburg. During the Second World War, almost all the houses near the cathedral were wiped out and subsequently reconstructed in a conservative manner. The site belongs to the Catholic Church and is located near the Borromaeum College, a local theological seminary. In addition to its spiritual education and charity work, the college offers choir lessons and hosts chamber music events. The project aims to respond to the needs of the church but at the same time to serve the Facade


Enclosure

Urban Piazza

Situation Plan

First Floor

general public. A medieval music school is fit for both purposes. The difficulty of the proposal consisted in reconciling the horizontal connection to the urban space with the intimate nature of a university. Thus, the project consists of two different parts: an autonomous building which pertains to the street, and an annexed part which is more intimate. The building connected to the street consists of five main layers, each of them corresponding to different spatial structures. The first layer is the basement and comprise a cluster of rooms with different functions, all spinning around a core area. These rooms serve primarily for dance workshops. Section


Entrance small house

Hypostyle Chamber

The second layer or “the hall� is meant to offer a free space understood as a Greek agora. The ground floor can also be seen as a continuation of the space outside. The third layer is designed for classrooms. The structure of the layer changes according to this function and the classrooms are located among structural walls. The fourth layer or the hypostyle chamber displays a representational room and has thus a public character. The fifth layer represents the core of the building. There is a main hall with multiple functions: group rehearsals, dancing, balls, and other public events. The main part of the house is connected to the other by servant spaces, an intermediate band which hides the staircase, toilettes or deposits.

2nd Floor

The other part of the house is the space around the garden area which connects the music school with the church and the college. The garden is enclosed by a kind of portico, a concrete slab which stands on four different pillars. The enclosure of the garden with the portico recalls the style of cloisters in universities of yore. The church is an extension of the music school and can be used for public organ concerts.

Facade


Basement Hall

The Core

5th. Strata

4th. Strata

3rd. Strata

3rd. Floor

2nd. Strata

1st. Strata

Section


6. TABLE TALKS Site: Program: Year: Team:

everywhere art object 2015 Elena Maior

The name of the competition was “Create your Bucharest” and the award-winning entries were presented at the Vienna Biennale 2015: Ideas for Change. The aim of the competition was to find new patterns of social and cultural perception in the Romanian and international communities, and to show them within the context of Bucharest. Our project consisted of a provocative object that asks questions about our past. Communist dictatorship has created a severe distortion of people’s relation with the public and private spaces, with cultural heritage, collective memory and community spirit. Therefore, we made an invitation to the citizens to gather and talk in order to reclaim the public space as a place for the concerns of the city. Our table speaks about history and confronts what communism meant to us (surveillance, lack of hope, censorship) and the possibilities that we gained after the revolution.


Facade

5. UAR - LIBRARY AND ARCHIVE Site: Bucharest, Romania Program: Library and archive Year: 2016 Professor: Florian Stanciu Team: Elena Maior, Roxana Rotaru

Section

The task of the competition was to project a library and an archive in extension of the existent house, which belong to the union of the architects. The main idea of our project was to create an intimate room, where the books are visible and easy to grasp. The Library is similar to a saloon, with a table, some places to sit, paintings on the wall and a small place for tee. We envisaged the act of reading as a discrete act. To read means to sit in a good armchair, to have a coffee and a light source nearby. The three constructions on the top of the saloon are an answer to the fragmented context in the back of the parcel. The towers are light constructions made of Ground Floor


The drawing was made by the arch. Florian Stanciu

Reading Corner

Terasse

Section

wood and executed as a furniture which is anchored on the metal ceiling. In the three constructions are exposed valuable magazines or collections that are older than five years and managed by the librarian. The access to the tower is made with retractable stairs and with fixed metal stairs. On the roof there is a greenhouse which has the role to bring light in the saloon and to deposit flowers on the winter season. The top of the roof can also function as a terrace. The back faรงade of the existent house serves as a place where artefacts of architecture can be exposed.

First Floor


CHEOPS CASINO models Program: Casino Year: 2018 Task: Study Assigment Technique: Paper (cutting without laser)

KNAPPE HOUSE model Program: Private House (project by STARH architects) Year: 2013 Task: Exhibition Technique: Paper Team: Elena Maior, Roxana Rotaru, Cosmin Galatianu, Horia Munteanu, Cosmin Georgescu


TAIL HOUSES model Program: Year: Task: Technique: Team:

Collective houses 2013 Study Assigment Paper with Balsa Elena Maior

SENIOR CENTER model Program: Senior Center Year: 2012 Task: Study Assigment Technique: Balsa, Gipsum plaster, acrylic painting Team: Elena Maior


THANK YOU!

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