ANDREI VASILESCU - UPDATED PORTFOLIO

PORTFOLIO

DATE OF BIRTH: 17.10.1997

NATIONALITY: ROMANIAN

EDUCATION:

2020 - 2022 - MASTER OF ARCHITECTURE - "ION MINCU" UNIVERSITY OF ARCHITECTURE AND URBANISM, BUCHAREST

2016 - 2020 - BACHELOR OF ARCHITECTURE - "ION MINCU" UNIVERSITY OF ARCHITECTURE AND URBANISM, BUCHAREST

2015 - 2016 - GRANT HOLDER ATTHE MARGARETA OF ROMANIA ROYALFOUNDATION

2015 - 2016 - FREEHAND AND TECHNICAL ARCHITECTURAL DRAWING COURSE - COORD. ARCH. - MIHU FRUNZETTI

2015 - 2016 - FREEHAND AND TECHNICAL ARCHITECTURAL DRAWING COURSE - COORD. ARCH. - RADU TIGANCO/ALEXANDRU TIGANCO

2015 - 2016 - FREEHAND AND TECHNICAL ARCHITECTURAL DRAWING COURSE - TUTOR - DRAGOS NEATU

2012 - 2016 - "NICOLAE TONITZA" FINE ARTS HIGH SCHOOL

HARD SKILLS:

ARCHICAD -

LUMION -

SKETCHUP -

ADOBE PHOTOSHOP -

ADOBE ILLUSTRATOR -

ADOBE LIGHTROOM -

AUTODESK MAYA-

KEYSHOT

CONTACT:

E-MAIL - v_andrei@msn.com / a.andrei.vasilescu@gmail.com INSTAGRAM - @andrei_vasilescu

BEHANCE - https://www.behance.net/andrei_vasilescu MOBILE - +43 677 64381431

COMPETITIONS:

2020 - TOTTENHAM PAVILION

2018 - CASA - THE ANNUALARCHITECTURE STUDENTS COMPETITION - SHORTLISTED

2020 - UTZON UNBUILT - INTERNATIONAL COMPETITION

2020 - COMPETITION #22 - OUTSIDE - INSIDE - ORGANIZED BY THE ZEPPELIN ARCHITECTURAL PUBLICATION - 1ST PRIZE WINNER

2018 - 24H - 25TH EDITION - FAVELA

2015 - THE NATIONAL OLYMPIAD OF FINE ARTS, ARCHITECTURE, AND ART HISTORY - ARAD - ROMANIAFIRST MENTION WORKSHOPS:

2019 - CAMOUFLAGE ARCHITECTURE IN SPAINVALENCIA/CALPE/CUENCA/SEGOVIA/AVILA/TOLEDO/MADRID

2018 - REPETITION AND DIFFERENCE IN BERLIN

2017 - CHASING ITALO CALVINO'S INVISIBLE CITIES

LANGUAGE SKILLS:

ROMANIAN - NATIVE

ENGLISH - ADVANCED

ITALIAN - INTERMEDIATE

GERMAN - BEGINNER

MODERN HEBREW - BEGINNER

FINAL THESIS PROJECT - THE POPASOARE MAHALLAH - FROM MYTHICAL SPACE TO COSMOPOLITAN HABITAT PG.06 - 17

01. 02.

INTERFAITH RESEARCH CENTRE - DESIGNED ON THE PREMISES OF THE OLD SAINT GEORGE CHURCH IN BUCHAREST, RO. PG.18 - 29

03.

MULTI - PURPOSE HALLDESIGNED ON THE PREMISES OF THE CIRESARII PARK IN BUCHAREST, RO. PG.30 - 43

STOREFRONT FOR ART AND ARCHITECTURE - CRITICAL CONSERVATIONAND TRANSFORMATIVE REUSEJOHANN GUTTENBERG ST, BUCHAREST, RO. PG.44 - 47

04. 05.

RESTORED AND REUSED - THE RUINS OF THE SAINT NICHOLAS CHURCH - ALBENI VILLAGE, GORJ COUNTY, RO. PG.48 - 59

06.

PUBLIC INTERIORS - BUILDING IN HISTORICAL CONTEXT - COFFEE SHOP - CAVAFIIVECHI ST, BUCHAREST, RO. PG.60 - 69

FROM MYTHICAL SPACE TO COSMOPOLITAN HABITAT

THE ARCHITECTURAL PROPOSAL FOCUSES ON THE DEVELOPMENT OF A MIXED-USE ENSEMBLE, MAINLY DEDICATED TO THE COLLECTIVE HOUSING PROGRAMME COMBINED WITH COMPLIMENTARYAMENITIES SUCH AS OFFICE, RETAIL, AND COMMUNITY SPACES. FROM A TYPOLOGICAL POINT OF VIEW, THE ENTIRE ENSEMBLE IS COMPOSED OF 2 L-SHAPED BUILDINGS, WITH DOUBLE FRONTAGE, FEATURING A HEIGHT REGIME THAT FLUCTUATES BETWEEN GF+1 AND GF+4. AN ESSENTIAL STAGE TOWARDS CONFIGURING AN ADEQUATE BUILDING SILHOUETTE WAS THE PROCESS OF ALTERNATIVELYADDING CANTILEVERED SPACES, AS EXTENSIONS OF THE DWELLINGS, THUS GENERATING BAY WINDOWS THAT DYNAMIZE THE FACADESAS WELLAS THE WHOLE COMPLEX AND EXPANDTHE USABLE AREA OF SOME APARTMENTS. ON THE STREET-FACING FACADE, THESE CANTILEVERS DEMATERIALIZE THE APPARENTLYMASSIVE AND DENSE SILHOUETTE OF THE BUILDING, THEREFORE OBTAININGA SCULPTURAL MOSAIC THAT MAKES THE TRANSITION FROM A MEDIUM-SCALED APARTMENT BUILDING TO A CLUSTER OF DWELLINGS WAYCLOSER TO HUMAN SCALE. THE PROJECT FOCUSES ON THE DEVELOPMENT OF AN IMMERSIVE HABITATTHAT FEATURES A LARGE VARIETY OF APARTMENT TYPOLOGIES, AS WELL AS A PLETHORA OF SPACES SITUATED ON THE INTERIOR-EXTERIOR SPECTRUM,ALL WITHIN A HETEROGENEOUS PIECE OF URBAN FABRIC INFUSED WITH CULTUREAND HISTORICALARCHITECTURE.

ONE OF THE MAIN DESIGN TASKS TAKEN INTO ACCOUNT WHILE CONFIGURING AND ORCHESTRATING THIS PROJECT WAS THE CREATION OF AN EVER-CHANGING DYNAMIC SCENOGRAPHY GENERATED BY THE DIFFERENT SCENARIOS OF DISPLAYING FRAGMENTS OF ARCHITECTURE AND OTHER ARTEFACTS THATTESTIFY TO THE EXISTENCE OF LONGFORGOTTEN SPACES SPACES OF WORSHIP FORMERLY PRESENT IN THE STUDIED AREA INTO A CONTEMPORARY NEUTRALAND DYNAMIC FRAMEWORK.

THE ARCHITECTURE PROGRAM ENCOMPASSESTHE FOLLOWING FUNCTIONS: PERMANENT AND TEMPORARY EXHIBITION SPACES FOR BOTH TWO AND THREE-DIMENSIONAL ART - IE. MOLDS, ARCHITECTURE FRAGMENTS, ETC, SPACES DEDICATED TO LECTURE, CONFERENCE, AND PROJECTION PURPOSES, RESTORATION WORKSHOPS LOCATED IN THE BUILDING AT 5 BAIA DE FIER ST, BOOKSTORES, AND OTHER TYPES OF CULTURALLY CURATED RETAIL SPACES, AS WELLAS A COFFEE SHOP LOCATED ON THE GROUND FLOOR.

I HAVEALSO PROPOSED THE COMPLETION OF THE CALEA MOSILOR SEGMENT OF FRONTAGE BY DESIGNING AN OBSERVATIONTOWER THAT FUNCTIONS AS BOTH A VERTICAL LANDMARK AND AN ACCESS PORTALFOR THE WHOLE ENSEMBLE ON THE EMPTY PLOT LOCATEDAT 36 CALEA MOSILOR.

CROSS-SECTION

CONSIDERING THE HEAVILYFLORA-INFUSED IDENTITY OF THE SITE, I HAVE CHOSEN TO DESIGN A SEMI-BURIED FACILITY, SO THATTHE SILHOUETTE OF THE BUILDING WOULD NOT EXCEED THE CROWN OF THE TREES PRESENT ON THE SITE, WITH AN ADJUSTABLE DEGREE OF TRANSPARENCY, SIMILAR TO THE APERTURE OF A PHOTOGRAPHIC CAMERA.

FROM A STRUCTURAL POINT OF VIEW, I HAVE CHOSEN TO DESIGN A BOX MADE OUT OF SPACE FRAME BECAUSE OF ITS LIGHTNESS, DEGREE OF TRANSPARENCY, AND ALLOWANCE FOR LARGE SPANS THAT WOULD BE LOCALLY PUNCTURED FOR ACCESS PURPOSES AND A CENTRAL SKYLIGHT. ONE OF THE MAIN DESIGN TASKS TAKEN INTO ACCOUNT WHILE CONFIGURING AND ORCHESTRATING THIS PROJECT WAS THE CREATION OF A SPACE WITH ADJUSTABLE TRANSPARENCY, THUS BEING ABLE TO LET THE SURROUNDING NATURE PERMEATEAT LEAST VISUALLY INTO THE HALL OR GENERATING AN OPAQUE, SELF-CONTAINED SPACE, THAT WOULD RELY EXCLUSIVELY ON ARTIFICIAL LIGHTING AND ANYTHING IN BETWEEN. THEREFORE, I'VE ENVISIONED A KINETIC MECHANISM MADE OUT OF RIGHT TRIANGLES INSTALLED ON THE LATTICE GENERATED BY THE SPACE FRAME THAT COULD BE ELECTRONICALLY CONTROLLED, TO MEET THE LIGHTING REQUIREMENTS FOR EACH EVENT HAPPENING IN THE PROPOSED SPACE.

ART AND ARCHITECTURE

THE FOLLOWING PROJECT FOCUSES ON THE CRITICAL CONSERVATIONAND THE TRANSFORMATIVE REUSE OF TWO DIFFERENT BUILDINGS LOCATED IN THE CITY CENTER OF BUCHAREST, MORE EXACTLY, 8&10 JOHANN GUTENBERG ST. THE PROPOSED ARCHITECTURAL INTERVENTION TAKES PLACE IN AN AREA WHERE MOST OF THE BUILT ENVIRONMENT IS OF VERY GOOD QUALITY, HEAVILYLOADED WITH HISTORICAL ARCHITECTURE, ALTHOUGH IN AN ADVANCED STATEOF DECAY. THEREFORE, THE OBSERVATIONSMADE ON THE SITE REVEAL SOME RELEVANT CHARACTERISTICS THAT I HAVE TAKEN INTO ACCOUNT WHILE FORMULATING THE PROJECT: THE EXISTENCE OF A PLACE OF WORSHIP IN THE SPACE ADJACENT TO THE STUDIED SITE, THE PRESENCE OF WATEREMBODIED BY THE DAMBOVITA RIVER AND THE MOSTLY SOCIO-POLITICAL/CULTURALCHARACTER OF THIS VERY PECULIAR FRAGMENT OF URBAN TISSUE. MY INTERVENTION CONSISTS IN HIGHLIGHTING THE ORIGINAL FRONTAGE THROUGH SMALL-SCALE CONTEMPORARY INSERTS AS WELLAS A ONE-LEVEL EXTENSION TO THE EXISTING SPACES THATAIMS TO CREATEAN ARCHITECTURAL PROMENADE FACING BOTH THE DAMBOVITEI QUAYAND THE SAINT ILIE-GORGANI CHURCH. THE REPURPOSING OF THE ENVELOPES OF THE TWO DWELLINGS WOULD CONSERVE THE CITY'S HISTORICAL LEGACY AND WOULD ALSO GRANT THE AREAA CULTURALLYCURATED CONTEMPORARY SPACE THAT COULD HOST EVENTS RELATED TO ART AND ARCHITECTURE.

RUINS OF THE SAINT

CHURCH

THE INTERVENTION PROPOSAL FOLLOWS THREE KEY STAGES:

1. THE DEVELOPMENT OF THE RUIN'S 3D MODEL IN WHICH I'VE CAREFULLY MODELED THE CRACKS IN THE MASONRY AND THE PRIMARY TYPES OF DECAYAND DEGRADATION;

2. THE DIGITALRECONSTRUCTION BASED ON SURVEYS OF SIMILAR CHURCHES FOUND IN "THE EVOLUTION OF ARCHITECTURE IN MUNTENIA AND OLTENIAVOL.IV - N. GHIKA-BUDESTI" OF THE MISSING PARTS OF THE CHURCH, MAINLY - THE VAULTINGSYSTEM AND THE WHOLE WEST-FACING FACADE;

3. THE LAST STAGE OF THIS PARTICULAR PROJECT FOCUSES ON THE CONSOLIDATION OF THE RUIN AND THE ELEVATIONON ITS FOOTPRINT OF A BI-FOCAL RADIAL COR-TEN STEEL STRUCTURE GENERATED BY THE INTERSECTION OF A RADIAL MATRIX WITH THE VIRTUAL RECONSTRUCTION OF THE MISSING PARTS OF THE CHURCH. THEREFORE, THE RESULTING SPACE WOULD BE A STRUCTURALLY SOUND, TRANSPARENT ARRAY OF ARCHES THAT WOULD GRANT TRANSPARENCY TO THE WHOLE ENSEMBLE AND WOULD LET THE SURROUNDING VEGETATIONPERMEATE THE LITURGICAL SPACE.

I HAVE DESIGNED THE WHOLE PROJECT IN COMPLIANCE WITH THE PRINCIPLE OF REVERSIBILITY.

THE FOLLOWING PROJECT REGARDS THE INTERIOR AND, TO SOME EXTENT, EXTERIOR DESIGN OF THE SEMI-SUNKEN FLOOR OF AN ARCHITECTURAL ENSEMBLE COMPRISED OF THREE INTERCONNECTED BUILDINGS. NAMELY, A CONTEMPORARY, MINIMALIST PIECE OF INFILLARCHITECTURE DESIGNED BETWEEN TWO HISTORICAL DWELLINGS BUILTATTHE BEGINNING OF THE PAST CENTURY.

ATTHE CONCEPTUAL LEVEL, THE WHOLE PROJECT FOCUSES ON THE ORCHESTRATION OF A SPATIALINTERFACE WITH IMMERSIVE PROPERTIES. THEREFORE, THE REPETITION OF A SINGLE, IDENTICAL ELEMENT WOULD GENERATEA PLETHORA OF ARCHITECTURAL POSSIBILITIES: FROM ETHEREAL ELEMENTS MEANT FOR SPACE DIVISION TO DISPLAY NICHES, THE MOST BASIC SPACE-FILLING TESSELATION GRANTS ORDER, MODULARITY, AND UNITY BETWEEN THREE VERY DIFFERENT BUILDINGS.

FROM A FUNCTIONAL POINT OF VIEW, THE MAIN PURPOSE OF THIS SEMI-SUNKEN LEVEL IS THAT OF A CAFE, EQUIPPED WITH ALLANCILLARY SPACESAND FUNCTIONS, SUCH AS: INTERIOR AND EXTERIOR SEATING/SERVING SPACES, PREPARATION, STORAGE, AND SOURCING SPACES, STAFF-ONLY AMENITIES, AS WELLAS SEX-SEPARATEDAND DISABLED TOILETS.