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


Ing. arch. Anna VohlĂ­dalovĂĄ * 30. 3. 1985, Praha tel: +420 607 862 090 e-mail: anna.vohlidalova@seznam.cz


STUDIUM

CIZÍ JAZYKY

2009 - 2011 Fakutla architektury ČVUT magisterské studium diplom v ateliéru doc. Ing. akad. arch. Petra Hájka pochvala za zajímavé řešení diplomové práce

angličtina, němčina - plynně francouzština - základy

2008 - 2009

Fachhochschule Frankfurt am Main, SRN

ArchiCAD, Artlantis, AutoCAD, Rhinoceros, Sketch-Up, Photoshop, Indesign, MS Office

2004 - 2008

Fakutla architektury ČVUT bakalářské studium

2000 - 2004

Akademické gymnázium Štěpánská, Praha

WORKSHOPY, VÝSTAVY, EXKURZE 11 / 2010 exkurze Nízkoenergetické a pasivní domy v Německu - Karlsruhe, FFM, Darmstadt, Allgäu, organizátor Česko-německá průmyslová a obchodní komora 5-7 / 2010 výstava Městské zásahy Praha 2010, Centrum současného umění DOX - skupinová účast několika studentů z ateliéru Petra Hájka a Jaroslava Hulína na FA ČVUT

SOFTWARE

PRAXE 2011 Česko-německá průmyslová a obchodní komora - praktikant odd. životního prostředí

IRIDIA - Nízkoenergetické a pasivní domy, studie mobilního a startovacího bydlení

2010

Atelier HV (Hofman&Vohlídal), Praha apartmány Bublava, rekreační areál Kraslice

2009

reinhardt jung architekturbüro, Frankfurt/Main soutěž Dubai, RD Beckerschmitt, Wanners

2008 2007

Ing. arch. Tereza Koucká Ing. arch. Petr Průša architektonická kancelář

4 / 2009 workshop Erasmus Reworking the Modern Movement Stockholm, Švédsko (účast s FH Frankfurt / M) - nové využití pro Státní bakteriologické laboratoře Solna od Ericha Gunnara Asplunda

(CK Prague International, Ski School HappyHill Sochor, Kavárna Kaaba, ZJŠ Kladská, DTP Futura, KFC)

1 / 2009 mezinárodní architektonická soutěž ThyssenKrupp - Tall emblem structure for Za’abeel Park in Dubai, Spojené arabské emiráty - týmový projekt v reinhardt jung architekturbüro, FFM

rekvalifikační kurz a licence pro práci “Průvodce pro region Praha” - škola cestovního ruchu Tyrkys

OSTATNÍ

řidičský průkaz sk. B, mezinárodní certifikát FCE


ŠKOLNÍ PROJEKTY - FA ČVUT, FH FFM


“MOST” KARLÍN - HOLEŠOVICE: PŘÍSTAV Vltava, Štvanice, Praha diplomová práce na FA ČVUT, ZS 2010/2011 atelier doc. Ing. akad. arch. Petra Hájka a Ing. arch. J. Hulína Most nejen jako bezbariérové propojení dvou břehů, ale jako místo pro trávení volného času v kontaktu s řekou. Zpřístupnění ostrova Štvanice, obnovení koupaliště a tradice vltavských plováren, posílení rekreačního potenciálu místa. Propojení nábřeží, pěší lávky a vodní hladiny, přenesení občanské vybavenosti na vodu. Inspirace - lodě proplouvající zdymadlem, stěny plavebního kanálu sledující tok vody, přístav, doky, náplavka, věšák na šaty. Ocelová příhradová konstrukce lávky je podepřena betonovými pilíři – stěnami tloušťky 1,5 m, pilotovanými do pevného podloží. Stěny jsou duté, v kontaktu s vodní hladinou rozšířené. Tvar jejich horní hrany je definován schodištěm a výtahovou šachtou, v dutinách stěn je přes lávku přivedena technická infrastruktura, integrovány obslužné provozy (toalety, sklady, občerstvení..). Rozšířené platformy slouží jako pobytové a nástupní plochy pro veškeré provozy „zaparkované“ na vodní hladině mezi pilíři. Most se stává přístavem pro plovoucí objekty, které bez problému reagují na aktuální stav vody a v případě povodně odplují do ochranného přístavu. Funkční náplň plovoucích objektů může být libovolná dle aktuální poptávky či roční doby, vzhledem ke znatelnému proudění vody by se však mělo vždy jednat o kotvení dlouhodobé. Mnou vybrané funkce vždy souvisí s vodou a volným časem. Z Berlína vypůjčený plovoucí bazén z přestavěné nákladní lodi, sauny a vířivky, opalovací mola, rybí restaurace, parník - muzeum.

KONSTRUKCE LÁVKY

LE  ORYSY OLEY 

maximální plavební hladina běžná plavební hladina

cykloste zka

avební osa pl

zka oste cykl

ŠATNY

loď/ponorka  muzeum

RESTAURACE S RYBÁRNOU

ŠATNY léto

BAZÉN

molo, brouzda liště

vířivky

3

4

5

6

Plovoucí květinový trh

2

molo, technologie, plavčík

1

ŠTVANICE

SAUNY

dráhy

KARLÍN

Rohanský ostrov

Štvanice

Bubenské nábřeží

SITUACE 1:1000

pohled východní  běžná plavební hladina

HOLEŠOVICE

pohled západní  maimální plavební hladina

pohled východní  hladina stoleté povodně

POHLEDY 1:1000


LE  ORYSY OLEY 

pilíř - pohled maximální plavební hladina

běžná plavební hladina

1

2

3

4

5

6

 . 1  

7

1 2 3 4 5 6 1

2

3

8

9

10

11

výtahová šachta strojovna hydr. ploš. TZB wc a úklidová komora wc sklad

12

7 8 9 10 11 12

servis kavárny, bar wc, sprcha  muži wc, sprcha  ženy šatna muži šatna ženy recepce, občerstvení

pilíř - půdorys

 . 4  T    .

 B   

POHLED 1:200

Hlavní vstup do wellneess části, celoroční šatny - plovoucí objekt POHLED 1:200

ŘEZ 1:200 sauna

C  víivky  pdorys

POHLED 1:200boční pohled ŘEZ 1:200

3.2

6.2 

5.2

technologie

2 4

6.1

3.1

A  celoroční šatny, vstup do areálu

5.2

4 wc, sprcha TP 5.1/5.2 wc ženy/muži 6.1/6.2 sprchy m/ž

1 vstup 2 šatny 3.1, 3.2 osušovna ž/m

3.2

6.2

ŘEZ 1:200

PŮDORYS 1:200

2 4

B

3.2 5.2 4

A

6.1

B  obekt sauny PŮDORYS 1:200

1.1

1.2

4

2

4 wc, sprcha TP 5.1/5.2 wc ženy/muži 6.1/6.2 sprchy m/ž 1

21

vstup 2 šatny 3.1, 3.2 osušovna ž/m

3.1C

3

4

5

6

4 wc, sprcha TP 5.1/5.2 wc ženy/muži 6.1/6.2 sprchy m/ž

1 vstup 2 šatny 3.1, 3.2 osušovna ž/m

A  celoroční šatny, vstup do areálu

sauny 3

1

3.1

A  celoroční šatny, vstup 5.1 do areálu

POHLED 1:200

sauna

5.1 6.1

6.2 PŮDORYS 1:200

B  obekt sauny

5

sauna

1

5.1

2

5

1.1 1.2 2 3 4 5

sauna 1 sauna 2 ochlazení masáže odpočinek terasa/molo

B POHLED  obekt sauny 1:200 sauny 3

1.1

1.2

2

PŮDORYS 1:200 5

POHLED 1:200

PŮDORYS 1:200 5

PŮDORYS 1:200

5

4

3

1.1

1.2

4

1.1 1.2 2 3 4 5 sauny

sauna 1 sauna 2 ochlazení masáže odpočinek terasa/molo

2

5

1.1 1.2 2 3 4 5

sauna 1 sauna 2 ochlazení masáže odpočinek terasa/molo


“PODZEMNÍ MĚSTO” VÍTKOV Karlín - Žižkov - Praha MANGO

volitelný atelier - X. semestr, LS 2009/2010, ateliér doc. Ing. akad. arch. Petra Hájka, výstava Městské zásahy toilet

A  tržiště

B  ocho  sol.

C  vtah tkov

A

C 30 m2

tržiště

45 m2

B

30 m2

iště trž

Cílem projektu je v maximální míře propojit Karlín, Žižkov a vrch Vítkov, doplnit širokou škálu služeb, kterých se místy oběma čtvrtím nedostává, vytvořit nový kus města uvnitř masy kopce. Stávající tunel pro pěší nahrazuji novým větším tunelem a doplňuji o další tři (v uvažované první fázi, další možný vývoj - splynutí s dnešní uliční sítí). Tyto nové pěší dopravní tepny umožní mimo jiné prostupnost bariéry, kterou dnes (zejména na karlínské straně) Vítkov tvoří a dovolí městskému parteru rozšířit se bez ohledu na hmotu nad ním. Z nově přebudovaného tunelu mezi Thámovou ulicí a Tachovským náměstím bude výtahem zpřístupněn vrch kopce a tak i památník a park, které jsou dnes z Karlína prakticky nedostupné. Na prostranství v místech křížení tunelů bude přivedeno denní světlo.

MANGO

MANGO

Tachovské nám.

toilet

Thámova ONT  TN  T   000 A  tržiště

B  ocho  sol.

A  tržiště C  vtah tkov

A

C 30 m2

30 m2

iště trž

B  ocho  sol.

A

C 30 m2

tržiště

45 m2

B

tržiště

45 m2

B

stávající tunel pro pěší


SLUNEČNÍ NÁMĚSTÍ Nové Butovice - PRAHA 13 IX. semestr, ZS 2009/2010, atelier prof. Ing. arch. Karla Maiera Tetno návrh se snaží vnést nový život do nedokončeného Slunečního náměstí na pražském sídlišti v blízkosti stanice metra B Hůrka. Insoirací pro mne byly půdorysné křivky panelových domů a tubusu metra, probíhajícího nad Centrálním parkem. Křivka nové výstavby přináší do problematické oblasti jasně definovaný veřejný prostor, lidské měřítko a doplňující funkce. Součástí práce v ateliéru bylo i seznámení s přesnou metodikou navrhování.


INOVATIONSZENTRUM RÜSSELSHEIM - Německo VIII. semestr, LS 2008/2009, atelier Dipl. Ing. Michael Mogilovski stáž Erasmus, FH Frankfurt am Main, D Hraniční oblast: velké městské bloky versus roztroušená zástavba rodinných domů. Přechodová zóna: prorůstání bloku a samostatného domu - rozpad městského bloku. Rüsselsheim - kdysi vysoce prosperující průmyslové město, sídlo automobilky Opel. Dnes omezení výroby, z původní továrny nákupní centrum, snaha oživit centrum města, přitáhnout obyvatele, podpořit tradici a dřívější pověst města. Inovace - výzkum, reprezentace - výstavní prostor, “networking” - konferenční prostory a návštěvnické infocentrum. Bydlení pro vědce pracující ve výzkumném centru - kaskádovité střešní terasy.












DŮM “HNÍZDO” - DŮM U JEZERA

VIII. semestr, LS 2008/2009, seminář Dipl. Ing. Marcuse Ernsta stáž Erasmus, FH Frankfurt am Main spolupráce - Baptiste Bojoly (Nancy, Francie) Naším úkolem na semináři na FH Frankfurt, zvaném Innenausbau - Interiér, bylo navrhnout víkendový dům pro umělce a jeho ženu. Dům měl být situován u jezera s přesně danými rozměry pozemku a vzdálenostmi od břehu a silnice. Projekt byl doveden do detailního řešení nábytku, rozmístění a tvaru svítidel, materiálů, sanitárního zařízení apod. Vstup do objektu je v 1. nadzemním podlaží, které slouží jako galerie s ložnicovou a hygienickou částí. Po schodech sejdeme do částečně převýšeného obytného prostoru - ateliéru - s terasou čnící nad vodní hladinu.

       

        

      

         

 







  

 


SYMBOL DUBAJE - VÝŠKOVÁ BUDOVA pro Za’abeelpark, Dubaj, UAE VII. semestr, ZS 2008/2009, atelier Dipl. Ing. Dagmar Reinhardt stáž Erasmus, FH Frankfurt am Main skupinová práce: Patxi Martin Dominguez (E), Benedetta Ercoli (I), Chiara Girolami (I), Anna Vohlídalová (CZ)



Téma projektu odpovídalo zadání architektonické soutěže - ThyssenKrupp Architectural Award 2008 - Tall Emblem Structure for Dubai. Cílem vedoucí ateliéru bylo vytvořit soutěžní prostředí na školní půdě, sestavit pracovní týmy a z výsledných projektů vybrat jeden vítězný. Našemu týmu se podařilo vyhrát, dostali jsme možnost dopracovat náš projekt v arch. kanceláři prof. Reinhardt (včetně konzultací se specialisty) a poslat ho pod jménem této kanceláře (reinhardt_jung) na soutěž do Dubje. Inspirací pro výsledný návrh bylo několik přírodních motivů (rostlina aloe, květy, mořské hvězdice) a především diamant jako symbol luxusu typický pro Dubaj.


shaping diamonds

77956

Tall Emblem Structure for Dubai

Diamonds

shaping diamonds

77956

Tall Emblem Structure for Dubai

In mineralogy, diamond is the allotrope of carbon where the carbon atoms are arranged in an isometric-hexoctahedral crystal lattice. After graphite, diamond is the second most stable form of carbon. Its hardness and high dispersion of light make it useful for industrial applications and jewelry. It is the hardest known naturally occurring mineral. It is possible to treat regular diamonds under a combination of high pressure and high temperature to produce diamonds that are harder than the diamonds used in hardness gauges. Presently, only aggregated diamond nanorods, a material created using ultrahard fullerite (C60) is confirmed to be harder, although other substances such as cubic boron nitride, rhenium diboride and ultrahard fullerite itself are comparable. Diamonds are specifically renowned as a material with superlative physical qualities; they make excellent abrasives because they can be scratched only by other diamonds, borazon, ultrahard fullerite, rhenium diboride, or aggregated diamond nanorods, which also means they hold a polish extremely well and retain their lustre. Approximately 130 million carats (26,000 kg (57,000 lb)) are mined annually, with a total value of nearly USD $9 billion, and about 100,000 kg (220,000 lb) are synthesized annually. The name diamond is , "unbreakable, untamed". They have been treasured as gemstones since their use as religious icons in ancient India and usage in engraving tools also dates to early human history. Popularity of diamonds has risen since the 19th century because of increased supply, improved cutting and polishing techniques, growth in the world economy, and innovative and successful advertising campaigns. They are commonly judged by the “four Cs”: carat, clarity, color, and cut. Roughly 49% of diamonds originate from central and southern Africa, although significant sources of the mineral have been discovered in Canada, India, Russia, Brazil, and Australia. They are mined from kimberlite and lamproite volcanic pipes, which can bring diamond crystals, originating from deep within the Earth where high pressures and temperatures enable them to form, to the surface. The mining and distribution of natural diamonds are subjects of frequent controversy such as with concerns over the sale of conflict diamonds (aka blood diamonds) by African paramilitary groups.

Types of Diamonds

Natural diamonds are classified by the type and quantity of chemical impurities found within them. Broadly there are 2 types, Type I contains nitrogen molecules and Type II contains other impurities other than nitrogen. These impurities are something you can't seen with a jeweller's lens but with much stronger laboratory microscopes. Only about 20% of all the natural diamonds found are used as gemstones, the rest are used for industrial purposes. Type I diamonds make up about 98% of all diamonds and are colourless or yellow or brown, whereas the very rare Type II diamonds are the "purest of the pure" colourless diamonds or come in a range of yellow, brown, pink, purple, blue and grey colours.

White Diamonds

SOUTĚŽNÍ PANELY

White diamonds are produced by mines all over the world in a wide variety of shapes and sizes. This is the most common type of diamonds, where the most valuable types are colourless or whitest diamonds. White diamonds can be found in all shapes and sizes.

Coloured Diamonds

The 4C's of colour, cut, clarity and carat weight apply to coloured diamonds just as they do to colourless diamonds except the intensity of colour, not lack of it, plays a greater part in the valuation.

12 34

Yellow Fancy yellow diamonds come in a broad range of shades ranging from light yellow to a rich canary colour. Blue Fancy blue diamonds are available in a wide range of shades, from the blue of the sky to a more "steely" colour than sapphire. Pink The pink diamond is the world's most rare and valuable diamond.The Argyle mine is the world's foremost source of unrivalled intense pink diamonds, producing 95% of the world's supply. However, an extremely small proportion of Argyle Diamonds production is Pink colour, in fact less than one tenth of 1% is classified Pink. The pink diamonds of India, Brazil and Africa were characteristically light in colour. Champagne Champagne diamonds are naturally coloured diamonds that are produced in a wide range of colours from light straw to rich cognac

Diamond Characteristics

Night View

The 4C's (Cut, Colour, Clarity, Carat) for certified diamonds.

Cut The cut of a diamond determines how a diamond shines, the cut does not refer to the shape of the diamond. The master diamond cutter has created the facets on the diamond to allow light to internally reflect from one mirror-like facet to another and disperse and reflect it through the top of the stone in a display of brilliance and fire. So when we talk about diamond cut we are referring to the reflective qualities of the diamond which determines its ability to handle light, which leads to brilliance. As shown in the images below, when a diamond is well-cut, light enters through the table (top of the stone) and travels to the pavilion where it reflects from one side to the other. If the diamond is cut poorly like in the diagrams below, where one is cut too deep and one too shallow, the light will escape from below. But when the cut is ideal, such as in the example on the right, the light reflects back out of the diamond through the table and to the observer's eye. This light is the brilliance we mentioned, and it's this flashing, fiery effect that makes diamonds so mesmerizing.

Colour

ThyssenKrupp Elevator Architecture Award 2008 77956 - Shaping Diamonds

The colour grading for white diamonds starts from completely colourless, the most expensive to a faint yellow colour. The colour in a diamond is produced from chemical impurities contained in it's composition. The whiter or colourless the diamond, the more brilliant it will be because it will allow more light to pass and be reflected back. Also the whiter the diamond, the more colours it will reflect back to achieve that desirable rainbow brilliance only a well-cut, colourless diamond can create. The chart below shows the colour grading created by the Gemological Institute of America (GIA) which is the professional colour scale for white diamonds. D E F = Colourless G H I J = Near Colourless K L M = Very Faint Yellow N O P Q R = Faint Yellow S T U V W X Y Z = Light Yellow

Za’abeel Park Landscape Garde

Diamonds graded D - F are the rarest and most expensive, whereas the ones graded G - J are seeminly colourless to the untrained eye. The diamonds with grades K - Z are more noticebly yellower, however the choice always depends on the buyer's preference.

Contest Location Onside

The colour grading for fancy coloured diamonds is very different from white diamonds, see other types of diamonds to learn more about coloured diamonds.

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Clarity parking

A diamond's clarity is a measurement of the amount of blemishes (external flaws) or inclusions (internal flaws) a diamond contains. An inclusion can air bubbles, cracks, and non-diamond minerals found in the diamond.

leisure area

The grading starts at F which is a completely flawless (internally & externally) and extremely rare diamond. The chart below is a GIA clarity scale showing the different grades of diamond clarity. IF

Internally flawless

gatehouse toilet substation toilet food court

No internal flaws, but some surface flaws. Very rare.

VVS1- VVS2

Very Very Slightly Included

VS1-VS2

Very Slightly Included

SI1-SI2

Slightly Included

I1-I2-I3

Included

Minute inclusions very difficult to detect under 10x magnification by a trained gemologist. VVS1 is slightly cleaner than VVS2. Minor inclusions only visible under 10x magnification. VS1 is slightly cleaner than VS2.

maintenance building

Inclusions easy to see under 10x magnification but usually not visible with the naked eye. SI1 is slightly cleaner than SI2. Inclusions visible with the naked eye.

toilet

parking

For grades F through SI, a diamond's clarity grade has an impact on the diamond's value, not on the unmagnified diamond's appearance.

facilities food court

maintenance area

GIA certificates include what is known as a "plot" of a diamond's inclusions -- think of it as a "diamond fingerprint." Since no two diamonds are exactly the same, comparing the uniqueness of your diamond's clarity characteristics with the plot provided on the diamond certificate offers assurance that the diamond you pay for is the same diamond you receive.

gate

A carat is a unit of measurement for the weight of a diamond with one carat equaling to 200 milligrams, or 0.2 grams, also known as 100 points. Since larger diamonds are harder to find than smaller ones, the price of diamonds with respect to their carat weight goes up exponentially.

exibition gallery

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pedestrian bridge gatehouse substation

toilet prayer area food court

The image below shows an example of the change in carat weight with change in the diameter of a round diamond. But keep in mind that two diamonds of the same weight could have different sizes. Why? If a diamond is cut too shallow (or flat) it will have a larger diameter, but shallow depth and appear larger. Likewise, if a diamond is cut too deep (or pointed) it will have a smaller diameter and deep depth and appear smaller. This is why cut is so important.

mega bowl prayer area

gatehouse food court

planetarium toilet

cricket pitch assault course toilet substation facilities leisure area

Carat

toilet

ticket kiosk gatehouse restaurant toilet

pedestrian bridge

amphitheatre gatehouse

facilities

Diamond Shapes

These days diamonds come in all shapes imaginable and diamond cutters are still experimenting to discover more. A diamond cutter's skill will produce a diamond of the greatest size with the fewest flaws and the most brilliance from the rough stone.

cultural life supported by themes offered in the urban park: religion, recreation, leisure, sport s, com munication and education

Round Brilliant Diamonds

The Round Brilliant Diamond cut diamond is the most preferred choice for maximum sparkle A round brilliant cut diamond shape is one of the most optically brilliant cut diamonds because of its 360 degree symmetrical shape hence the name “round brilliant cut”. A round brilliant cut diamond is near prefect and can be set in any kind of jewellery. Generally round brilliant cut diamonds are used in engagement rings but look outstanding as earrings or a pendant too. Round diamonds are an excellent choice if you want maximum sparkle.

Princess Cut Diamonds

A princess cut diamond is best known for its square shape A Princess cut diamond has four pointed corners and is traditionally square in shape. The Princess cut diamond has many facets giving the stone optimum sparkle and fire. Although square in shape a princess cut diamond can vary on how square or rectangular it is in shape. Shape and cut depends on personal preference and in order to find the best dimensions you should look at the length to width ratio.

Emerald Cut Diamonds

An Emerald cut diamond is normally rectangular in shape with broader and more dramatic flashes of light than a round brilliant cut The trim lines of an emerald cut diamond gives the stone an elegant and sophisticated air. The emerald cut is not as flashy and sparkly as a round or princess cut diamond but can be set in the simplest or most elaborate ring settings. An emerald cut is a step cut. Emerald cut diamonds can also vary in how rectangular they are and you should always check the dimensions length to width ratio prior to purchasing to decide the shape emerald diamond you prefer. Quality is very important when purchasing an emerald cut diamond and you should rather buy the highest grade stone you can afford. This is because the emerald cut diamond shape, shows flaws and colour more obviously to the naked eye compared to a round brilliant or princess cut diamond.

Asscher Cut Diamonds

Asscher cut diamonds are very fashionable and make spectacular engagement rings An asscher cut diamond is a step cut diamond. Asscher cut diamonds have wide step facets and deep clipped corners making the diamond look like an octagon shape. Asscher cut diamonds are almost identical to emerald cut diamonds except they are square in shape. The best way to determine shape appeal is to look at the stone girdle outline to judge whether it is attractive to you. Also keep in mind a good length to width ratio and clarity of the diamond is important. Colour is visible in the corners of Asscher cut diamonds so be careful with your colour selection when it comes to Asscher cut diamonds. Asscher cut diamonds were developed early in the 20th century and have become popular once again when featured on “Sex and the city” and celebrities like Reece Witherspoon and Kate Hudson who wear Asscher cut diamond engagement rings. Fancy shape diamonds are less expensive than rounds shape diamonds.

experience

Marquise Shape Diamonds

Also known as a “Boat shape” or “Navette cut” diamonds a Marquise shape diamond is the diamond that will stand out and be noticed. Because Marquise shape diamonds are so regal looking and elongated in shape carat weight is maximised giving you the impression of a larger diamond. The length of the Marquise makes fingers appear long and slender and demands attention being a Brilliant cut diamond, full of fire and sparkle. Always check for good symmetry and proportion and ensure a better quality diamond when making a purchase. The best way to look at dimensions is from above as Marquise shapes are not all standard. Some are more short and fat while others may be thinner and longer. It will all depend on your personal taste. And ideal cut Marquise shape has 56 facets and the length to width ratio should be 2:1. Only expert cutters know how to cut a Marquise diamond because the points on either end are sharp and can be fragile and can be easily damaged during the process of placing facets. Even though labour intensive the price of a Marquise cut diamond is less than your typical Round diamond because there is a higher recovery ratio in the polishing process with fancy shape diamonds.

Perspective Section

Oval Diamonds

Oval diamonds are a popular choice as the shape of the diamond can make fingers appear longer and more slender than they are. Oval diamonds are brilliant cut diamonds that were invented by Lazare Kaplan in the 60’s. When considering the purchase of an Oval shape diamond you must look at the dimensions from the top as well as the diamond’s the length to width ratio. This will ensure that the shape you see is appealing. Bad proportions will affect the sparkle and brilliance of the Oval diamond. A good Oval brilliant cut diamond should have 56 facets. The facets sparkle outwards and are positioned so that when light comes through the facets it enhances the diamond’s brilliance. As with Pear and Marquise shape diamonds, be aware that Oval shape diamonds can also suffer from the “Bow-Tie” effect: a dark spot or shadow in the diamond in the shape of a bow-tie. The better the cut of and Oval shape diamond the less the bow-tie effect. The reason why a cutter will cut fancy shapes like an Oval diamond instead of a round diamond is to keep the maximum weight of the rough stone. Therefore the diamond will be bigger if cut as a fancy.

Radiant Cut Diamonds

Shape can vary from square to rectangular so check width and length ratios to determine your preference The Radiant cut diamond has a combination of the elegance of an Emerald cut diamond and the brilliance of a round diamond. The Radiant cut diamond was created by a craftsman named Henry Grossbard in 1977. It is similar to a Princess cut diamond but is generally rectangular and has blocked corners like that of an Emerald cut diamond. The beauty of a diamond results from the amount of light that enters it and returns to the eye as well as the pattern of light reflection within the diamond. The Radiant cut diamond has 70 facets which maximises its sparkle and magnificence. Flaws are not so easy to spot in a Radiant cut diamond compared to the Emerald and Asccher cut diamond so quality does not have to be the best giving you a bit more value on price and carat size. The Radiant cut diamond makes a sensational centre stone for 3-stone rings and must be set in a minimum of a 4 prong setting. Examples of 3-stone settings with the Radiant cut diamond in the centre are side stones like a Trilliant, Baguette or Princess shapes.

Pear Shape Diamonds

Also known as a “Teardrop” diamond for its single point and rounded end Good symmetry is very important when choosing a Pear shape diamond because it ensures light is reflected evenly especially at the point of the diamond. Also when choosing a Pear shaped diamond ensure that the clarity is good because Pear shaped diamond often can have a “bow-tie’ effect. Bow-Tie Effect is when you see a “bow-tie” when examining the pear shape diamond from various angles and in certain lights this bow-tie is an obvious black or grey shadow or spot that make the diamond appear dull from every angle and in all lights. Uneven Shoulders is sometimes when cutters square off or give a rounded triangle end to the pear shape diamond to increase the carat weight. High and uneven shoulders decrease the value of a diamond and should also be avoided if possible.

Heart Shape Diamond Cut

Heart shape diamonds are the most unique shape and the only diamond demonstrating the ultimate symbol of love and romance Symmetry is a very big consideration for a heart shape diamond. Because of its complexity of shape the diamond requires very skilled cutting to ensure brilliance. With a heart diamond, like in the case of a pear shape diamond, it is important that there is an obvious heart outline where the lobes are rounded and not pointed and are well defined. Heart shape diamonds have many facets which makes the heart so dazzling and magnificent. It takes a very skilled diamond cutter many years to learn the craft of cutting the groove between the two lobes of the heart shape diamond.

Cushion Cut Diamonds

The shape for someone who wants a diamond that few people possess The Cushion cut diamond is a relatively rare antique cut diamond that is a combination between the “old mine cut” (this is a deep cut with large facets) and the modern Oval cut diamond. A Cushion cut shape is also known as a “Pillow-cut” diamond – a softened square. Cushion cut diamonds are not as fiery or bright as many of the newer cuts but have its own unique romantic, classic look and will certainly stand out in a crowd. As with other fancy shapes, the standards regarding shape for a Cushion cut diamond can vary and choice will depend on personal taste. Some Cushion cut diamonds will be nearly square like a Princess cut diamond, others long rectangles like an Emerald cut diamond, with varying size tables and depth percentages. One way to look at dimensions is from above Also because of the large open facets you should opt for the highest clarity and colour that you can afford. As Cushion cut diamonds are quite rare it is difficult to buy this cut less than 1 carat as they are not really available in small sizes. Smaller Cushion cut diamonds require a four-prong setting whilst larger Cushion cut diamonds need more prongs to keep the stone secure.

identification shaping diamonds

77956

Tall Emblem Structure for Dubai

shaping diamonds

77956

Tall Emblem Structure for Dubai

structural diagrams and calculations VIEWING PLATFORM 94 sqm

Level +168m

M1.2

M2.2 M2.1

M2.3 M2.4 M1.1

CAFETERIA 175 sqm Level + 161m

M1.1 viewing circle 28 lfm M1.2 seating levels 2x38 sqm M2.1 services 15 sqm M2.2 kitchen 10 sqm M2.3 bar 11 sqm M2.4 store 5 sqm

M1.2

VIEWING PLATFORM

CAFETERIA

forces through topography ring-anchor and foundation

vertical axes/ force through beams according to deadload/ traffic weight

cable system prevents horizontal shifts

urban plaza landscape and ramp system

Dynamic Analysis RF-DYNAM FA1 Isometrie Eigenform - 0.26996 Hz Max u: 1.2, Min u: 0.0 [-]

Deformation LF1: Deadload Max u: 221.2, Min u: vv0.0 [mm]

Deformation LF3: Wind Max u: 246.5, Min u: 0.0 [mm]

Stress analysis RF-STAHL Flächen FA1 Max Sigma-v (von Mises): 128.97 Min Sigma-v (von Mises): 0.28 [kN/cm^2]

CONFERENCE AND GALLERY 240 sqm Level + 09.5m Eigenschwingung u [-]

Verformungen |u| [mm]

1.2

221.2 0.0

93.87 82.17 70.47 58.77 47.08 35.38 23.68 11.98

22.4

0.0 Max : Min :

105.57

44.8

20.1

0.0

117.27

67.2

40.2

0.1

128.97

89.6

60.3

0.2

σ v,R,d [kN/cm2]

112.0

80.4

0.3

Spannung

134.5

100.5

0.4

1.2 0.0

156.9

120.7

0.5

Max : Min :

C2.1

179.3

140.8

0.6

C1.1

250.0

160.9

0.7

C1.2

300.0

181.0

0.9

C1.3

C2.2 bar area 6 lfm C2.3 kitchen 15 sqm C2.4 support 6 sqm C2.5 service 29 sqm

350.0

201.1

1.0

A3.1

Verformungen |u| [mm]

221.2

1.1

A1.0 auditorium and conference foyer A1.1 auditorium/theatre 185 sqm (173 seats) A2.1 bar area 7 lfm A2.2 stage area 36 sqm A2.3 rehearsal/ prep rooms 20 sqm A3.1 projection room 30 sqm A3.2 service 10sqm

0.28

0.0 Max : Min :

Max : Min :

246.5 0.0

128.97 0.28

B2.1

AUDITORIUM AND LIBRARY Level + 06.5m

A2.2

A2.3

A2.1

L3.2

C2.2

C2.3

A3.2

B1.2

C1.1 conference 37 sqm C1.2 conference 47 sqm C1.3 conference 60 sqm C2.1 conf storage 25 sqm B2.1 gallery space 240 sqm

C2.5

C2.4 B1.0 B1.1

L3.1 L1.0

autoři:

B1.0 box/ ticket offices 25 sqm B1.1 general foyer B1.2 elevators (3x5 P)

L2.1 L1.1

CONFERENCE AUDITORIUM LIBRARY

L2.2

L1.0 library foyer L1.1 library landscape 210 sqm L2.1 counter 4 lfm L2.2 offices 30 sqm L3.1 facilities 15 sqm L3.2 services 15 sqm

reinhardtjung architekturbüro: Dipl. -Ing. M Arch Dagmar Reinhardt Dipl. -Ing. M Arch Alexander Jung

precision

GF2.1

GF1.1

section scale 1:400

Patxi Martin Dominguez, Benedetta Ercoli, Chiara Girolami, Anna Vohlídalová

GF1.2

GROUND FLOOR 403 sqm Level -3.5 m GF1.1 general foyer GF1.2 elevators (3x5 P) GF2.1 open air auditorium

continuity

200mm

diagram concept: contracting steel rings

expanding mesh

transport cabin

invisible elevators - a challenge for thyssenkrupp GROUND FLOOR

B+G Ingenieure Bollinger und Grohmann GmbH, FFM

invisible elevators - a challenge for thyssenkrupp: the rhomboid mesh system of the elevator structure blends with the environent. it expands and contracts with the movement of the capsules. each cabin is able to transport 5 persons.

perspective of travelling capsules a new method of vertical movement

structural glass


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RODINNÉ DOMY LHOTKA

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VI. semestr, 2006/2007, bakalářská práce LS 2007/2008 ateliér Ing. arch. Aleš Lang - Ing. arch. Luděk Šamšula

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Zadáním ůlohy bylo vytvořit na poměrně malém pozemku, cca 1100 m2, tři samostatné dvojpodlažní bytové jednotky, respektive tři rodinné domy. Podmínkou bylo umístění bytů do dvou objektů. Tyto objekty tvoří jakýsi společný vstupní dvůr - místo pro setkávání tří sousedících rodin. Vnější části pozemku jsou již plně soukromé, zahrady oddělené živým plotem. Každý objekt má zajištěno parkovací stání, prostřední dům je vybaven garáží, která slouží zároveň jako průjezd do zahrady. Konstrukce objektů je zděná omítaná s titanzinkovou strechou. U paty fasád bude vysazeno tzv. psí víno, které postupně obroste značnou část objektů a umožní jim tak více splynout s okolní krajinou. V bakalářské práci byl projekt doveden do fáze dokumentace pro stavební povolení a doplněn o důležité detaily, tabulky oken, dveří a klempířských prvků.


VSTUPNÍ OBJEKT DO AREÁLU PUNKEVNÍCH JESKYNÍ IV. semestr, 2005/2006, atelier Ing. arch. Lang - Ing. arch. Šamšula KONCEPT = napětí mezi dvěma prvky před jejich vzájemným dotykem, napětí mezi dvěma protipóly. Kontinuální betonová zeď dotvářející obraz skalnaté krajiny. Chce být součástí, ale nesnaží se napodobit přírodu, jíž je obklopena. Vzrušující průchod mezi ostrými hroty zdí otvírá návštěvníkovi cestu do světa jeskyní. Všechny provozy vstupního objektu jsou skryté za vysokou stěnou. Návštevník, který vstoupí na terasu na střeše budovy, má možnost vychutnat si monumentální skalní stěnu a oblohu nad ní, nerušen přicházejícími turisty. ... Hlavní přívod světla do interiéru = podélný střešní svetlík. Rozptýlené světlo přes část podlahy proniká i do nejdůležitejších místností suterénu.

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BUDHISTICKÉ CENTRUM A BYTOVÝ DUM HRADEŠÍNSKÁ III. semestr, 2005/2006, ateliér Ing. arch. Lang - Ing. arch. Šamšula Zadáním atelierové práce bylo vytvořit studii objektu meditačního centra Budhismu Diamantové Cesty, požadavkem bylo několik spíše menších bytů a zázemí pro budhisty - meditační místnost, kavárna, knihovna, kanceláre. Budova je rozdělena do dvou bloků - veřejného a soukromého (bytového). Oba bloky jsou propojeny venkovním schodištem a nejvyšším podlažím, v němž je umístěna meditační místnost. Bytový blok domu vystupuje do hloubky pozemnku a na jeho střeše je terasa přístupná z nejvyššího podlaží. V dome je 12 bytů o rozloze 55 - 75 m2.

VSTUPNÍ PROSTOR

LOŽNICE OBÝVACÍ POKOJ

WC

KAVÁRNA ZÁZEMÍ/SKLAD

TERASA KUCHYNĚ

OBÝVACÍ POKOJ

 LOŽNICE

OBÝVACÍ POKOJ

ground floor 



TERASA

LOŽNICE

OBÝVACÍ POKOJ

TERASA


LIBRETO: LI PO Trávím noc s přítelem

KOŘENY STAVBY - studie stavby zapuštěné do země

Abychom zaplašili smutek odvěký, stovky pohárů musíme vyprázdnit a nikdy neustat. Vlahá noc nutká nás nitro otevřít. Za svitu luny nechce se spát. Na pusté hoře zpiti když ulehnem, nebe nám pokrývkou a země polštářem.

I. ročník, 2004/2005, základy architektonického navrhování Doc. Ing. Michaela Brožová, Ing. arch. Petr M. Hájek

DŮM PRO VERONIKU - studie stavby - volný plán

LIBRETO - děj knihy: Paolo Coelho Veronika se rozhodla zemřít

Prostory v domě kopírují příběh hlavní hrdinky románu. Pravá část - stereotypní život, střecha - sebevražda, levá část - život v sanatoriu, terasa - nový život po smrti, která nepřišla.


VÝTVARNÉ PRÁCE AG, FA ČVUT, FH FFM


DOPORUČENÍ reinhardt_jung


reinhardt_jung architektur und design in theorie und praxis dreikönigsstr. 35, 60594 frankfurt/main, tel: 069-450946-86 , fax: -88

Date: 10 03 2010 Letter of Reference | Anna Vohlidalova Dear Ladies and Gentlemen, I have known Anna Vohlidalova as an Erasmus Exchange Student of the E5 (Design) Course at the Fachhochschule Frankfurt (University of Applied Sciences, Faculty of Architecture), since October 2008 and have been working with her in my capacity as Tutor on the Project ‘Branding Dubai – ThyssenKrupp Competition’, and as an architect at my own office. The project simulated in an academic environment the competition settings of the strategies and processes of the Dubai Tower Competition, the call for a 170m high Emblem Structure in Za’abel Park. The studio for ‘Branding Dubai’ equally required a capacity of understanding and controlling the new city-texture in a number of different scales and intensities: in the overall ordering principles negotiated as a masterplan, with building plan of 1:200, zooming into spatial and functional organizations within, and finally through the development of details (façade, elevator, interiors). The studio proceeded as five teams, with the best project developed and finally submitted at the thyssenKrupp Competition, and all other developed as submissions to the ‘Scyscraper Competition’ (eVolo). Anna Vohlidalova’s team developed the best work of that course, and was invited to further continue on the submission processed by our office, a work which she did with great engagement. Anna Vohlidalova’s is original, integrates a vast amount of inspirations and ideas, and carefully produces items each drawn to detail and containing a delicate sense of beauty. She has always been an extremely reliable hard working, critical and very productive participant who very intensely developed her own stimulating ideas and interests. Anna is a fantasdtic co-worker and a team player, willing at all times to share and discuss ideas. In a continuation of the competition, we asked Anna Vohlidalova to join as at the office where she over a period of 3 months developed a restaurant project for Binding (a summer garden extension to the restaurant Wanner’s Café GmbH. Anna Vohlidalova produced the official drawings for application for the building proposal, submitted at Frankfurt City, building permission granted). Anna Vohlidalova is a very promising young architect of talent and skill who is vigorously interested in the practice of architecture and design discourse, both open to critique and at the same time strongly pursuing the tasks set to her. She carries out her work carefully and enthusiastically and shows responsibility for both work and team. We are convinced Anna Vohlidalova will continue to answer all demands set by practice and studio engagements. We recommend Anna Vohlidalova strongly and wish her the best for the future.

Dagmar Reinhardt, Dipl. Ing. March Architect PhD, Frankfurt Main, Germany, March 2010


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(c) Anna Vohlídalová, 2011 anna.vohlidalova@seznam.cz

Anna Vohlídalová - works  

cv and school projects

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