Design Studio 3b_BIOINSPIRATION - PORTFOLIO_2021

PORTFOLIO Design Studio 3b

BIOINSPIRED ARCHITECTURE

Prishtina, 2021

PORTFOLIO BIOINSPIRED ARCHITECTURE

Design Studio 3b

UBTPRESS

Copyright © 2021 Banush Shyqeriu and UBTPRESS.

PORTF O L I O Design Studio 3b BIOINSPIRED

ARCHITECTURE

The The HYBRID Development of Interchange T r a n s p o r t Te r m i n a l s i n K o s o v o

BANUSH SHYQERIU

CONTENT

I

SYNOPSIS

III

INTRODUCTION

1

Studio' Design Philosophy: Hedonis c Sustainability

1

Architectural Design Theme: BIOINSPIRATION

2

Poe cs of Architecture

4

POETICS, NOT POETRY

5

Structure, Construc on, Tectonics

6

The New Structuralism

8

Novel Tectonics

9

The REVIVLA of AUTOGENIC ORNAMENT

10

Studio PORTFOLIO

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G.7_v1_Ferizaj_Blerina M_Valëza T_DS3b2021 Blerina Muriqi; Velëza Tahiri

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G.4_v1_Lipjan_Besfort R_Pashtrik Sh_DS3b2021 Besfort Ramadani; Pashtrik Shehu

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G.1_v3_Prish në_Blerta F_Elsa B_Liridona F_DS3b2021 Blerta Fazliji; Elsa Buzhala; Liridona Fetaj

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G.3_v2_Klinë_Suzana K_Arbra T_DS3b2021 Suzana Krasniqi; Arbra Tahiri

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G.5_v1_Prish në_Bleona S_Erëblina M_Erza G_DS3b2021 Erza Gashi; Bleona Sopa; Erëblina Musliu

67

G.6_v3_Prizren_Brikena M_Pranvera K_Verona B_DS3b2021 Brikena Mehme ; Pranvera Kryeziu; Verona Begaj

79

II

Course Name: DESIGN STUDIO 3 – Design, Planning and Development of Economic Facilities Subject: The HYBRID Development of Interchange Transport Terminals in Kosovo Architectural Design Theme: “BIOINSPIRATION & THE QUEST FOR TECTONIC NOVELTIES IN WOOD – STRUCTURE AS ARCHITECTURE - ARCHITECTURE AS STRUCTURE & THE REVIVAL OF AUTOGENIC ORNAMENT” Architectural Design Philosophy: Hedonistic Sustainability through Biophilic Design Studio-master: prof.: Banush Shyqeriu, Ass.: Bardha Meta & Blend Dema SYNOPSIS: Architecture begins with the spark of an idea, which grows, evolves and prepares itself to enter in the realm of physical world. Hence, architecture as material entity is a synthesis of how we redesign and restructure the world with the same primordial materials our ancestors did, but always searching for the new ways to shape and express our built environment.

These new ways dene our continuous quest for novelty and the poetics with which we construct these novelties.

Structures remain a fundamental dener of architecture and our world, while through tectonics we give expression to the materials we construct.

Architecture goes beyond utilitarian properties, it embodies hedonistic substance III

IV

INTRODUCTION 1. Studio' Design Philosophy: Hedonistic Sustainability 1.1. From Vitruvius Utilitas to Hedonistic Sustainability In his Ten Books of Architecture during the 1st century B.C.E. Vitruvius asserted that all the various types of buildings: Must be built with due reference to durability (Firmitas), convenience (Utilitas), and beauty (Venustas).

While architecture has to fulfill the three Vitruvian components, from the dawn of Industrial Revolution we have experienced an architecture which is mostly utilitarian, unpleasant and even unhealthy. Even though today's industrial facilities do not “vomit” so much smoke as their predecessors did, their image has most of the time remained within the “cold” stereotypes set centuries ago.

The design philosophy which will fertilize the Design Studio course is the assertion of Hedonistic philosophy as an approach towards the architecture of pleasure and happiness, beyond the mere utilitarian buildings.

The word 'hedonism' comes from the ancient Greek for 'pleasure'. Hedonism is a school of thought that argues that pleasure and happiness is the primary or most important intrinsic goods and the proper aim of human life.

In architecture this philosophy is broadly defined as utilitarian parts of architecture that not just fulfill the ordinary purpose but improve the quality of life and human enjoyment.

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2. Architectural Design Theme: “BIOINSPIRATION & THE QUEST FOR TECTONIC NOVELTIES IN WOOD – STRUCTURE AS ARCHITECTURE - ARCHITECTURE AS STRUCTURE & THE REVIVAL OF AUTOGENIC ORNAMENT” 2.1. Bioinspiration / Bionics / Biomimetics / Biomimicry Since the formation of natural and biological systems in our planet, nature has constantly been called upon to act as an engineer in solving technical problems.

1

Bionics or Biomimetics, as we understand it today, dates back to the period between 1800 and 1925 and its proponents Alessandro Volta (electric battery), Otto Lilienthal (flying machine), and Raoul Francé (concepts). It was virtually reinvented under the strong influence of cybernetics in the 1960s by H. v. Foerster and W. McCulloch. The term biomimetics arose simultaneously with a slightly different connotation. “Bioinspiration” is a convenient modern overarching term that embraces everything from bionics and biotechnology to bioinspired fashion design.

2

According to Werner Nachtigall, the German language term Bionik originally comes from the English word "bionics", which was coined by the US Air Force Major J.E. Steele at a conference entitled "Bionics Symposium: Living prototypes – the key to new technology" in 1960, supposedly as a combination of the words "biology" and "technics" or "electronics". In German, the term "Bionik" has found a very expressive reinterpretation in the first and last syllables of the words Biologie [biology] and Technik [technology].

In the English-speaking world, the term "biomimetics" has appeared as equivalent to the German "Bionik" and is commonly used. Otto Schmidt coined this term in the 1950s. As the part "mimetic" suggests a mimicking of nature, the term is controversial. Recently, "Bioinspiration" has been used more often in the same context, but seems to be too general to prevail. Another solution for the continuing terminology discussion is to also use the term "bionik" in English. Nowadays, the three terms bionics, bionik and biomimetics are used synonymously.

3

2.2. Poetics of Architecture Like everything in our material culture, every act of architecture has its poetics, that is to say a 'reading' specific to its conception and realisation.

What is poetics? Strictly speaking, poetics is the theory of literature and it concerns how poetry and other creative writing should be 'read' – that is, understood and evaluated.

Etymologically poetics stems from the Greek term ποιεΐν [poiein 'to make']. Poiesis is therefore by default related to making, fabrication, production (as much as described by Aristotle in his Metaphysics as the act of production following the thinking, noesis). In architecture, poetics has come to fill a similar role, that of “making” and “reading”.

4

POETICS, NOT POETRY We should emphasize that poetics is not used as synonymous to poetry. De facto, poetry is the form of literary art 'in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, it's apparent meaning.' As we have already set, poetics per se instead, in its classical dimension, is linked to production.

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2.3. Structure, Construction, Tectonics 'Structure' should be understood to mean a network of relationships of elements or of elementary processes'. - Wolfgang Wieser Through tectonics the architect may make visible, in a strong statement that intensified kind of experience of reality which is the artist's domain—in our case the experience of forces related to forms in a building. Thus structure, the intangible concept, is realized through construction and given visual expression through tectonics. - Eduard F. Sekler

The simplest way of describing the function of an architectural structure is to say that it is the part of a building which resists the loads that are imposed on it. All of these loads tend to distort the building envelope and to cause it to collapse; it is to prevent this from happening that a structure is provided.

6

The function of a structure may be summed up, therefore, as being to supply the strength and rigidity which are required to prevent a building from collapsing. More precisely, it is the part of a building which conducts the loads which are imposed on it from the points where they arise to the ground underneath the building, where they can ultimately be resisted.

Strength, Stiffness, Stability, Synergy Structures must be designed to satisfy three Ss and should satisfy all four Ss of structural design: 1. Strength to prevent breaking 2. Stiffness to prevent excessive deformation 3. Stability to prevent collapse 4. Synergy to reinforce architectural design.

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2.4. The New Structuralism The New Structuralism announces a new order in design and construction. With the onset of digital technologies, existing parameters have shifted. The old order of standardised design and its established processes no longer hold sway; contemporary architectural design can now be characterised by irregularity, and an appetite for producing customised non-standard, complex, curvilinear forms. The shift in design and production technologies requires a seamless design approach that fully acknowledges the interdependence of design and fabrication.

Design is no longer wholly dictated by form with structure following behind; structure becomes integral to form-finding.

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2.5. Novel Tectonics Novel Tectonics leads to a non standardized approach towards architectural expression, which in one hand comes as a result of environmental constraints (i.e. building envelope) and in the other hand from the fabrication logic itself. To realize this, it is required a close and intensified collaboration in-between innovative architects, engineers and fabricators.

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2.6. The REVIVLA of AUTOGENIC ORNAMENT *

Recently a great concern and interest has risen on ornament, which pushes us to render back its genesis, its worse mes and its new fron ers.

Blinking weekly and strongly throughout the space and me, Ornament has always remained in the radar of a en on of different disciplines, especially Art and Architecture; moreover, ornament was present since me immemorial. Recently a great concern and interest has risen on ornament, which pushes us to render back its genesis, its worse mes and its new fron ers.

The urge to ornament one's face, and everything in one's reach, is the origin of fine arts. Human kind since me immemorial used ornament both in their body and in their built forms, their structures and ar facts for daily use.

Alexander Speltz in the 'Styles of Ornament' dates the use of Ornament since Prehistory – 6000 years ago.

Wri ng in the early 20th century, Speltz takes an interes ng posi on on describing Ornament in rela on to Structure: Rightly understood, the conforma on of an ornament should be in keeping with the form and structure of the object which it adorns, should be in complete subordina on to it, and should never s fle or conceal it. …the art of ornamenta on, therefore, stands in in mate rela onship with material, purpose, form and style. *Performative Energies and Cultures: Ornament and (as) Structure Banush Shyqeriu University for Business and Technology, https://knowledgecenter.ubt-uni.net/cgi/viewcontent.cgi?article=1500&context=conference

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In classical architectural theory, decora on was the complementary term for a fundamental dis nc on and was considered within an overall tripar te division of architecture's teachings: distribu on, construc on and decora on, the three fundamental tasks of architectural design. According to Schinkel: The purposefulness of any building can be considered from three principal perspec ves: purposefulness of spa al distribu on or of the plan, purposefulness of construc on or the joining of materials appropriate to the plan, purposefulness of ornament or decora on.

As a response to Schinkel, recent discourse requires a complete separa on of the word decora on from the word ornament: one is understood as externally applied and extrinsic, while the other is understood as cons tu ve and intrinsic.

AUTOGENIC ORNAMENT If ornamenta on is to fully return from its banishment, it will only do so as an internally generated feature essen al to the expression of the whole. More bluntly, it needs to be autogenic.

(left) Knots and braids. Gottfried Semper, Der Stil (2nd ed. 1878), vol. 1, pp. 169–72 (right) Techniques of weaving.

Gottfried Semper, Der Stil (2nd ed. 1878), vol. 1, p. 177 11

Nomina ons of decora on are o en associated with a cynical interest in kitsch, whereas ornamenta on is usually a preliminary term in the pursuit of unadulterated architectural expression.

Change is brought to an environment either through allogenic succession where foreign influence changes the condi ons of the territory, or through autogenic succession where changes are brought through internal reconfigura ons. Hence, the word autogenic is defined as 'self-genera ng' or genera ng or origina ng within the body, not something that is applied to, not a decora on.

The word Autogenic comes from the Greek word meaning “coming from within”.

As a result, ornament is a poe c expression of the process of making, the external 'forces' of making revealing themselves in order to ar culate the parts which cons tute the whole.

Islamic pa erning and ornamenta on have recently raised interests among the architects and ar sts because of its i nte l l e c t u a l , m e nta l , cultural and metaphysical bias, not merely decora on and material. (left) Lacework Carvings and Muqarnas, Bahia Palace in Marrakesh; (right) A thirty-seven ceramic tile alphabet 12

Pa erns and Ornaments inspired form Nature and developed in a unique way through the use of geometry created across centuries what is now being known as Arabesque, Islamic Pa erns and Islamic Ornaments, which created a definite visual language possessing both vocabulary and grammar.

The concept of Vocabulary and Grammar could be placed in the realm of Structuralist approach to architecture; as structural counterpart to language.

Mining structural potentials of Ornament / Component – folding, associating, populating and dissolving (Credit: © B. Shyqeriu, Synergic Spaces – MOSQUE) 13

3. Studio PORTFOLIO During the design process, within different sites, a diversity of projects is constantly encouraged in order for different working groups - teams - to express their own ideas, concepts and attitudes toward interpreting studio philosophy and theme within real site and context constraints.

This unique compilation sums up all the studio projects within the same template, giving a neutral reading of the projects.

At the end, this studio is unique, as redefines the basic concept of the studio connected to a physical environment. Due to the global pandemic situation, working and studying from home became an emergent and even a common solution. Using their homes as the physical environment and expressing their ideas and taking the feedback through the virtual environment, for students and for us as the studio-master, became the new studio concept, a Hybrid Studio.

In most of the cases, new situations and limitations do encourage creativity, and our students with no doubt achieved not just to fulfill the common design process but also be very creative and use the new situation for novel projects and experiences even in their mutual collaboration with colleagues in group, nourishing the sprit of team-work.

Congratulation for your hard work and your outstanding results!

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DESIGN BRIEF VARIATIONS: The HYBRID Development of Interchange Transport Terminals in Kosovo 1.

Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram) and Bus Station + Shopping Mall + Office Spaces + Multistory Parking Structure + Sport and Recreation Center + Biophilic Design 2.

Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram) and Bus Station + Underground Parking Structure + Retail and Office Spaces + Exhibition Gallery and Biophilic Design.

3.

Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram) and Bus Station + Multistory Parking Structure with Retail and Office Spaces + Conference Hotel and Biophilic Design.

1

Biophilia 15

2

Biophilia 3

CONFERENCE

Biophilia 16

17

PORTFOLIO

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v1. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram)

REPRESENTATIVE IMAGE / RENDERING (146.7 mm x 90.3mm

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TheBus Broad Gallery, Los Angeles,

by Diller Scofidio + Renfro and Station + Underground Parking USA, with Retail + Exhibition Gallery and BIOPHILIC Design

Photo (23x23mm)

Photo

Blerina Muriqi

Fractals, blossom, biophilic and hedonistic design/ sustainability were some of the main assets used to generate the concept of the masterplan. The complex starts within a point, which it increases its infinitum and becomes the spot, of which 3 main spirals expand from it, each one of them connecting with the other through ramps, halls, etc, The same way that the petals hold and protect the fruit, the same way the complex contains an inner garden with access to other parts of the complex

Photo (23x23mm)

Valëza Tahiri 20

G.7_v1_Ferizaj_Blerina M_Valëza T_DS3b2021 biomorphic forms and patterns material connection with nature

thermal and airflow variability presence of water

visual connection with nature

connection with natural systems

dynamic and diffuse light open public spaces for pedestrians only as main hybrid points of the project centric atrium wrapped by spiral ramps that flow along the dynamics of the project green areas-connecting the external and internal parts of the project

21

CONCEPT

Site and Context

Entrances, Access points from roads to Location

The building is concentrated and derives from a main centic oint gradually increasing same way as blossoms, generating undulated forms creating a visual flow of movement.

Volumes, Extrude 22

G.7_v1_Ferizaj_Blerina M_Valëza T_DS3b2021 Continent of Europe

Sun Path R. of Kosovo

The city of Ferizaj, which is located Ferizaj is located in the south-eastern part of Kosovo. The site location is the Bus Station site area of Ferizaj, which is located somewhere in between the sports area and the industrial area.

City of Ferizaj

Site location + area

23

Winds

Masterplan

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G.7_v1_Ferizaj_Blerina M_Valëza T_DS3b2021 Underground Levels; Bus Station -1

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Parking Lots -2

Aboveground Levels; Ground Floor 0

First Floor +1

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G.7_v1_Ferizaj_Blerina M_Valëza T_DS3b2021 Sections in Context

Section A-A

Section B-B 27

Structural Design

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G.7_v1_Ferizaj_Blerina M_Valëza T_DS3b2021 Facades and Atmospheric Views in Context

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Facades and Atmospheric Views in Context

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v1. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram)

31

TheBus Broad Gallery, Los Angeles,

by Diller Scofidio + Renfro and Station + Underground Parking USA, with Retail + Exhibition Gallery and BIOPHILIC Design Generative Process of Masterplan

Photo

Roads

Besfort Ramadani

Main Roads

Concept Function City Interconnection

Urban Network

Train Network

Walking Paths

Penetration

Public Spaces

Interlacing

Passage

Point and Line to Plane

Linking

Pashtrik Shehu 32

G.4_v1_Lipjan_Besfort R_Pashtrik Sh_DS3b2021 Point Visibility

Green Area

Configuration (Stairs)

Height of the Trees Entries

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Constructing directed 2d isovist along predefined path.

Construct your own path through the environment and try different settings for view angle and view range. Observe how the isovist measures are changing during the movement along the path

Underpass to Metro

Masterplan First Floor Entrance

Back Entrance

Storage Third Floor Entrance

Bus Entrance

Main Entrance Metro Entrance

Topography Topography

Complexity of the project

Urban Silhouette

Physical Model

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G.4_v1_Lipjan_Besfort R_Pashtrik Sh_DS3b2021 Exploded axonometric view of the Program/Project Third Floor

Second Floor

First Floor

Ground Floor

Under Ground

Train Station Bus Station

35

Shopping Center

Train

Train Station

Office Spaces

Multi-Storey Parking

Parking

Bus Station

Sports and Recreation Center

Office Spaces

Pedestrian

Shopping Center

Gastronomic clusters

Sports and Recreation Center

Bus

Multi-Storey Parking

Gastronomic clusters

Vihicles

Sections in Context

Analytical Diagrams

Plan to section relations

Circulation to use relations (plan)

Symmetry and balance

Structure

Unit to whole relations

Parti/Spatial composition

Additive and substractive processes

Geometry

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G.4_v1_Lipjan_Besfort R_Pashtrik Sh_DS3b2021 Elevations in Context

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Bioinspiration - from Biological Design to Architectural Design Slab Beam Column

Structure

Structure

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G.4_v1_Lipjan_Besfort R_Pashtrik Sh_DS3b2021 Hybrid Structures and Tectonics + Structural Design

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Details + Static Diagram + Preliminary calculations GLT Timber

Concrete-Steel

Scheme Axial Distance

Beam Timber/ Slab concrete

Beam and Rafters Timbers

Diagrid Waffle GLT

Panel GLT

Wall and Slab Basament

Y Column and Beam Timber

Beam Timber

Beam Timber/Concrete steel/ Panel GLT

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G.4_v1_Lipjan_Besfort R_Pashtrik Sh_DS3b2021 Roof Structure System

Detail 1

GRP Panel Enhancers Detail 2 Glass Construction

Glass Supporting

Detail 1

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Detail 2

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v3. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram)

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The Broad Gallery, Los Structure Angeles, Scofidio + RenfroHotel and Biophilic Design and Bus Station + Multistory Parking withUSA, Retail by andDiller Office Spaces + Conference CONCEPT Our inspiration from nature has come a large part from plants, plant structure, plant forms and their generation. In general the project is developed on phylotaxis, from defining the form in the context to the interior spaces.

Photo (23x23mm)

Blerta Fazliji

Photo (23x23mm)

Elsa Buzhala

Photo (23x23mm)

Liridona Fetaj 44

G.1_v3_Prishtinë_Blerta F_Elsa B_Liridona F_DS3b2021 General analysis

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Macro analysis

Micro analysis

Masterplan of the Hybrid Complex

silhouette

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G.1_v3_Prishtinë_Blerta F_Elsa B_Liridona F_DS3b2021 Hierarchy of circulation schemes

Vehicles

Services

47

Parking

Administration

Pedestrian

Train movements

Bus movements

GROUND FLOOR

FIRST FLOOR 48

G.1_v3_Prishtinë_Blerta F_Elsa B_Liridona F_DS3b2021

Second floor

Underground Level 49

Configuration

Sections

Analytical diagrams

50

G.1_v3_Prishtinë_Blerta F_Elsa B_Liridona F_DS3b2021 Spatial composition 2nd Floor

Administration offices

Shopping center

1st Floor

Ground floor Train station

- 2 Parking lots

Hybrid node

Hotel

Parking lots Buses platform

51

E L E V A T I O N S / F A C A D E S 52

G.1_v3_Prishtinë_Blerta F_Elsa B_Liridona F_DS3b2021 Iterative process of constructing (the geometry, motif) of the module / component in digital environment

Modulate, associate, variate,multiplicate, populate the COMPONENTS in three different 'surfaces

Physical models S T R U C T U R E O F

Atmosphere – Render and contextualized in Project

53

O R N A M E N T

S T R U C U T U R A L S Y S T E M

54

v1. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram)

55

TheBus Broad Gallery, Los Angeles,

by Diller Scofidio + Renfro and Station + Underground Parking USA, with Retail + Exhibition Gallery and BIOPHILIC Design

Photo c o n c e p t

Suzana Krasniqi

Arbra Tahiri 56

G.3_v2_Klinë_Suzana K_Arbra T_DS3b2021

lE

m a s t e r p l a n

57

o

n

G r o u n d f l o o r

58

G.3_v2_Klinë_Suzana K_Arbra T_DS3b2021 A x o n o m e t r y w I t h p r o g r a m s 59

h

f

s

t

60

G.3_v2_Klinë_Suzana K_Arbra T_DS3b2021

s e c t I o n I n c o n t e x t 61

Through the sections we can tell more about the terminal structure and interior elements. The sections pass in 3 different positions of the object and we have shown each position through special schemes.

In the sections the structure of the dome and the floor slab is noticed. The atrium penetrates to the underground part to let in natural light while on the floor it expands.

This terminal has not been developed in many floors to fit the context as there are only one storey private houses in the area.

In the underground part there are underground parking lots that have two entrances and exits.

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G.3_v2_Klinë_Suzana K_Arbra T_DS3b2021

f a c a d e s

63

p h y s I c a l m o d e l

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G.3_v2_Klinë_Suzana K_Arbra T_DS3b2021

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v1. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram)

67

TheBus Broad Gallery, Los Angeles,

by Diller Scofidio + Renfro and Station + Underground Parking USA, with Retail + Exhibition Gallery and BIOPHILIC Design CONCEPT Chthamalus stellatus Pediastrum is a genus of green algae, in the family Hydrodictyaceae. It is a photoautotrophic, nonmotile coenobial (fixed number of cells) green algae that inhabits freshwater environments. The protoplast of each parent cell gives rise to a biflagellate zoospore for each cell in the parent colony.

Stratification Architecture stratification is an approach that connects multiple views on a single system with refinement translations, so that each view completely describes the whole system on a particular level of abstraction. It also describes the complete architecture of a software systems on multiple layers of abstraction.

Modularity Modularity is a concept that has been throughly used in architecture and industry.Objects can be prototyped, changed depending on the space and customized dependent on the users needs. Modular design or "modularity in design" is a design approach that subdivides a system into smaller parts called modules or skids that can be independently created and then used in different systems. Examples of modular systems are modular buildings, solar panels, wind turbines and so on.

Erza Gashi

Bleona Sopa

Erëblina Musliu 68

G.5_v1_Prishtinë_Bleona S_Erëblina M_Erza G_DS3b2021 SITE DESCRIPTION

Pristina is the capital of Kosovo and the seat of the eponymous municipality and district. Pristina covers an area of 572 square kilometres. As of December 2012 Pristina, the capital city of Kosovo, had a population of 205,133 registered inhabitant. Pristina is as well as the most essential economic, financial, political and trade center of Kosovo mostly due to its significant location in the center of the country.

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Masterplan Concept Starting from the most simple element, points, we position them in the context based on the researches that we did, including here architextile, modularity and stratification and the functional diagrams too. We connect the points by strict lines, creating hexagonal, a regular polygon which help us to continue the process.

Concept development A hexagon, created by some triangles, which show the modularity in plan

By removing some triangles from hexagon, we think for a more dynamic volume, adapting with different number of sorey’s objects near the location.

Points and lines in the context.

-EVERYTHING STARTS FROM A POINT-

A conceptual plan by removing a hexagon The second floor; removing triangles from the first floor.

Creating stratification in modular planimetry

The third floor; removing triangles from the secondary floor.

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G.5_v1_Prishtinë_Bleona S_Erëblina M_Erza G_DS3b2021 MASTERPLAN Legend 1.Walking paths 2.Bus entrance 3.Exit of buses 4.North Entry 5.South Entry 6.Biophilic design 7.Car entry 8.Car exit 9.Main entrance for the visitors 10.Entrance hall, lobby, information 11.Green spaces 12.Taxi parking 13.Parking 14.Bus stop 15. Atrium

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2 12 3 1 4

15

15

10 6 5 9

1 1

11

7 8

13

14

13

Underground floor ; -1

Underground floor ; -2 Parking lots for cars

N

N

24

25 20

23

21 1 7

LEGEND: 1-Entrace of buses 2-Exit of buses 3-Lobby, Tickets and Information travel agencies 4-Recepsion-security 5-Arriving passengers 6-Toilets 7-Small shops 8-Cafe-bar 9-Parking lots for buses 10-Maintenance and cleaning spaces 11-Technical services 12-Vertical communication 13-Atrium 14-Places for passengers 15-Bus services 16-Train station 17-Private kitchen 18-Driver’s room 19-Fuel station 20-Managment and administration 21-Circulation control 22-Tickets and info 23-Reception/seats 24-Sector intended for the transition of goods 25-Cafeteria/Restaurant 26-Lobby 27-Banking service exchange

2

22 6

8

19

16

15 26

8

18

8

17 13 7 11 7 12

7

10

7 7

5

6 4 3

14 9

First floor

Ground floor N

N

8

8

8

8

13

5 5

8

5

8 14

8

3 10

8

10

14

8

14

8

8 8 8

8 8 8

8

4 8

6

2 8

8

13 8

4

1

4

LEGEND: 1-Main entrace for vistors 2-Lobby and information 3-Vertical communication 4-Toilets 5-Restaurants/Gastronomy 6-Office spaces 7-Entrace for undergroung parking of buses 8-Retail spaces 9-Exit for buses 10-Atrium 11-Underground Train Station 12-Underground parking for cars 13-Emergency stairs 14-Green ecological spaces

8

8

2

8 8

6

8

8

LEGEND: 3-Vertical communication 4-Toilets 5-Restaurants/Gastronomy 6-Office spaces 8-Retail spaces 10-Atrium 13-Emergency stairs 14-Green ecological spaces

8

4

8 10

8 8

3

13

8

8 14

14

8

8

8

8 8

8 8

8

8

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G.5_v1_Prishtinë_Bleona S_Erëblina M_Erza G_DS3b2021 A A

Section A-A

B

B

Section B-B

C

c

Section C-C 73

Elevations / facades in context

Southern View

Western View

Eastern View

Northern View

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G.5_v1_Prishtinë_Bleona S_Erëblina M_Erza G_DS3b2021 Underground floor -2\ Chromatic presentation of program

Storehouse Parking spaces

Underground floor -1 \ Chromatic presentation of program

Ground floor \ Chromatic presentation of program

Office spaces

Lobby and information

Atrium

Toilets

Big shops

Shops

First floor \ Chromatic presentation of program

Private kitchen

Lobby, Tickets and information travel agencies Recepsion- security

Atrium

Toilets

Driver’s room

Places for passengers

Small shops

Fuel station Technical services

Bus services

Café bar Circulation control

Sector intented for the transition of goods

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Lobby and information

Atrium

Restaurant cafiteria

Retail spaces

Tickets & Info

Toilets

Storehouse

Banking service, exchange

Office spaces

Big shops

Cafeteria\ Restaurant

Chromatic presentation

Chromatic presentation of vertical communications

Chromatic presentation of Train platforms

Chromatic presentation of underground parking external ramps Glued Laminated Timber Ramps Reinforced Concrete Walls

Underground parking, Ramps

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G.5_v1_Prishtinë_Bleona S_Erëblina M_Erza G_DS3b2021 Physical Model of HYBRID Complex, structural system of the project and section of tectonic system - building envelope

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EXPRESSION – RENDERED IMAGES

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v1. Interchange and Multimodal Transport Terminal with integrated interface: Train (S+U+ Tram)

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TheBus Broad Gallery, Los Angeles,

by Diller Scofidio + Renfro and Station + Underground Parking USA, with Retail + Exhibition Gallery and BIOPHILIC Design INTERPRETATION OF DESIGN THEME AND PHYLOSOPHY Studio sub-theme: BIONISPIRATION - from Biological Design to Architectural Design

Photo

geometric

(23x23mm)

organic Brikena Mehmeti

Studio operative Vocabulary

“Interweaving between road and railway”

Photo (23x23mm)

emulate Pranvera Kryeziu

inspiration

biomimetics

structure

Photo (23x23mm)

tree Verona Begaj 80

G.6_v3_Prizren_Brikena M_Pranvera K_Verona B_DS3b2021 2.Hedonistic Sustainability through Biophilic Design Pleurotus ostreatus emulate

wood

facade ornament

You + Nature = Biophilia

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1. Train Station 2. Overpass 3. Bus Station 4. Shopping Centre 5. Office Spaces 6. Conference Hotel 7. Cargo Green Areas Pedestrian Entrance Parking Entrance Automobile Entrance Railway Bus Movement Urban Bus Movement 82

G.6_v3_Prizren_Brikena M_Pranvera K_Verona B_DS3b2021 Ground Floor with Landscape design: 1:200 Legend: Train Station 1. Vestibul 2. Lobby 3. Advertising Spaces Legend ( upper Level) 4. Currency Exchange Hotel Conferences 1. Bed Rooms 5. Patio Bus Station 6. Vestibul 7. Lobby 8. Info, Tickets 9. Managment Sector 11. Staff 12. Platforms Shopping Centre 13. Vestibul 14. Lobby

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second floor

Legend: Train Station 1. Vertical Comunication 2. Restaurant Underground Legend 3. Caffe Bar Overpass 4. Gift Shop 5. Souvenir Shopping Centre 7. Food Court 8. Restaurant 9. Caffe Bar

First FLoor

1. Male Toilet 2. Female Toilet 3.Baby changing table station 4. Warderobes 5. Kitchen 5. Mensa Staff 7. Driver’s Living Room 8. Warehouse 9. File Room

Hotel Conferences 10. Conferences 11. Vertical Comunication Office Spaces 12. Vertical Comunication 13. Office Kitchen

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G.6_v3_Prizren_Brikena M_Pranvera K_Verona B_DS3b2021 Sections in Context

Section A-A

Section B-B

Section C-C 85

ElevationS in Context

North Elevation

East Elevation

South Elevation

West Elevation 86

G.6_v3_Prizren_Brikena M_Pranvera K_Verona B_DS3b2021 Exploded Axonometric view of Structural and Tectonic System

top view

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Tectonic novelist in WoodExpression

strelitzia reginae Building envelope, elemnets and components Analytical diagrams: structure, geometry

P H Y S I C A L M O D E L

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G.6_v3_Prizren_Brikena M_Pranvera K_Verona B_DS3b2021

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