PORTFOLIO - from BIO-INSPIRATION to BIO-ARCHITECTURE_DS3b2022

PORTFOLIO Design Studio 3b

from BIO-INSPIRATION to

BIO-ARCHITECTURE

Prishtina, 2022

PORTFOLIO from BIO-INSPIRATION to

BIO-ARCHITECTURE

Design Studio 3b

UBTPRESS

Copyright © 2022 Banush Shyqeriu and UBTPRESS.

PORTF O L I O Design Studio 3b BIOINSPIRED

ARCHITECTURE

The RURAL AND URBAN INFRASTRUCTURES A S E C O - S T R U C T U R E S

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

14

Albion J_Endrit A_Rinesa H_DS3b2022_Fe

19

Albulena S_Besjana M_DS3b2022_Fe

31

Dardan H_Rinor R_DS3b2022_Fe

43

Elmedinë P_Rineta S_DS3b2022_Fe

55

Al n K_Petrit M_DS3b2022_Fe

67

Blerton H_Endrit P_Erion I_DS3b2022_Pr

79

Dhurata B_Erza P_Isak A_DS3b2022_Pr

91

Adrian A_Labinot G_Florent L_DS3b2022_Pr

103

Doresa D_Jetë H_DS3b2022_Pr

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Artijona H_Rifadije G_DS3b2022_Pr

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Course Name: DESIGN STUDIO 3 – Design, Planning and Development of Economic Facilities Subject: RURAL AND URBAN INFRASTRUCTURES AS ECO-STRUCTURES Architectural Design Theme: “From BIO-INSPIRATION to BIO-ARCHITECTURE & The Quest for TECTONIC and ATECTONIC NOVELTIES in BIOMATERIALS – STRUCTURE AS ARCHITECTURE - ARCHITECTURE AS STRUCTURE & THE REVIVAL OF AUTOGENIC ORNAMENT” Architectural Design Philosophy: Hedonistic Sustainability through Biophilic Design and Vernacular Reflections prof. Banush Shyqeriu; ass. prof. Bardha Meta & ass. prof. Gresë Ramosaj 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

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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.

1

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.

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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”.

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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.

Our Design Studio methods which borrows much of the spirit of Bauhaus Studio of developing skills, logic, and imagination through working within regional and global issues of architectural within socio-cultural, political and economic constraints, prepares the students to continue their studies in any European or American University.

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.

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

Congratulation for your hard work and your outstanding results!

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PORTFOLIO

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PORTFOLIO

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Interchange and Multimodal Transport Terminal with integrated interface:Train and Bus Station + Shopping mall

REPRESENTATIVE IMAGE / RENDERING (146.7 mm x 90.3mm)

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+ Office Spaces / building + Multistory ParkingUSA, Structure + Vertical Farms and Landscape / Biophilic Design The Broad Gallery, Los Angeles,

by Diller Scofidio + Renfro

Photo (23x23mm)

Albion Jakupi

CONCEPT

Photo (23x23mm)

Endrit Ahmeti

Photo (23x23mm)

Rinesa Hasani 20

Albion J_Endrit A_Rinesa H_DS3b2022_Fe

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22

Albion J_Endrit A_Rinesa H_DS3b2022_Fe

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Albion J_Endrit A_Rinesa H_DS3b2022_Fe

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Albion J_Endrit A_Rinesa H_DS3b2022_Fe

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Albion J_Endrit A_Rinesa H_DS3b2022_Fe ORNAMENT

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4. Hybrid Development of Shopping Environments;

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4. 2 Shopping Forum

and Amusement Park +Los Vertical Farms USA, and Landscape Biophilic Design The Broad Gallery, Angeles,

by Diller/ Scofidio + Renfro

Similarity

Symmetry

Rhythm

Harmony

As a noun "Blossom" means a small flower, or the small flowers on a tree or plant, as a verb "Blossom" means blossom, flourish.

Rhythm refers to a relationship between petals that creates a sense of harmony. Rhythm can be seen in the petals, in the relationships between colors and shapes, and in the repetitions of lines and shapes.

Petal Rhythm

Petal Configuration

Superpositon

Photo

Albulena Smajli

Continuity

Besjana Murseli 32

Albulena S_Besjana M_DS3b2022_Fe Biophilic Design

Extraction of the structure

Vernacular Reflections

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Application in structure

Europe

Kosovo

The location Urban Silhouette is located in the western p a r t o f Ferizaj,in t h e suburban area of the city and there is a topography mostly flat with a slight slope. It has an area of a b o u t 65,310 m².

Ferizaj

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Albulena S_Besjana M_DS3b2022_Fe MASTERPLAN

4

5

2

3

4

LEGEND : 1. Gas Station and Fast Food 2. Parking lots 3. Shopping Forums 4.Vertical Farms 5.Amusment Park

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1

Ground floor with landscape design

7 3 3 3 2

7

2

5 1

2 2

1 1

2 1

1 6

08Pr_4.2_Ferizaj_Albulena S_Besjana M_DS3b2022_Fe Ground floor with landscape design, 1:500

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2 2 2 2 2 2

2 2 2 2 4 7 7

1 1 4 5

LEGEND: 1.Food 2.Retail 3.Aesthetic Shops 4.Coffe Shop 5.Entertainment 6.Vertical Comunication 7.WC

5 7 4

0 10 Configuration

50

100 m

Natural lighting

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Albulena S_Besjana M_DS3b2022_Fe Plans of characteristic functions Aeschetic Shop : 1. Waiting zone 2. Reception 3. Skin treatment rooms 4. Apparatus 5. WC 1 3

4

1

4 5

1

2

3 4

2

3

Retail : 1. Clothes racks 2. Changing cabin 3. Cash register 1

Caffee Shop : 1. Tabels 2. Bar 3. Mini kitchen

3 2

0 37

10 m

Facades

s

South Facade

North Facade

0

10

50

N

100 m

Envelope 38

Albulena S_Besjana M_DS3b2022_Fe Section in Context

3

2

Section 2-2

0

10

50

2

100 m 3

Massing

Natural lighting

Section 3-3 Plan to section relations

3D Section 39

Structural and Tectonic System

Atectonic - The Revival of Autogenic Ornament Components

Atectonic Columns

Elements

The constructive elements of the skeletal system

Physical Model 40

Albulena S_Besjana M_DS3b2022_Fe

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3. HYBRID Development of Industrial Buildings in Kosovo;

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3.2. Eco-FACTORY

Gallery, Angeles,

by Diller Renfro -The WoodBroad Furniture FactoryLos + Show Room USA, + Training CenterScofidio + Vertical + Farm and Biophilic Design Concept

Narcomedusae Narcomedusae is an order of hydrozoans in the subclass Trachylinae. Members of this order do not normally have a polyp stage. The medusa has a dome-shaped bell with thin sides. The tentacles are attached above the lobed margin of the bell with usually a gastric pouch above each. There are no bulbs on the tentacles and no radial canals. Narcomedusans are mostly inhabitants of the open sea and deep waters. They can be found in the Mediterranean in large numbers.

Photo (23x23mm)

Photo

Fractals Dardan Hasani

Photo (23x23mm)

Rinor Reka 44

Dardan H_Rinor R_DS3b2022_Fe

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Vehicles

Parking

Pedestrian

Services

M A S T E R P L A N

Legend: Site Entry Parking Entry Building Entry Service Entry Consstruction Line 46

Dardan H_Rinor R_DS3b2022_Fe EXPLODED AXONOMETRIC VIEW OF THE PROGRAM/PROJECT

LEGEND: Administration Showroom Production area 47

A D D I T I V E A N D S U B T R A C T I V E

Parti/spatial composition

Unit to whole relations

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Dardan H_Rinor R_DS3b2022_Fe GROUND FLOOR Legend: 1. Entry 2. Lobby 3. Wardrobes, drawers, toilets, showers 4. Horizontal and vertical communication 5. Administration 5.1. CEO 5.2. Manager 5.3. Accounting / finance office 5.4. Meeting office 5.5. Machinery maintenance 5.6. Ware-houseman 6. Kitchen + bar 7. Servers and control, IT 8. Main line of the production 9. Raw material storage areas 10. Warehousing and packaging spaces for the final product 11. Technical area; generator, heating station, air conditioning/ventilation cabinets, inverter storage 12. Maintenance and cleaning space 13. Parking 14. Control and Security 15. Showroom for direct exhibition and sale of products Doors and Windows from Wood

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F I R S T

Legend: 5.7 Office for designin and finalizing order 15. Showroom for direct exhibition and sale of products-Doors and Windws from Wood 16. Training Center

F L O O R

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Dardan H_Rinor R_DS3b2022_Fe SECTIONS IN CONTEXT

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E L E V A T I O N S

South Facade

IN C O N T E X T

West Facade

0

5

10

20

50

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Dardan H_Rinor R_DS3b2022_Fe STRUCTURE Strip Foundations

Roof Construction

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S T R U C T U R E

A T M O S P H E R I C I M A G E S

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4.Hybrid Development of Shopping Environments ;

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4.1 Shopping Center

The BroadCenter Gallery, Los Angeles, USA,

by Diller Scofidio + Renfro Shopping + Multistory Parking Structure + Vertical Farms and Landscape Concept:Pachliopta aristolochiae Macro-scale:Masterplan

Photo

Elmedinë Pajaziti

Rotate

Mirror

Pachliopta aristolochiae, known as the common rose, is a swallowtail butterfly belonging to the genus Pachliopta, the roses, or red-bodied swallowtails.Forewing with wellmarked pale adnervular streaks on the discal area that do not reach the terminal margin, Hindwing with elongate white discal markings in interspaces 2–5 beyond the cell.

Rineta Sinani 56

Elmedinë P_Rineta S_DS3b2022_Fe

Location in the Balkans

The plot is located in Gjilan the main road to Prishtina, the main reason why we chose this location is because it has access of the inhabitants of Prishtina,Presevo and Serbia.

Location in Kosovo

Gjilan Kosovo

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Gjilan is a big town in the East of Kosovo, covering an area of approximately 385 km².It includes the city of Gjilan/Gnjilane and 42villages. According to the 2011 Kosovo Population and Housing Census, the total population is 90,178. Based on the data, we consist that the mallis going to be a District Shopping Centerconsisting of a population of over 40,000 inhabitants.

C O

Contour of loca on

Road axes

Axes of buildings

Contour of object

Volume,Extrude

Separa on of floors

N C E P T 58

Elmedinë P_Rineta S_DS3b2022_Fe

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Ground floor+Parking Lots

Underground floor

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Elmedinë P_Rineta S_DS3b2022_Fe First floor+Parking Lots

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Second floor+Parking Lots

Sections in context

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Elmedinë P_Rineta S_DS3b2022_Fe Structural design

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Elmedinë P_Rineta S_DS3b2022_Fe External Atmospheric images

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Internal Atmospheric images

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3. HYBRID Development of Industrial Buildings in Kosovo;

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3.2. Eco-FACTORY

The Broad Los Angeles, Diller Scofidio -Textile FactoryGallery, + ShowRoom + Training USA, Centerby + Biophilic Design

+ Renfro

Concept

Photo

Petrit Mureli

Altin Kuka 68

Altin K_Petrit M_DS3b2022_Fe Site analysis

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Altin K_Petrit M_DS3b2022_Fe Masterplan

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Spatial composition

Ground Floor

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Altin K_Petrit M_DS3b2022_Fe First Floor

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Sections

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Altin K_Petrit M_DS3b2022_Fe Fasades

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Autogenic Ornament

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Altin K_Petrit M_DS3b2022_Fe Exploded axonometry and Physic model of structural & tectonic

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Atmospheric views

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Blerton H_Endrit P_Erion I_DS3b2022_Pr

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MASTERPLAN

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Blerton H_Endrit P_Erion I_DS3b2022_Pr

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84

C

Blerton H_Endrit P_Erion I_DS3b2022_Pr

B

A A

C

C-C SECTION

B-B SECTION

A-A SECTION

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B

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Blerton H_Endrit P_Erion I_DS3b2022_Pr EXTERNAL ATMOSPHERIC RENDERINGS

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INTERNAL ATMOSPHERIC RENDERINGS

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Blerton H_Endrit P_Erion I_DS3b2022_Pr

RESTAURANT

HANGAR

89

Restaurant

Hangar

Structural model of the Dairy Farm and the Paddock 90

2.1 Interchange and Multimodal Transport Terminal with integrated interface: Train

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TheBus Broad Gallery, Los Angeles,Center USA, with

by Diller Scofidio + Renfro and Station+Retail Spaces+Youth Exchibition Multistory Parking+V.Farms/ B.Design

Dhurata Bislimi

The shape of the building started based on the shape of the location itself then evolved with the final shape

Isak Ademi 92

Dhurata B_Erza P_Isak A_DS3b2022_Pr

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Dhurata B_Erza P_Isak A_DS3b2022_Pr Masterplan - Site Plan

Ground Floor Level 95

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Dhurata B_Erza P_Isak A_DS3b2022_Pr

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Dhurata B_Erza P_Isak A_DS3b2022_Pr

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100

Dhurata B_Erza P_Isak A_DS3b2022_Pr

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2. HYBRID Development of Interchange Transport Terminals in Kosovo; Train and Bus Station

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The Broad Gallery, Los+ Angeles, USA, by Diller +Scofidio + Renfro + Office Spaces / building Multistory Parking Structure Vertical Farms and Landscape Bioinspiration Bioinspiration is derived from the macromolecule schizophyllum commune fungi, where the structure is the form of hexagons, where by describing the formula of the macromolecule, we form several repetitions of the hexagon shape, where we create a facade, with a structure in itself.

Adrian Arifi

Schizophyllum commune fungi Labinot Gallapeni

Florent Luma 104

Adrian A_Labinot G_Florent L_DS3b2022_Pr 2D & 3D Concept

The sketch shows the location.

Where as a consequence of location also derives the concept.On the left side we have the railway and on the right the main road, where on both sides we drawfrom the intersection of road and railway we create arches.By interconnecting the lines and arches we create a module and from the module we move a space that later with some volumes a good shape is achieved for the realization of the terminal...

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Masterplan

Location: Fushe Kosovo Position: Flat Denomination: Terminal 106

Adrian A_Labinot G_Florent L_DS3b2022_Pr Exploded Axonometric View

107

Ground Floor + Landscape Design

108

Adrian A_Labinot G_Florent L_DS3b2022_Pr Elevetions

South Elevetion

North Elevetion 109

Sections

110

Adrian A_Labinot G_Florent L_DS3b2022_Pr Physical Models

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HYBRID Structures and Tectonics + Structural Design

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Adrian A_Labinot G_Florent L_DS3b2022_Pr

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Atmospheric rendered images

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3. HYBRID Development of Industrial Buildings in Kosovo;

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3.3. Eco-FACTORY

The Broad Gallery, Los Angeles, USA, by+Diller Scofidio + Renfro - Textile Factory + Show Room +Training Center and Biophilic Design Concept - Bioinspiration + Biophilic Design and Vernacular Reflections Master Plan Concept generating BioinspirationSchizophyllum commune is the species of fungi that we have used as a inspiration from nature.

Radial axial system from patterns in nature combined with linear one to create the composition of the Masterplan.

Photo

Doresa Demiri Vernacular Reflection-Hajati

Natyre in Space 1.Visual Connection with Natyre 2.Presence of Water 3.Dynamic and Defuze Light Natyral Analogue 1.Biomorphic Forms and Patterns 2.Material Connection with Natyre.

Jetë Hajrizi 116

Doresa D_Jetë H_DS3b2022_Pr

Evropë Context Program

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Kosovë

Cagllavicë Context Ecology Low Vegaetation

Masterplan

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Doresa D_Jetë H_DS3b2022_Pr Spatial composition

Spatial configuration Spatial configuration

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Ground Floor

Structural scheme

Compositional scheme

Entry for workers Changing rooms Corridor Factory WC

Configuration scheme

WC Showom Canteen Kitchen

1. Entry 2. Reception 3. Showroom 4. WC 5. Atrium 6. Ramp 7. Corridors for connecting the factory with the showroom 8. Entry per worker 9. Factory 10. Wardrobe for workers 11. Space for weighing products 12. Garderobe 13. Depot 14. Refrigerated warehouse 15. Kitchen 16. Mensa 17. Atrium 18. Economic yard

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Doresa D_Jetë H_DS3b2022_Pr First Floor Entry for workers Bar Corridor Mezanin

Structural scheme

Compositional scheme

Configuration scheme

Showroom Studio Workshop Office/Meeting or Conference room WC

1. Entry 2. Mezanin 3. Bar 4. Corridor 5. Classromm 6. Studio Workshop 7. WC 8. Director's office 9. Office of the secretary 10. Finance Office 11. Office of the manager 12. Meeting room 13. Conference Room 14. Design studio

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Sections

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Doresa D_Jetë H_DS3b2022_Pr Fasades North facade

Eastern facade

Southern facade

Western facade

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Exploded axonometry

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Doresa D_Jetë H_DS3b2022_Pr Autogenic Ornament

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Atmospheric views

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4. Hybrid Development of Shopping Environments

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4.1 (urban) Shopping Center

The BroadCenter Gallery, Los Angeles, by +Diller Scofidio + Renfro -Shopping + Multistory ParkingUSA, Structure Vertical Farms and Landscape / Biophilic Design This mineral was formed as ancient diatoms died and settled to the bottom of lakes or oceans. Today, they form large deposits of white chalky material, which is mined for use in cleansers, paints, filtering agents, and abrasives. Many toothpastes contain bits of fossil diatoms.

Fossil Diatoms

Photo

Rifadije Gashi

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Artijona H_Rifadije G_DS3b2022_Pr The selected plot is Located in the economic zone o Prishtina, has favorable assests for the implementation of our project. The plot is 5km away from the center of Prishtina, there is also access to the main road which makes the selected location even more favorable.

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Conceptual Masterplan The process of reaching the final Masterplan

Entrances to the hybrid complex Recreational space Parking spaces

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Artijona H_Rifadije G_DS3b2022_Pr Masterplan

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Ground Floor Legend: 1.Entry in Under Ground Parking 2.Entry C 3.Entry B 4.Entry A 5.Exit from under ground parking 6.Atriums 7.Vertical communication 8.Gallery 9.Ancor store 10.Medium store 11.Unit store 12.Administration 13.Maintenance 14. WC Male 15.WC Females 16.Emergency exit 17.Supply gallery

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Artijona H_Rifadije G_DS3b2022_Pr 1st floor

Legend 1.Atriums 2.Vertical communication 3.Gallery 4.Ancor store 5.Medium store 6.Unit store 7.Maintenance 8. WC Male 9.WC Females 10.Emergency exit 11.Supply gallery

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Autogenic Ornament

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Artijona H_Rifadije G_DS3b2022_Pr

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+1500

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Prishtina, 2022