PORTFOLIO calina miruna manisor
SENIOR CAMPUS en ny vej i livet
PROJECTS Senior Campus Nuuk Art Hub Halls For The City City Gardens Hatlehol Parish Repository Of The City
6 14 22 28 36 44
OTHER A Walk of Remembrance Anemone Architecture As Furniture
54 58 62
SENIOR CAMPUS 2018 // Residential // Copenhagen, DENMARK // Private Developer // Team: Anders KĂŚrgaard [Creo Arkitekter], Camilla Seidel [Creo Arkitekter], Jes Johansen [Creo Arkitekter], Veronika Knor [Creo Arkitekter]
The concept of Senior Campus - a place for active elderly people - was brought to our office by a very enthusiastic client. His vision was to create a village suitable for the lifestyle of active seniors. The Concept Our client had a clear vision about the principles that he would like to integrate in the project, both psychologically as well as architecturally. His inspiration were American precedence of similar dwellings. The American precedences took shape in tall residential towers, with a great number of social functions on the lower floors, and a well maintained service staff that attends to the inhabitantâ€™s needs. However, when translating this idea into a Danish context, we needed to be aware not only of the local architectural traditions, but also the lifestyle and life habits of Danes. Thorough modern times, high rise architecture has been oftenly frowned upon by the Danish society. Moreover, the Danes pride themselves as being a community of people that cherish nature, and the outdoor environment. Therefore, key aspects such as: human scale nature light have become essential in shaping the concept to better respond to the Danish context in which we were building in. These elements, together with the principles of connectivity, easy access,
variety in social functions - principles depicted from the American precedence - have formed to core of the project. Hence, our architectural solution responds to these principles by creating an environment where seniors can be active, can relax, and can enjoy their time to the fullest extent, while having every facility they can need within close proximity to their residences. From Vision to Form For our client, one of the essential features of the project has to be connectivity. Our references have all resolved this by stacking functions one on top of the other, and creating a vertical tower. However, when building in Denmark, keeping a human scale reference in order to create a hyggeligt environment is essential. Building in context has been important for us, therefore we have transposed the vertical connectivity seen in our American references, into a horizontal one, by placing all social functions on the ground floors. The connectivity has been maintained through a covered outdoor space, in this way integrating both what the client wanted - connectivity, and what the residents want - nature. Variety of apartment sizes, light orientation and green - natural elements have been main features for the architecture of our project. The variation in apartment sizes which range from 80 sqm to 200 sqm - has
shaped the vertical staking of our building. The bigger apartments have been placed on the ground floors. On these, smaller apartments have been gradually stacked. By doing these, we have created large terraces for each apartment. Moreover, we have taken inspiration in urban walks around Copenhagen, to propose a natural route crossing the rooftop of one of the spiraled buildings. In this way, the building itself has become part of the outdoor experience. Personal Involvement The project has been a 5 month task. Together with a team formed by a colleague a partner, and two interns, we have developed the project from the initial stages of design, to the final delivery. The delivery consisted of technical drawings and renders of the project, interior furnishing of the social functions, as well as a 1:200 scale model of the complex. During the process of the project, I have not only worked on the project itself, but also maintained the client contact and contact with the landscape team. I have worked with concept development, detailed design as well as the management of the project. Through this project, I have developed new skills such as client communication, scheduling and budgeting.
6th floor plan
Rooftop Nature Walk
Flow Around the Site
Environment Direct sunlight and the integration of green elements have played an important role in determining the geometry of the proposal. Therefore, the balconies are terracing towards the south, while all of the building structures open towards the southwest. By doing this, planting boxes can be integrated on the sunny terraces, bringing the nature into each dwelling. The common rooms of every apartment open towards the terraces, bringing in more light, white at the same time shaping a playful and dynamic facade.
Moreover, the spaces between the buildings have different features that make them unique. However, the element that ties them together, is the dense greenery that repeats throughout all courtyards again, reference to the love of nature and of outdoor space The Social Life While the courtyards are interconnected by the presence of greenery, the social functions such as the restaurant, the common kitchen, the wellness centre and the art gallery are connected through an urban plaza.
The plaza is considered a place for all, residents and non residents alike, inviting people to experience the site and the scheduled activities that it offers. It connects to the entrance to the RoofTop urban walk. Therefore, the Urban Plaza acts as a collector of all functions presented on the site.
Type VI - 200 m2
Type V - 150 m2
Type IV - 130 m2
Type III - 110 m2
Type II - 100 m2
Type I - 87 m2
NUUK ART HUB 2016 //Exhibition Space and Art Hub // Nuuk, GREENLAND // Master Thesis // Group Project // Supervisors: Mads Dines Petersen, Peter Vilhem Nielsen
Aside its strategic placement on site and the institution it houses, the proposal of the Art Hub triggers the start of a relevant discussion about how the future of the Greenlandic Culture will be shaped, and to what extent will local traditions be embraced in a modern development. ‘By creating ‘a view’, ‘a destination’ and ‘an event’ a platform opens up and reinvents itself as a place for cultural consumption in a novel way’. Therefore, Nuuk Art Hub carries its role in society by responding to the Inuit’s ambition of taking charge of their own future. This intention is achieved by accommodating the means through which the locals express their desire: Art. The local artistic movement, as well as the intention of the Municipality to develop a new National Gallery for the city, are therefore brought together under the same roof, establishing the function of the new proposal as a cultural event. Situated on the waterfront of the fjord, on raised ground, the topography proposes the site as emblematic for the city. The building is placed on the edge of the cliff, to make full use of the site’s potential, thus being perceived as a landmark not only at a socio-cultural level, but also visually, when seen from both the waterfront. Although having a unique and very distinctive identity, the building becomes
an integrated part of the natural scene by immersing into the ground and by having a humble composition when approached from the perspective of the street. Perception of the Place By continuing the pre-existing narrative of the site, and by placing the intervention at the apogee of this experience, the proposal aims to function as a landmark for the city, while maintaining the identity of the location. Therefore, the culminating point of the site’s narrative is materialized through the unique perspective visible from the top of the roof terrace. From here, the viewer can experience the fjord, as well as look back onto the site, rendering it possible to experience the location from a variety of different perspectives. This vista is also expressed in the interior of the building, where the atrium frames the surrounding landscape and brings it into the center of the story. A Platform for Knowledge The unique function of the Art Hub promotes knowledge through its three main programmes: the informative [National Gallery], the lucrative [the workshop spaces], as well as the educative [the classrooms]. Informed Building In a discussion with local base engineering and architecture practices, the practice of unsuitable building strategies has been pointed out. This is due to the
unavailability of local resources, making it expensive to acquire the necessarily material. However, the building strategy maintained throughout the project has shown that sustainable building in the given context is indeed plausible. Through passive strategies and the implementation of active strategies such as geothermal energy and solar panels, the building meets 2015 goals, and the possibility for reaching Zero Energy Consumption during summer months is a reality. Therefore the students wish to raise the question: ‘should society not be educated more on sustainable building traditions and the effectiveness of the return of investment in long term perspective?’ Regardless building traditions, the main goal of establishing ‘a place’ for the city is achieved. Hence, through the means of a specialized cultural center, which favors the direct interaction between the public and the artists, the proposal of Nuuk Art Hub seeks to contribute to ‘the development of a living culture’. Personal Involvement By working in a two person group, both members have been able to participate in all project related tasks. However, my role has focused on the architectural premise of the project, while my colleague has focused on technical details.
NUUK ART HUB
Compact Volume - Energy Efficiency Compact volume -Energy efficiency
Two Functional Divisions
Two funktional types
Relationship To Housing Blocks and Family Houses
Relation to housing blocks and one family houses
Concealed Terrain - Less Heat Loss Digged in down - Less heat loss
Tilting of Facade Brings Light Deeper Within
Sloped facade - Daylight deeper in to building
Inviting entrance Inviting Entrance
Conceptual Apogee View from roofof the Narrative - The View
Atrium Defining and Facilitating Light Infiltration Define Zones two areas in the building and let light in
Clear Circulation Defined Circulation core Through Circulation Core
Sloping According to Regulations Roof slope - Prevents too big snow load
Exhibition Spacesoriented Facing North - No-no Direct Light Exhibition north daylight
Openings Facade - Passive Heatheat Gain gain Windowsonaccording to passive
NUUK ART HUB
Architectural Intention In a world of continuous transition, the greatest quality of men is adaptability. Either because of enforced climate changes, or of geopolitical issues, man has always found a way in which to cope with the given situation. Therefore given the framework of continuous adaptability, this initiative sustains the development of a cultural interchange between modern and traditional Greenland. The local arts and crafts movement is hence used as a medium to facilitate cultural consumption, with the purpose of establishing a â€˜placeâ€™ for
NUUK ART HUB
the modern Inuit community, encouraging the local economy. The proposal will house not only a National Gallery of Art that showcases Graandlandic traditions, but also Workshop facilities that promote a modern direction.
climatic conditions, large glazed areas are essential in order to obtain as much passive heat gain as possible. Hence, the placement of large glazed surfaces is justified not only architecturally, but also from a technical point of view.
The proposed site is generous in terms of capturing a view. Therefore, a key parameter in defining the interior spaces has been the framing of the view towards the fjord. By capturing the beautiful view of the fjord, one can enjoy the exterior while being sheltered from the rough weather conditions found beyond. Nonetheless, studies have shown that for the local
Technical Considerations The calculations for indoor climate have been made on one classroom and the exhibition. The requirements are according to category II in the DS474 and DS/EN15251 standards for human comfort. The Indoor climate for the exhibition spaces meets the guidelines set by the International Conservation
Services Stensen Varming. Moreover, the building sets out to reach 2015 Low Energy Building Standards. Active strategies such as geothermal energy and solar energy have been implemented into the design. However, as the grid relies on green energy from hydropower, the building will connect to it. The ventilation system used in the building is a variable air volume system, used in order to unable the adjustment of the ventilation rate in accordance to the variable loads in the rooms. This is supplemented by a heat recovery unit, used for reducing the energy consumption required for preheating the inlet air.
Passive Solar Gain Internal Shading Natural Ventilation
Demand Controlled Ventilation Floor Heating
Ellectricity Grid Connection Mechanical Ventilation + Heat Recovery Heat Pump
Pipes for Heat Pump
NUUK ART HUB
Museum Galleries Art Hub - Classrooms
Museum Galleries Art Hub - Workshops CO 2
Hours/year > 26 °C =0
Max CO2 =739
Mean RH =49,2
Hours/year > 27 °C =0 Top mean (°C) Atrium =19,9 Hours/year > 26 °C =0
Walls Max CO2 =746
Mean RH =31,6
Hours/year > 27 °C =0 Top mean (°C) =19,9
Max hours >26 °C =100
Max hours >27 °C
Max CO2 - level = 900 ppm
Rel hum 45-55 % +/-5% per 24 hours
KW/m²/Year = 40,2
PV’s Contribut. KW/m²/Year = 8,0
Max energy consomption, Energy frame 2015 = 41,4 KW/m²/Year
NUUK ART HUB
Heat pump Contribut. KW/m²/Year = 21,4
HALLS FOR THE CITY 2015 // Masterplan //Copenhagen, DENMARK // Internship // Competition Proposal // Team: Rie Davidsen [Polyform], Fenia Lenta [Polyform], Jakob Madsen [Holscher Nordberg], Mathias NĂ¸rgĂĽrd [Holscher Nordberg]
The competition aims in proposing a new typology for Christiansholm Island in Copenhagen, Denmark. The challenge is to propose an empathetic solution to the existing social and microclimatic fabric of the site, as nowadays the location is emblematic for the city, being deeply embedded in the collective memory of the locals through the Street Food Market that replaced the former paper halls. The brief has been very clear in terms of building ratio, height requirements, as well as the area of each of the intended functions to be placed on the site. These functions include approximately 30.000 sqm of residential units and 12.000 sqm of public functions represented through harbor baths and a swimming pool facility, as well as flexible temporary spaces. The functions of the enormous halls existing on the site has been rendered over the years. Therefore, the Paper Warehouses have now been converted to an Experimentarium and a well known Street Food Market. Moreover, the voice of the local community has been considered, as previous projects considered for the site have been seen as unfitting by the locals, who belief the proposals are not empathetic towards the societal identity of the place.
Therefore, as the functions currently existing on the parameter of the Paper Island are well embraced by the Danish Community, the design intention for the proposal has been build upon the existing footprint of the halls placed on site. This design intetions is meant to appeal to the collective memory of the users and maintain a part of the well known identity of the place. Therefore, the groundfloors are carrying public functions, while upper floors are occupied by residential units, built around central public spaces. The project had to be delivered under the form of a presentation booklet, as well as a series of 4 posters.
valued by my peers. Moreover, the project meetings have been held in English, enabling my active participation in the overall discussions. Above all, I have been given the change to personally present my input and analysis. With consideration to labor outputs, I have worked on a number of different tasks. These tasks include diagrams, floor and roof plans, as well as the layout and presentation of the delivered booklet and posters. Having been engaged in the project from commencement to delivery, I have been curious to observe how integrated design is implemented in the professional environment. I have found that sustainability plays a major role in the design process, being considered from the early stages of design.
Personal Involvement It has been a great opportunity to be involved in a project from the early stages of design until delivery. As a consequence, I have had to work on different aspects of the project, ranging from fast model proposals to detailed drawings. Throughout the entire design process I have been considered an equal member of the team, having had the chance to express my beliefs in terms of design considerations and having my opinion
HALLS FOR THE CITY
Public Ground Floor
Residential Units and Materiality
Architectural Intention ‘City Halls’ is an open invitation to experience the island of Christiansholm. The environment offers a free space for the visitor, whether they stay on the island’s waterfront, inhabit the island’s dwellings, or participate in the activities organized in the halls of the complex. Christiansholm has earned its place in the social environment of Copenhagen.
Therefore, the immediate and open atmosphere present on the island today must be sustained through the existing proposal. With this in mind, the footprint of the existing halls have been kept, maintaining their spatial profits and their open structure. Hence the proposal is materialized in five new halls, so as to create a strong frame of reference in the development of
Christiansholm. By placing home living on top of the halls, the more temporary activities will be anchored in to the day to day life of the inhabitants, creating a unique lifestyle on island premises. The intention is to promote ‘City Halls’ as a destination for different people and therefore be part of a major international dialogue with cultural institutions in the inner harbor.
HALLS FOR THE CITY
Sun Light Hours 1 May - 30 Sept 8:00 - 22:00 100% = 2180 h
Holistic Approach The objective of the micro-climatic processing of the proposal is to maintain the eventful and active edge along the waterfront and at the same time create ideal conditions for the new features and common life. Therefore, wind and sun exposure have been highly considered in the design. With consideration to the wind, a deflection of the wind down to street level is noted. The effect is increased in interaction with the facade leaps that create roofed shelterpockets. The dense halls create a dense urban structure with narrow alleys and
HALLS FOR THE CITY
secluded intimate spaces. A conscious working of the vegetation scheme in growing scale from small shrubs to trees prevents the unwanted acceleration of the wind between the buildings. Likewise, the exposed support structures from the current halls, protect and define the new outdoor areas. The brief specifies the requirement of for a dense community, therefore sun infiltration along the narrow streets is unlikely. In order to reduce this problematic, the height and positioning of the residential buildings is made strategically in order to sustain good light conditions.
HALLS FOR THE CITY
CITY GARDENS 2015 // Residential // Aalborg, DENMARK // University Project // Group: David Drazil, Mathias Nielsen, Nadia SkĂŚrgaard, Pavlina Svedlakova // Supervisors: Michael Lauring, Tine Steen Larsen
The goal of this semester project focuses on an Integrated Design Process in the development of a sustainable approach for a mix-use housing complex in Aalborg, Denmark. The approach implies a constant debate between aesthetic and technical aspects, with the purpose of creating a sustainable building, which meets Zero Energy Standards and 2015 Goals. However, sustainability can be defined in a great variety of ways, and it should not negatively affect the quality of life. The demand of the project is to create dwellings in the city center, while the brief restricts the design to depict on 100% to 200% of the plot ratio. The proposed building should be no less then 3 storey high, while a maximum limit has not been specified. The purpose of the project is to create residential dwelling within the city center, as to encourage the desification of cities, bringing people closer to facilities, therefore reducing the necessity of fossil fuel consumption for transportation. The challenge within the brief has been that of creating a high density building complex, while, at the same time integrate rural and suburban living qualities, commonly characterized by low density housing.
The proposal focuses on an integrated design approach in the development of sustainable architecture, materialized in the design of a residential complex in the heart of Aalborg, DK which sustains both environmental and societal issues. With the purpose of designing with sustainability in mind, the group has decided to emphasize on social and environmental sustainability. Moreover, key aspects for the design are the achievement of low energy demand, and of a good indoor environment accomplished by passive and active means. Nonetheless, technical considerations should not create limitations, but be used at a tool to create better architecture, therefore not having the architectural expression neglected, but integrated within the technical aspects. The presented proposal provides the optimal solution for suburban living, developed within an urban context. Therefore, placed in the heart of Aalborg, the complex provides its inhabitants with the essential characteristics of the suburbs, without the inconvenience of everyday commute. The morphological intention of the complex works with a great variety of outdoor spaces, creating a route that carries the viewer from the more public
spaces, towards more intimate quarters. The architectural language of the complex depicts upon the collective memory of Danish traditions, conceptually working with both the city block [Karre], typical to the urban context, as well as the suburban detached house with its private garden. Nonetheless, it is essential to create an ideal indoor and outdoor environment for the inhabitants that choose to live in the proposed residential development. Personal Involvement The project presented us with the challenging task of working with more technical features which involved sustainability principles such as indoor environment and passive and active energy solutions. Establishing an equilibrium between architectural and energy efficient principles has been a team effort. However, my personal contribution has been more on the architectural features of the proposal, such as volumetric composition, design of the residential units and architectural integration of passive and active strategies. At a delivery level, the elevations, sections and diagrammatic representations, as well as the model have been part of the tasks I was assigned to complete.
Open Green Areas
Architectural Intention At a conceptual level that stresses on the importance of integrating rural features in the urban dwellings, the proposals looks at the importance of the relationship between the inhabitant and the outdoor areas. Therefore, it is essential to create an ideal indoor and outdoor environment for the inhabitants that choose to live in the proposed residential development, while having the opportunity to chose between different relationships to the outdoor environment, as shown in the diagram placed on the previous spread.
Moreover, by stressing upon Whiteheadâ€™s  belief that dense communities are successful communities, the design
depicts upon density as an essential feature. Hence, the dwellings integrated in the proposal look at different users. Ranging from studio apartments to duplexes, the dwellings can be inhabited by both young professionals and students, as well as families. Therefore, the probability of creating a sense of community, similar to that of the Danish suburbs and rural areas is created. Moreover, the materiality of the complex also sustains the transition from the warmth of the rural environment expressed through the timber cladding, to a more cold perception, described by the fast pace of the urban environment PV panelling.
Technical Considerations After the overall energy consumption has been reduced with the basic design, the Zero Energy Goal has to be reached by active means. In this case, the energy is produced on site in the form of electricity sent back to the grid. According to latest research, the best orientation for PVâ€™s is SW or W. The best efficiency is achieved in the consumption peak time (noon), therefore electricity generation at that time being the most sensitive solution for the grid. High initial costs are the biggest disadvantage of PV use. The Swiss company Swissinso aims in providing affordable PV panels. Regarding
this problematic, a survey has been conducted with results showing that architects, contractors and clients accept price increase of 20% in comparison to standard PV. As a matter of course, efficiency still needs to be comparable. . Where it is not possible to place standard PV panels, or the facade is not oriented appropriately, dummies or ECO-CLAD XP Exterior cladding are installed. This cladding consists of renewable FSC certified bamboo fiber and 100% recycled paper, significant for its extreme durability.
Sun Infiltration for Surroundings PV Integration Roof at 30o
Natural Ventilation Stack Effect Natural Ventilation Cross Ventilation
Floor Heating Smaller N Windows
Sun Shading Overhang Sun Shading Louvers
Energy Optimized Windows
Insulation Natural Ventilation Single Sided
Demand Controlled Ventilation Grid Connection Electricity Mechanical Ventilation with Heat Recovery
Pipes and Water Container Internal Supplement Incident Solar Radiation Heating Requirement Utilization Factor
HATLEHOL PARISH 2014 // Church // Alesund, NORWAY // University Project // Group: David Drazil, Helle Toft, Nadia SkĂŚrgaard, Pavlina Svedlakova// Supervisor: Claus Kristensen, Dario Parigi
By dwelling upon a tectonic approach, the synopsis of the conducted research outlines a dynamic preliminary proposal for the Hatlehol Parish, proposal that harmoniously merges the construing with the constructed. However, the aim is that through a tectonic approach and an integrated design process a successful solution is achieved when merging all components together. The point of departure in the design process has been the formulation of the desired gestures of invitation, safety and ascendance, which strongly influence the architecture of the proposal throughout all design stages. In an effort to achieve the initial social and architectural goals depicting on a holistic approach, that emphasises both the technical and the architectural aspects, a great number of analyses and explorations regarding statics, acoustics, lighting, as well as human perception have been made. Nonetheless, separate elements meet their requirements for static, acoustic or thermal insulation consideration.
Nordic design has been highly emphasised in all architectural and technical considerations. A study of the phenomenological interpretation of various buildings heights and their perception from the human perspective has been an important driver in the initial design stage. Moreover, an analysis of distances between building volumes is considered. Hence, the volumetric composition is rendered in accordance to the human scale and human perception. The Church is desired to work as a landmark, while at the same time relate to the human scale, a key feature of Nordic Architecture. The final proposal for the structural system is a synthesis between load bearing systems analysed in the preliminary stage. The chosen system consists of two structural parts which cooperate and mutually eliminate their weak features. The problematic of acoustics was taken into consideration in the development of the geometry of the Church Room. During the analysis, various iterations of the wall and roof configurations have been tested,
the most efficient proving to be that of the fractured surfaces which help in breaking the continuity of the convex curvature of the outer wall. Conclusively, the end result is a structure which supports the concept and gestures, as well as the dynamic movement through facade fragmentation. This fragmentation permits light infiltration into the church room and positively influences the acoustics of the geometry. Personal Involvement The task of working on a Church has been over the years considered the most prestigious commission for architects worldwide. Therefore, by working on such a project, while fulfilling the tasks of the semester which consider structural awareness on one side, and the architectural metaphor on the other has highly stressed our baggage of skills. In the project, I have worked with the parametric design of the structural system, and the design of the Church complex. At a delivery level, I have done sections, elevations, diagrams and floorplans.
1_three volumes, three functions
2_connection to the peak point
3_gesture of safety
4_sun to the courtyard
5_protection from wind
6_one origin for geometry
7_relation to human scale in courtyard
8_landmark from outside
9_movement towards ascending
10_complex connected through roof
11_framing views from courtyard
12_relationship to points of interest
13_inviting gesture to the complex
14_circulation in the courtyard
15_important functions at high ends
16_ light, acoustic, structure
Architectural Intention The proposed site has an area of approximately 18770 square meters. To the East, the site opens up towards the cemetery, the North vista frames a view of the surrounding mountains, while in the South-West one comes across a small residential area. A main road frames the Northern boundary of the site providing several possibilities for access. Moreover, the western boundary of the site is given by a narrow water stream. The site height culminates with a peak point, the peak point, currently used for outdoor ceremonies and events.
As a result of the analysis of the given location, as well as taking into consideration the requirements given in the brief, the existing parking lots are not sufficient for the new complex, and better access from the bus stops shall be provided. The Church is desired to work as a landmark, while at the same time relate to the human scale, a key feature of Nordic Architecture. Therefore, a study of the phenomenological interpretation of various buildings and their heights is provided. With consideration to the interior of the Church room, the height is designed as to inspire a feeling
ascendence towards divinity. This design intention is not only materialized in the interior of the Church room, but also shapes the geometry of the complex. Structural System The final proposal for the structural system is a synthesis between load bearing systems analysed in the preliminary stage. The chosen system consists of two structural parts which cooperate and mutually eliminate their weak features. Glue laminated timber frames are arrayed along the outline curve of the building. Dwelling upon a honest approach on the
structural solution as to reflect Northern traditions, the frames serve as the primary load bearing system. Rigid joints are designed as a solution for the frame lateral stability in plane. These segments open the facade towards the exterior and emphasize the dynamic ascending movement along the focal point of the complex.
8 1. Main Chapel 2. Sacristies 3. Church Entrance Hall 4. Childrenâ€™s Chapel 5. Secondary Chapel
6. Activity Rooms 7. Reception Hall 8. Offices 9. Congregational Hall
Geometry - emphasising the feeling of ascendance
Rigid Frames - glue laminated timber simplified model for calculation
Various Sections of Frames static reasons, light infiltration, ascendance
Structural Insulated panels - 3d stability, no buckling, thermal insulation
REPOSITORY OF THE CITY 2013 // Museum and Creative Workshop // Leeds, GREAT BRITAIN // Bachelor Thesis // Individual Project // Supervisor: Paul Clarke
Architecture is a mere response to the needs and desires of society. Every architectural aspect hides a story, a reasoning that justifies its existence at a particular moment in time. The narrative of the presented project is inspired by Law’s belief that the built form is strongly intertwined with societal change. The integrity of a place lies within the user’s understanding of its sociocultural heritage. Therefore, through the function it houses, the proposal addressed the understanding of the societal change of Leeds, a prosperous city during the industrial revolution, that changed its fundamental structure in current years. Therefore a fracture appearing in a city’s urban fabric has been the result of this rapid change of societal needs, from industrial to economic. Cities of great importance during the Industrial Revolution, such as Leeds, had striven to maintain their status by rapidly adapting to the needs and demands of the new user, hence rapidly absorbing new demands and obliterating the old functional pattern, phenomena seen in the citie’s urban development. Therefore, this project addresses the issue of reintegration of a forgotten area within the city of Leeds dismissed after the Industrial Revolution, in the newly developed urban fabric of the city. This is achieved by dwelling upon the awareness
of the user about the city’s heritage, as well as by responding to the needs of the current user.
large urban areas of importance to the former user have lost their value, while the modern city continued to develop amidst.
Consequently, the resulted venue considers how a place can be perceived as a transitional environment between the materiality of what used to represent and what now represents the city of Leeds while dwelling upon the societal chance the city has undergone.
This phenomenon of the metaphorical fracture within the urban environment has been a common sight through many cities of the Industrial Era, Leeds being an accurate example. Such an area within Leeds is that of the Little London district. This quarter finds itself on the boundary line between the modern city center, the academic quarter inhabited by the new user of the city, and the old industrial settlements.
Programmatically, the intervention intends to preserve the industrial inheritance of the location and, at the same time, provide for the new user of the city, hence transitioning from a place of desperate degradation to a major space of social and cultural public activity. ‘The built form is a mere reflection of the socio-cultural values of society.’ [Low,1993:75] Therefore, any architectural phenomenon can be explained through a thorough analysis of its context. The spatial fracture in urban development, embedded in the urban fabric of Leeds city, finds its reasoning in the dramatic dynamic of the Industrial Revolution. Throughout history, emblematic cities of the time have had to maintain their eminent statuses by rapidly adapting to the requirements and demands of the new user brought in by the Industrial Revolution. Consequently,
REPOSITORY OF THE CITY
Preceding industrial Leeds, the city has been an important railway junction. This fact has lead to the booming development of the city during the Industrial Revolution.
Following the industrialization, the cityâ€™s railway network has developed, the juxtaposition of these steel objects determining the focal point in the development of my concept.
The inspiration for the vocabulary of the proposal is inspired by the clear angles resulted from rail juxtaposition as well as the mechanism of the steel wheels of a train.
Research shows that the city is built on a network of canals. Moreover, we can see here again the repetition of steel elements much like the rails mentioned previously.
The clock - a constant sight in industrial Leeds. Itâ€™s mechanism has inspired the concept narrative. Having mapped the city area similar to that of a clock, a driven analogy has shown that similar to a broken component of a clock, an ill component of a city negatively influences the whole mechanism.
Art as a mechanism-the Steam-punk artistic current developed by modern artists, revealing the involuntary appeal of the new generation to the industrial past along with itâ€™s metal mechanisms.
1. Reception 2. Cafe 3. Kitchen 4.Repository Atrium 5. Research Facility 6. Reading Box 7. Archives 8. Rememberance Hall 9. Circular Gallery 10. Gathering Point 11. Atelier 12. Machenery Quarters 13. Power Room 14. Parking
The starting point of the research has been the phrase â€˜fractured citiesâ€˜. As mentioned in the introduction, the industrial revolution has caused fundamental social and economic fractures withing the development of a number of different cities in England. Therefore, the proposal is a metaphor of this fracture, commemorating not only the memory of this part of history, but also the urban spaces it left behind. This later intention has been achieved through the placement of the complex, on the border between modern and industrial Leeds. The geometry of the proposed venue is designed as an expression of both the industrial heritage of the city, as well as
REPOSITORY OF THE CITY
of the organic fracture between the three existing experiential quarters of Leeds. The building with its surrounding site shall act as a catalyst within the urban and social fabric of the city, by populating a central, yet abandoned site. The venue shall commemorate the history of Leeds through a Remembrance Museum, exposing works that dwell upon the development of the city from an industrial town to an aspiring academic center. Nevertheless, the venue shall shelter the needs of the new user- the young professional residing within the art and design realm, that has been brought in by
the continuous expansion of the academic function of the city; by providing aspiring artist with exposition halls and workshops, therefore facilitating their integration within the larger scheme of the city. Moreover, the building shall act as a visual indicator of itâ€™s programme by capturing architectural elements present in the vocabulary of Victorian industrial buildings. Morphologically, the proposal is comprised by two separate buildings represented by the Main Museum and the Atelier of Creation. The main building is intended to function as a transitory space. The sensorial experience here dwells upon
the route through time, from the industrial past to present day. These two entities of time are stipulated at a visual level by the two wings of the building, connected through a Hall of Remembrance designed as a reenactment of the fracture of the urban fabric in Leeds.
REPOSITORY OF THE CITY
gallery spaces fitted for the needs of present day society
interconnecting passage between building wings
atelier of creation for young professionals
exhibition spaces suited for works of remembrance of the old city
REPOSITORY OF THE CITY
A WALK OF REMEMBRANCE 2016 // Urban Space - Memorial // Bucharest, RO // Competition Entry - Honorable Mention // Individual
The proposal for the ‘Walk of Remembrance’ is shaped to trigger a sense of remembrance in the mindset of the visitor. The materials, the morphological composition, as well as the symbolism of the elements used in shaping the experiential walk throughout the site are meant to commemorate the re which killed 64 young, beautiful souls, gathered to celebrate the release of the new album from the metalcore band ‘Goodbye to gravity’. Simplicity has been a key feature of the design However a duality in the symbolical meaning of the proposal leaves room for everyone that visits the site to translate the gesture of the design according to their own beliefs and their personal experience. The location of the proposal has been established within close proximity to Tabacarilor street no. 7, the address at which the tragedy took place. The nature of the existing site has rendered this opportunity possible, as at a current state, the space is empty. Moreover, the decision to propose a public space as a response to the wish of creating a place for commemoration of this tragedy is based on a the desire of providing society with a venue for all, regardless of social/ political/ ethic background, a space that exists in a state
of complete openness to the city and to the people. With this consideration in mind the memorial is not only meant to be explored at a physical level, but also at an experiential one. Therefore, the geometry of the elements within the proposal, as well as the materials, carry a symbolical meaning which can be interpreted differently depending on the viewer’s personal beliefs and ordeals. The walkway hovers above ground, raising the awareness of the visitor, and placing emphasis on the portals that surround the path. The materiality of the path contrasts the warmth of the re, through the coldness of its coloration and pattern, therefore being humble towards the importance of the portals. The corten [weathering] steel structures used throughout the site were designed to commemorate a sense of remembrance in the viewer’s subconscious. The verticality of the elements reveal the heavens above, while their disposition in plan positions the reminiscence of the club where the tragedy took place at a culminating point, as the structures are pointing towards what is left of the building.
happenings of the tragedy. Nonetheless, the number of the elements coincides with the number of the victims that have passed away, relating the installation even more to its contextual happenings. Moreover, the lights placed in the slit between the two corten panels symbolize the light of the heavens, the hope for salvation. Water has throughout history been interpreted in many ways, all rendering upon the meaning of life. In Greek mythology, water is the epitomal symbol of metamorphosis and philosophical recycling. In this sense, within the proposal, water has been used with the purpose of closing the metaphor of the loop of life. Furthermore, water symbolizes purity and is the source of life itself. Hence, while the portals look at the extinction of life, the water ponds emphasize the renewal of it, completing the cycle of life.
The form of the pieces creates an analogy towards doors and windows, symbolic of the escape and the struggle that the 64 victims have undergone, whereas the colour stands as a symbol for the blood and the smoked tears that mark the
A WALK OF REMEMBRANCE
The walkway The pathway is morphologically placed to direct the visitor to / from the site of the former club . Precast concrete has been chosen for its cold nature, which contrasts the heat of the portals.
The portals The corten [weathering] steel composing the installation has been chosen for its rust/reddish colour that is symbolic of the remains of the tragedy and of the fire
The ponds The use of water has the potential to trigger a duality in the viewers interpretation. This element can be symbol to circumstances such as life, motion, renewal, blessing, invitation, reflection, purification and most importantly transformation.
A WALK OF REMEMBRANCE
ANEMONE 2016 // Skyscraper Public Space Design // Chongqing, China // Competition Entry - 3rd prize // Group Project
Anemone provides to the inhabitants of Chongqing South Bank Residentialskyscraper a set of highly distinguished and exclusive spaces on four different levels - the ground, the 12, the 26 and the 40th floors. The design combines traditional elements distilled from the art of landscaping in Chinese gardens together with a modern reinterpretation of these exact elements that can be depicted in the Chinese heritage. Modern, and at the same time traditional Blending tradition and innovation is the strategy to pursue the creation of unique flexible spaces, which offer different degrees of privacy, tranquility, formality and environmental control within the community-shared floors. Technology and architecture link to nature not merely through composition but at a more profound level, by embedding intrinsic characteristics of nature as adaptability, responsiveness to environmental factors, and growth processes. Therefore, on each level a different senzorial experience is created, with the help of kinetic and reciprocal structures. The ground floor is designed to integrate with the surrounding landscape. The curtain wall is either retracted or extended
to create spaces suitable for cafes and commercial activities. The new outline of the ground floor is defined with a lightweight structure, which encases the existing pillars and extends outwards, acting as a filter between the building and the landscape. The whole structure only consists of two different modules, which can also be combined to connect the two buildings and therefore to create a continuous walkway around a garden-plaza in between the buildings. We have proposed an â€œedible gardenâ€? on the 12th floor, with plants distributed according to suitable environments in terms of light exposure. This floor revolves around family activities and it is organized as an open plan partitioned with screens of different nature: green walls made of plants and herbs, shelves as well as kinetic screens. By means of their disposition the screens create flowing spaces with different degrees of privacy and protection to environmental factors. When kinetic screens are used, they can adapt in real time to changing factors as wind, light, privacy and acoustics. The 26th floor is occupied by a wellness and meditation area. The floor is organized in pavilions around small water features a central element in Chinese gardens.
Finally, the top floor makes use of the availability of a double height space. The floor is designed with 11 enclosed units most of which are suspended from the ceiling over a garden. The units are connected through a flying walkway suspended from the ceiling, creating a scenic route throughout the floor. Personal Involvement For this proposal I have had the unique opportunity to work alongside one of my precious professors, Arch. Dario Parigi. While his main task has been to create the functionality of the reciprocal structure present on the ground floor, and that of the kinetic structures presented on the upper floors, my tasks became those of designing the floorplan schemes and delivering the plan drawings, section drawings as well as the post processing of the renders. I feel that this project has put much emphasis on understanding what the requirements are when building in a completely different society - such as a Chinese city. Moreover, I feel that through this project I have learned once again how engineering can raise the architectural quality of a project, and not work against it.
The structure is a reciprocal frame, a typology invented in ancient China, and is charaterized by the possibility of creating free-form shapes with the use of simple jointing techniques and standardized components
The kinetic screen is based on a pattern of elements that are allowed to rotate, and by rotating they change the degree of permeability and the response to environmental and social factors. The screen is an innovative mechanism whose motion is triggered with a single actuator: this allows avoiding the presence of any mechanical devices other than the elements themselves.
ARCHITECTURE AS FURNITURE 2015 // Aalborg, DK // Exhibition Design // Group // Supervisors: Marie Frier, Lasse Andersen
During my first year of Masters I had the unique opportunity to be part of an Exhibition Design team for the Utzon Centre in Aalborg, putting together an exhibition focused on the perception of Architecture as Furniture, commonly know as furnitecture. Alongside prof. Marie Frier and the gallery’s curator Lasse Andersen, the exhibition team has designed the manifestation as a tribute for arch. Jorn Utzon, a symbol for Danish Architecture.
The gallery exhibited not only works The result of the workshop were the of the architect, but also projects pieces exhibited in the galleries of the crafted by the students of MSc01 and Utzon Center. inspired by Utzon’s design. My participation has been both as a The proposals crafted by the students student working the workshop phase, have been part of a workshop that but also as part of the Exhibition Team stressed the understanding of the that have handled the design of the loci of a place, and the metaphor of Gallery Space for the Exhibition. an object. Therefore, given two MDF boards per group, the students have to create ‘places to ascend’ where architecture became furniture.
ARCHITECTURE AS FURNITURE