CAZACU CRISTINA MArch RIBA 2 PORTFOLIO SEPTEMBER 2021/22
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PROLOGUE
It has always been of particular interest to me, the infinite possibilities arising from the genuine intent of creation. Closely intertwined, the relationship between creator and project, depicts not only relevant undertakings, but also an intimate image of one’s perception and their temple of thought. I consider constantly exploring and challenging of one’s self and their greatest assets in parallel, to be of utmost importance. This portfolio dives into various topics and building typologies.
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I • SCHOOL & MIXED USE
C U LT U R A L S A N D W I C H APRIL_JUNE 2020 • THESIS
III • MUSICAL THEATRE
II • MIXED USE
INTERTWINED OCTOBER_JANUARY 2019 • STUDIO
IV • HOUSING
“O”
GARDEN STORIES
MARCH_JUNE 2019 • STUDIO
MARCH_JUNE 2018 • STUDIO
V • SCULPTURE
SHARD OCTOBER_JANUARY 2018 • STUDIO
VI • VARIOUS
INTERNSHIP J U LY _ S E P T E M B E R 2 0 2 0
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CULTURAL SANDWICH
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: C U LT U R A L SANDWICH
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TYPE: ACADEMIC, THESIS • PROFESSOR:SAN-HWAN LU • SEMESTER: 6 TH
1 CULTURAL SANDWICH TYPOLOGY: SCHOOL & MIXED USE Turning to Constanta in Romania, a city in a country where young ambitions are in great demand. The project questions the ongoing political scene regarding the overall mentality of deteriorating cultural values. It aspires to be an innovative pioneer concerning aspects of archaic educational notions. This project hopes to provide a plethora of solutions toward academic environments, leading to a more versatile society where innovation is cherished. As Climate Change is a daunting issue, the project is developed based on aspects such as ecology, regionalism, carbon dioxide emissions in relation with the marketed material industry, material transportation and costs. This building is to be seen as a whole entity, functioning self sufficiently using rainwater in an enclosed system, as well as self generated energy, fueling not only itself but producing biomass for further development of clean energy.
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Receding downward from the ground, the project takes advantage of factors such as natural light, position, as well as an increased airflow. Located in an area of ongoing development and political interest, “Cultural Sandwich” aims to attract patrons from various social groups. It aims to facilitate greater influx for business in that area. Different levels offering different activities come together as one. The ground floor being open to be accessed by anyone, filled with a multitude of little business, as well as a central courtyard with a suspended platform for cultural performances. There’s a single link between the ground floor and public roof terrace, providing the school privacy. 7
Fig.1 Concept Sketches
Using drawing skills with a traditional paper medium serves me with a platform of multiple possibilities to explore. The design starts of with sincere ideas, awaiting to be digitalized using a greater vocabulary of spacial combinations. Preferably ink, as it is permanent, along with colored pencils for personal clarity as well as communication.
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ROOF SHAPING: The roof is modeled in a way that allows its solar cells to maximize the amount of sunlight exposure to them during the summer months.
Fig.2.1 Diagram: Roof Shaping
ORIENTATION: Targeting good lighting situations, the classes of the educational institution are located on the East, South and West side of the site and building.
Fig.2.2 Diagram: Orientation
PROGRAM: The building derives its name from the layers of the program. The ground floor and roof terrace are open to the public, the core houses a school.
Fig.2.3 Diagram: Program
VENTILATION: The ground floor maximizes the cooling effect, entering through maneuverable air flaps at ground level, hidden away from the public eye. Further on, the air is expelled through air vents which on only one side of the upper atrium. Fig.2.4 Diagram: Roof Shaping
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1. Library 2. Storage Library 3. Storage Conference Room 4. Conference Room 5. Conference Room 6. Theater 7. Open Gallery
9. Elevator 10. WC Men 11. WC Women 12. Technical Room 13. Theater 14. Storage Room 15. Shop 16. Atrium
Fig.3 Ground Floor
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A set of four main canopy columns support the critical points of the ceiling creating the opening for the auditorium, while a secondary supporting set of canopy columns are placed along the contour of the building. Fig.4 Axonometry with various element groups
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The structure of the lower ateliers is based on movable walls, with fixated wooden columns, not connected to the first ceiling. The facade primarily uses a steel skeleton structure, filled with a multitude of glass pods, housing a ecological system of micro-algae.
TIMBER PANELLING
STEEL CORE
TIMBER ELEMENTS
Fig.4.2 Main Columns Fig.4.3 Secondary Columns
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Current Classes
Mobile Mid-wall
Open/Closed Space
Tessellation
Fig.5 Tessellated Hexagonal Class Modules
The classes are conceptualized as flexible tessellated modules, with a movable mid wall working on a set of carefully placed rails. Each one of them of a hexagonal shape, purposely contrasting the chained rectangular, design of classes, which remains unchanged throughout decades in Romania. Through the system of this mobile wall, designed to be soundproof, educational space can become extroverted, opening up to other modules, offering changes in interactions as well as introverted, creating smaller compartments. The upper two classroom floors, follow the same principle in the details of their mobile wall execution. Offering space for social interaction in front of the tessellated rooms, the floor continues the atrium of the previous ground floor, welcoming sunlight as well as warmth in the cold months. Both school floors are connected by
29. Headmaster’s Office 31. Teacher ’s Office 32. Storage Room 33. Study Space 34. Classroom
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Fig.6 2nd Floor
35. Classroom 36. Cleaning Staff Room 37. WC Women 38. WC Men 0 1
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a main staircase exclusive to the school. The facade is structurally independent from the floors of the school. It is filled with micro algae glass pods, which provides character. The walls of the classrooms are made out of CLT, with an I-profile for the connection with the plywood mobile wall.
T-PROFILE RAIL PROFILE
CLT
Fig.6.1 Detail mobile wall
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The facade with the glass pods are filled with regional micro-algae, brought from the Black Sea, which are supplied with air and water. The pods produce biomass equivalent to their contents every week. The resulting excess can be transformed into usable energy in the form of biogas stored in fuel cells. Along with the energy from the solar panels, it paves a path for the project to reduce its carbon footprint Fig.7
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Algae Life Cycle
1. 2. 3. 4. 5. 6. 7. 8. 9.
Steel console Corner profile Spring rope - for net facade Point holder Steel console Railing Point holder Steel cable Bracket [ mm ]
10. Insulation Sealing foil Blinding layer
100 20 10
11. Floor paving Joint filler Bedding Gravel Earth layer 12. Steel base 13. Wooden pillar with steel core 14. Pilkington glass
5 10 30 15
15. Timber beam Timber paneling Insulation Plywood board Sound insulation Screed Pine parquet
400x130 15 20 10 12 40 10
16. Hollow profile 17. Pilkington glass
100x80 36
100x50 30
18. Steel mounting Hollow profile 100x80 with Water and air supply Point holder 19. I Profile HEA 160 20. Microalgae 500x200 21. Timber beam 10 Plywood board 12 Sealing foil 200 Insulation 12 Sealing foil 500x100 Angle profile Water retention 40 10 layer 150 22. Filter bed 100x80 Substrate Fig.8 Details
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INTERTWINED
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:INTERTWINED
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TYPE: ACADEMIC, SOLO • PROFESSOR:SAN-HWAN LU • SEMESTER: 5 TH
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INTERTWINED TYPOLOGY: PUBLIC HOUSE The site, located in the 10th district of Vienna, a newly planned areal of the main railway station offers possibilities of interacting across not only cultures but also social ranks in the society of this district. Closely analyzed, in relation with the globalization event currently happening across the globe, an inclusive approach, a space open to everyone and at any times, is highly sought after. The task was to develop such a space.
The main design of the building lies within literal sense of the project, “Intertwined”. Closely influencing each other, “Intertwined” offers a platform of anonymity as well as individuality crossing borders of cultural so societal difference, welcoming medicine and culture as a healing approach with different artistic therapies. Not only healing, but also areas meant to approach different age groups, erasing the barriers between generations.
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C I R C U L A T I O N
S P L I T
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L E V E L
After analyzing Medicine and Culture as main program spearheads, the development of principles or a set of rules in this imaginative space is the next step. Exploring different solutions to the intertwining of topics, people and ethnic groups, four main characteristics are laid down: singular circulation; splitting of levels; movement towards the center; distribution. These principles are then used to design this highly intertwined space threedimensionally. As the entire floor plan shape is oblique, there is a certain optical illusion as a purposely designed aspect.
The facade of the building, consisting of slants, is structurally independent from the structure inside, of which only but a few are load bearing. The flow of forces can be seen as a few slants run continuously from the roof to the ground floor. The holes of the facade are meant to attract attention to the oblique building, inspiring exploration of the monolithic-looking project. Depending on the user’s point of view, the building can either appear introverted, or open for further exploration. The roof is of a hyperbolic shape, using this form in directing the rainwater.
C E N T E R I N G
D I S T R I B U T O R
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1. Storage 2. Staff Room 3. Staff WC 4. Garbage Disposal Room 5. Cooling Room 6. Kitchen 7. Storage Room 8. WC Men 9. WC Women Fig.9
10. WC Handicapped 11. Storage Room Children´s Museum 12. Closet 13. Seating Landscape 14. Sewing Atelier 15. Cafe 16. Hall-Stand 17. Reception Children´s Hotel 18. Sitting area
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Ground Floor
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20. Doctor´s Office 21. Atelier 22. Sculptures Ateliers 23. Technical Room 24. Medical Storage Space 25. Workspace 26. WC Men Fig.10 First Floor 22
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27. WC Women 28. WC Handicapped 29 Storage Room 30. Gallery 31. Waiting Area - Medical 32. Book Corner 0 1
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Membrane Structure
Secondar y Structure
Load Bearing Slats
Stainless Steel Ceiling Structure
Load-Bearing Walls
Circulation Ramps
Fig.11 Axonometry 23
Fig.12 Rendered Indoor
Fig.13 Concept Sketches 24
Fig.14
Concept Sketches
INTERTWINING The material concept of the indoor design continues onto the facade. Unlike the outer structure, copper applied for the inner rooms visually directs the visitors, emphasizing the intertwined ramps in the open space. Distinguished by program in accordance to opacity, the discussion rooms, where privacy is needed, are kept of an opaque white color. The areas meant for artistic exploration concluding in social interactions, are left transparent, in order to maximize visual connections. Additional constant movement throughout the buildings generated through the ramps.
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In terms of technical details, the glass facade is detached from the inner structure. The roof is of a hyperbolic form, with a double membrane skin, while the air between the membrane layers acts as insulation. The rainwater is directed to two collecting points, where the it reaches a gutter. The load bearing slats, are placed on centric stainless steel supports, while the materiality of the floor from outdoors to indoors, is continuous. Fig.15 Details
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C Profile
[ mm ] 100 x 240 x 0,9
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Gutter
100 x 240 x 0,9
3. Hollow Profile Membrane Airspace Membrane Layer
200 x 200 x 10 3 260 3
4. Spacer - Membrane
80 x 40
5. Cable 60 x 45 6. Load Bearing Slat Concrete Casting F90i 7. Floor Covering Screed Sound Insulation Trapezoidal Sheet HEA 240 Suspended Ceiling
10 40 12 40 x 172 x 5 20 x 40
8. Point Holder 9. Pilkington Glas u=0.5 W/mK2
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10 Cobblestone Bedding 2% Gravel Soil
119,4 x 59 x 4 30 15
11. Steel Base
100 x 50
12. Floor Paving Screed Sound Insulation Sealing Sheet Base Plate Insulation Granular Subbase
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TYPE: ACADEMIC , PARTNER WORK•PROFESSOR:FLORIAN SAMMER • SEMESTER: 4 TH
3 ”O” TYPOLOGY: MUSICAL THEATER “O” stands not only for the name of the project, but is derived from the form, as well as its conceptualizing workshop dating on Orthodox Easter Day. “O” experiments with types of performing theater, questioning the relation between performer and observant, as well as the idea of a building acting as a performance. Given a site with several constraints and turbulences along with local characteristics, the project creates an built statement for the 5th district of Vienna. “O”’s design process is highlighted in the multitude of examples and possibilities, shown on a 22 meters transparent paper roll. Given the narrow site, the relation between nearby historical buildings was also challenging. Different materials were tried out to create diverse forms and allow a vaster amount of spatial expression, as well as portraying thoughts. It is situated on an old parking.
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Fig. 16 Concept Models of different materials, during the workshop
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Fig.16.1 Concept drawings during the workshop, by my partner and I Fig.16.2 Various other concept drawings by my partner and I
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1. Foyer 2. Gastronomy
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Fig.17 Axonometry
The platform offers space for relaxation, a cafe reaching up to the 2nd floor, as well as a second entrance to the building. It is accessible for handicapped individuals, welcoming everyone to a grand theatrical area.
1. Foyer 8. WC Men 9. WC Women 10. Men ( staff only) 11. WC Women (staff only) Fig.18 Axonometry 32
In order to not disrupt the cycling circulation of this site, a platform is elevated by a floor,offering space underneath itself for building administrative offices, as well as the main elevator for stage constructions and props. While no performance is being played, the stages remain as separated entities. Once a performance starts, the upper and lower central space of the theater stage, becomes one through a pulley mechanism. The space itself becomes a performance, while visitors experience various point of views into the upper part of the building. Fig.19 Section 0 1
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Fig.20 Stage Mechanism
The stage explores the visual and performative relation between performer (A) and observer (B) Before a play starts, the stage, which is primarily made out of dense elastic strings with of sturdy platforms attach to it, lays flat, awaiting the arrival of the performers. Once the plays starts, the platforms are pulled upwards and downwards, being connected to a pulley mechanism in the ceiling. Then, the space itself becomes a theatrical performance.
Fig.20 Relationship between performer (A), and observer (B)
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TYPE: ACADEMIC, PARTIAL GROUP WORK• PROFESSOR:BERNADETTE KREJS • SEMESTER: 4 TH
4 GARDEN STORIES
IN CITY2
TYPOLOGY: SOCIAL HOUSING This project’s starting point was the realization of an urban idea on a theoretical areal. This was solved by creating different levels of privacy further divided in two platforms. Firstly housing blocks were elevated on a platform, while on the ground level various shops and institutions are situated. Split by a commercial street, signalized with generously sized colorful glass facades, it invites the public for a closer look and window shopping.
The Northern part of the platform consists of a single large courtyard, while the Southern part introduces smaller courtyards, both offering different experiences and interactions. The platform integrates four housing blocks, each designed by one of the project’s group members, “Garden Stories” looks to create the sense of a house, stepping out in the nature on the generous terrace being a crucial aspect of it.
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Fig.21.1 Corridor collage
Offering an additional layer of privacy through the green corridor, “Garden Stories�, invites nature in the living space, connecting people with lost concepts of nature unity. The prefabricated wooden modules stress the codependency of people, nature and the living space.
Fig.21.2 Apartment collage
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1. Crooked housing
2. Private gardens (ground floor)
3. Circulation Cores
4. Public gardens
Fig.24 Diagrams of the semi-private platform
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Fig.23 Sections
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Dependent on sunlight, the position of each individual housing block of my project, is connected by triangular cores, condensing the circulation. The open corridor allows for movement through all three blocks. The residents are offered a number of private garden spaces.
The prefabricated modules of “Garden Stories� come in sizes from 37 m2 to 115 m2, offering living situations for various generations and changing family structures. Additional rooms can be added in a spiral manner reaching the maximum number of rooms (6). Fig.25 Module
A - 35 m2 Living Space - 26,7 m2 Terrace B1 - 75 m2 Living Space - 26,7 m2 Terrace B2 - 75 m2 Living Space - 26,7 m2 Terrace B3 - 67 m2 Living Space - 13 m2 Terrace C1 - 86 m2 Living Space - 13 m2 Terrace C2 - 88 m2 Living Space - 13 m2 Terrace C3 - 75 m2 Living Space - 26,7 m2 Terrace D1 - 110 m2 Living Space - 26,7 m2 Terrace Fig.24 Distribution of Apartment Types
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TYPE: ACADEMIC, SOLO • ADVISOR: WERNER VAN HOEYNDOCK• SEMESTER: 3 RD
5 SHARD TYPE: SCULPTURE As the name is already hinting towards the topic of this course’s exploration, “Shard” explores architectonic space through the dissection of a chosen platonic body. It results in a sculptural object, meant to be navigated by close-up visual analysis, displaying unique views from each point of perspective. Starting off in the two dimensional space, “Shard”’s elementary form consists of hexagonal tessellations with inner voids constructed using mathematical procedures, concluding in a maze-like pattern. A number of different deformations were explored as drawings, followed by the transition from the two dimensional to the three dimensional space, choosing a different platonic body. Here, a cube was chosen, as one of the platonic bodies, for further investigation. Light in accordance to its sculptural trait, played a role in spacial tessellation. Every cube has a unique cut-out. Its borders and initial form is meant to fade away, through the uniqueness of each perforated body, as well as planned tessellation and continuity.
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Fig.27 Exploration of two dimensional perforations
Fig.28 Concept Development
The 5x5 cm cube makes the foundation for further perforation. Using halves and thirds as proportions, the initial negative body of “Shard� was designed. 42
Fig.29 Perspective
Fig.30 Perspective
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TYPE: COMPETITION - INTERNSHIP • TASK: FLOOR PLAN; MODEL• OFFICE: HERI&SALLI•YEAR: 2019
6 SALZWELTEN
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THE SALZBERG IS CALLING!
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Fig.30 1 st Floor ©Heri&Salli
“Salzwelten” is a competition based in Hallein, Austria, for a much needed renovation of a prehistoric salt mine. It creates an interactive space in the cave itself as well as an extension of the current building following a cubist concept. Fig.31 Section (Colleague Work) ©Heri&Salli Längsschnitt03-durchdasRestaurant/ViewPointPrewViewraum
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Fig.32.1 Backview
Fig.32.2
Frontview
Fig.32.3
Close-Up
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TYPE: COMPETITION - INTERNSHIP • TASK: FLOOR PLAN; MODEL• OFFICE: HERI&SALLI•YEAR: 2019
FURNITURE MODULES
Fig.34 Fig.33.1
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Axonometry of Conference Room ©Heri&Salli
Given as a task to redecorate the Heri & Salli conference room, plywood cupboard modules were introduced. Consisting of a 330 x 330 mm per cube, a sloped plywood board at the farthest horizontal side of the modules allow them to be joined together, while being mobile on wheels. At only four degree of a sloping angle, this spot can be used as additional seats or as space for publications. The discussion table will also be replaced by a singular plywood one, resting on a steel structure, without any wheels. Fig.33.2 Oblique View of the Conference Room ©Heri&Salli
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The cupboards have a maximum of six individual boxes and a minimum of four to keep the form factor functional. The wheels allow quick and easy permutation amongst the cabinets to achieve desirable configuration. The primary element was intended to stay as economical as possible, hence fashioned after a simple open sided even quadrilateral. The cabinet exterior is subdued to blend in with the surrounding furniture such as the main conference table along with multiple chairs. Fig.35 Elevation
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EPILO
After having had the oppo in various aspects of realized Architecture can way of thinking for not o entity, but as “complete sum of its parts�, as Yona in. Ecological debates - d - and futuristic techn issues - seem to be in c As a next step, I believe the world as a whole - no - can fade the line bet
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OGUE
ortunity to be challenged architectural design, I n be transmuted into a only buildings as singular system, larger than the a Friedman also believed dealing with present crisis nology, - solving future conflict with each other. e a sensitive approach to ot as mere amalgamation tween these two topics.
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C R I S T I N A C A Z A C U • c r i s t i n a . c a z a c u 9 9 @ yahoo.com • + 4 3 6 9 9 1 7 3 1 6 1 7 2