Christina Guerrero-Thompson Architecture

PORTFOLIO C H R I S T I N A G U E R R E R O -T H O M P S O N

ARCHITECTURE IN COLOUR

TA B L E

O F

C O N T E N T

1. CURRICULUM VITAE 4 2.

TRANSITIONS: SCARBOROUGH GLASSWORKS

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3.

CONNECTING COMMUNITIES: YOUTH CENTRE

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4.

FAST AND SLOW : BICYCLE HUB

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5.

URBAN SPACE DESIGN

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6.

FLOATING SAUNA

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7.

SARA HILDEN ART MUSEUM

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8.

KARTON KABIN: FAFA’S STANDALONE CONCEPT

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C URRIC ULUM

V I TAE

NAME

BIRTH

CHR IST IN A GU ERR E R O - T H O M S O N

CONTACT

christina.guerrero26(at)gmail.com

Tel: +420 602 114 711

26/09/1993

Krasnojarska 681/14, Praha 10 Vrsovice

REFERENCES

AULIKKI HERNEOJA:

STEPHEN MARSHALL:

JOHAN LINDFORS:

MASTER’S THESES SUPERVISOR, UNIVERSITY OF OULU

ARCHITECT DIRECTOR AT BDP SHEFFIELD

ARCHITECT AND C.O.O AT KANTTIA2, OULU

aulikki.herneoja(at)oulu.fi

stephen.marshall(at)bdp.com

johan.lindfors(at)kanttia2.fi

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LANGUAGES. E N G L I S H

native

S L O V A K

fluent

CZECH

fleunt understanding

S P A N I S H

fluent

I T A L I A N

fluent

ADDITIONAL COMPUTER SKILLS.

MICROSOFT OUTLOOK

advanced

MICROSOFT OFFICE advanced

MICROSOFT LYNC advanced F R E N C H

intermediate/ SKYPE advanced conversational LASER CUTTING advanced F I N N I S H beginner Level 2 3D PRINTING good

CAD SKILLS.

CNC MACHINES beginner

VECTORWORKS

good

EXPERIENCE.

SKETCHUP advanced ADOBE PHOTOSHOP advanced ADOBE INDESIGN advanced REVIT advanced AUTOCAD

good

ARCHICAD

advanced

LUMION advanced

3DS MAX

Arkkitehtitoimisto Kanttia2 Oy, Oulu Architect

2018-2019

ADOBE ILLUSTRATOR advanced

good

2015-2017

BDP (Building Design Partnership), Sheffield Part 1 Architectural Assistant

2013

The Hospitality Company, London Summer job Silver Service, Canope waitress

EDUCATION.

2017-2019 UNIVERSITY OF OULU INTERNATIONAL

MASTERS IN ARCHITECTURE, University of Oulu, Oulu School of Architecture, Finland

2010-2012 NHVS (New Hall Volunteer service One of 5 student group leaders and general organiser of “Shaftsbury” club for the disabled

2012-2016 RIBA PART I CLASS TWO DIVISION TWO HONOURS BA Hons Architecture University of Sheffield, Sheffield School of Architecture, England

2009-2010 RSPCA Shop, Rochford Volunteer work for 18 months

Assisting with general running of shop

(2013-2014)

YEAR ABROAD IN VENICE, ITALY under Erasmus scheme at Universita IUAV di Venezia for 2nd year of degree.

Course taught in Italian only.

2010-2012 6TH FORM EDUCATION Four A2 Levels with grades A* in Art, A* in Spanish, A* in Extended Project Qualification, A

in Maths, B in Physics and A in Critical Thinking at AS Level

New Hall School, Chelmsford, England 2005-2010

2008 Paul Davis and Partners Architects and Urban Designers, London Two week intern work placement

ACHIEVEMENTS.

High School Education up to GCSE level 13 GCSEs obtaining 11 A* grades and 2 As.

‘A*’ grades include English Lit, English Lang, Science Core (phys, Chem, Bio, Ideas in Context), Science additional (Phys, Chem, Bio, Ideas in Context), Maths, Statistics, Spanish, French, Art, Graphics, Music, I.C.T and Religious Studies. ‘A’ grades obtained in Maths and I.C.T St Bernard’s Highschool and Arts Academy, Westcliff5 on-Sea, England

2014-2016

University of Sheffield Women’s Basketball Varsity Team 2nds

2012

Grade 8 Royal Academy of Music Singing awarded with Distinction

2012

Grade 7 Royal Academy of Music Piano awarded with Merit

2010

Bass Guitar Grade 1 (otherwise self-taught)

2010

Academic Scholarship to New Hall School

2007-2010

Duke of Edinburgh Award bronze, silver and gold

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PROFESSIONAL EXPERIENCE PORTFOLIO. (PA = Project Architect/ Project Manager, A = Collaborating Architect, C = Concept Designer)

MASTERPLANING AND URBAN DESIGN

2015

COMPETITIONS

2018 Fafa’s Standalone Concept, Karton Kabin,

Prefab Modular Building Design (PA)

2018- Hatsala apartment block, Kuopio COR Group

Drafted land use 45000 m² (P)

2019 Mäkkylä Housing Development Community Masterplan (C/A)

COR Group

RESIDENTIAL AND TRAVEL ACCOMMODATION BUILDINGS

2018- As Oy Oulun Pehtoori (P) Lapti

New Build 4400 m²

2019 Viinikanlahti 40 hectares (land and water). Masterplan and

local detailed plan with comminity housing and tourist

waterfront (C)

International urban ideas competition

City of Tampere in cooperation with the Finnish Association of Architects (SAFA) and the Association of Finnish Landscape Architects (MARK) (Office discontinued participation in competition due to lack of manpower and so concept was not officially submitted)

Leeds General Infirmary Masterplan and Campus Development Project (A) NHS England,

Leeds General Infirmary

2018- Massakustomointi Konseptiprojekti (P)

– Prefabricated, mass customization housing concept 2018- Apartment block / Care and service home, Kuopio (P)

Attendo

New Build 2770 m2

E D U C AT I O N

2015 Allam Medical Building, Hull Health Hub, Hull, UK (A)

University of Hull

2019 Valo business hotel, Vantaa (P) SSA Group

New Build 27.450 m2

2017 MECD Faculty Building,

Manchester Engineering Campus Development, UK (A)

University of Manchester

2017 Upper Brooke Street Refurbishment Project,

Manchester Engineering Campus Development, UK (A)

University of Manchester 2018- Teresa day care center and youth housing (P) Skanska

New Build 500 + 2700 m2

C O M M E R C E A N D R E TA I L

SOLO PROJECTS

2019- Chalet, Pribylina, Liptovský Mikuláš, SK

Private Commission

(PA)

2016 Houshold Kitchen Design (PA)

Private Commission

UNIVERSITY T H E S I S T O P I C S

Bachelars Thesis Title

Sociability: Can Mixed Tenure Schemes Help To Enable Social Cohesion in

2016-2017 Meadowhall Shopping Centre Refurbishment,

Sheffield, UK (A) British Land

Britain?

DESIGNING FOR A PLAYFUL FUTURE: A Review Of How Humorous

Mastes Thesis Title Play Within The Urban Realm Can Make Adult Play A Part Of Everyday Life

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T RA NS I T I O N S The project was and answer for the assignment task to design a glassworks and museum, creating a building for glassworking students, artists and locals alike.

The idea was to create a hybrid building with its function as a glassworks as it’s core, displayed and made visible to all.

Christina Guerrero 120128617 P1 Assembly drawing 1 Overall Assembly and strategy clear, and dichroic orange/red-tinted triple glazing

New elevated street

accommodation and residences contained within roof structure accessed externally to create a threshold between the main building and private relaxation/living areas

A B

Earth/growing medium

B

outer skin of the building- reinforced and one-way dicroic glazing. the one-way and transparent at night when building is lit,

Entrance and shop

D Green drainage layer (49-70% recycled material) E F

Cafe/restaurant

Waterproof membraine Conctrete slab

at night

C D undulating green roof structure (contains residence and student accommodations) with fenistration acts as manmade hill landscape

E F

Accommodation

Hot Shop

Cold Shop

Flexible public exhibition spaces

hub

Deliveries

suspended dichroic glass crystal containing hot shop and public viewing balcony

TU Delft Library Mecanoo Delft

Lightcicles John Blazy Designs Western Michigan University Eight, sixteen foot tall dichroic glass chandeliers were installed in the main west corridor and entry vestibule in the new Sangren Hall of Western Michigan University. Each "Lightcicle" was comprised of over 600 lbs of Dichrolam dichroic laminated glass, stainless steel, and custom made LED light bars as well as LED MR16 up and down lighting within the interior of each sculpture

steel columns support the folded roof structure which appears to

Steel frame, dichroic glass. It is of course noted that in the case of my structure the weight of glass will be much greater in comparison to that of the chendelier installation and therefore a much sturdier steel connection system must be adopted along with a much sturdier steel frame and tension cable suspension system.

Private conference rooms Nykredit Mortgage Bank headquarters Schmidt Hammer Copenhagen Hanging 50ft above the ground, the private conference rooms inside Nykredit's headquarters building are placed inside hanging boxes clad in dark polished wood. and supporting the staircases.

Cityscope Marco Hemmerling Cologne

transparent and the structure is lit from within

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Scarborough is a seaside town situated on an outcrop of headland, along theNorth Yorkshire coast, on the North Sea. Historically a british holiday-maker’s coastal haven, the town’s varied culture and aesthetic has slowly degraded over time and new plans are being made to masterplan the more popular areas in order to create a more cohesive environment and reignite the previous zest for life which it once posessed.

Its famous geographical feature is a high, limestone and sandstone promontory pointing eastward which supports the 11th century ruins of Scarborough castle and separates the seafront into two bays to the North and South.

The modern commercial town centre has migrated 440 yards (400 m) north-west of the harbour area and 100 feet (30 m) above it, and contains the transport hubs, main services, shopping and nightlife. The harbour has undergone major regeneration including the new Albert Strange Pontoons, a more pedestrian-friendly promenade, street lighting and seating.

One of the main aims for the proposed design of a glassworks and glass-making school is to embed it into the cultural regeneration of the southern waterfront by integrating all aspects of the site. Due to its location on a steep sloped section between the Grand Hotel and the funicular railway overlooking the South Beach, there is plenty opportunity for this.

The proposal for the glassworks is such that it looks to integrate the public and private realms by honing in on this idea of observation and demonstration. Moreover, glass walls and suspended bridges create visual and physical links between these spaces and all focus inwards onto a central ‘heart’ in the hot shop which is located in a suspended translucent glass crystal. The large atrium space which separates the public and private areas of the building is able to be used for a plethora of functions- predominantly as a temporary exhibition space- and is kept relatively flexible, thus being able to be changed for its various uses throughout the year, from educational exhibitions, art exhibitions, and potentially even live public musical and performance events.

The scheme is designed with the roof being a prominent feature of the building as well as a means of incorporating it into its urban surroundings. Moreover, the building is to be constructed on a green space. Because of this potential loss of external green, the building will be set into the ground and the folded roof canopy will serve as a new manmade green landscape, which also reflects the cultivated park area on the oth9

er side of the funicular railway.

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E

F

D

C

H Tension Cable (Spider Clamp) glazing system profile view and elevation view

Tension Cable (Spider Clamp) glazing system top view

G

Tension Cable Spider System

1

ii

i. spider connectors ii. tension cables iii. turn buckle set/connector iv. bracket v. hanging rod

2 3

i

v

iv iii

B

Glazing system detail view

A

A

B

Steel beams

C

Secondary structure supports the truss glass facade system

D

Steel cables to the extremely heavy weight of the hot shop machinary

E

Tertiary structure hung from roof which provides ameans of suspending the glass

F

Steel cable truss system supports the glazing. Cables act in tensionto hold the glass at angles greater than 90 degrees to the horizontal

G

Christina Guerrero 120128617 P1 Assembly drawing 2 Construction of central glass ‘crystal’ structure and Hot Shop

Primary building structure: Large pencil topped steel columns support the concrete green roof structure and act as primary support for the basis of the crystal structure

Floor System 2. corrugated aluminium boards add structure to floor 3.Insulation 300mm

H

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Dichroic glass panels in a curtain wall-type system make up angular, crystaline form of the skin

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CONN ECT I NG

CO MM U N I TI E S

The project was and answer for the assignment task to design a building which would create provision for the local community and aid in creating social cohesion to different demographic groups.

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Leeds city center is currently in the process of undergoing major regeneration and is now one of Britain’s most successful cities. It has transformed itself from a mainly industrial city into a broadly-based commercial centre, the most important fiancial, legal and business services centre in the country outside London.

Leeds also has historically low levels of unemployment and has seen major investment in housing, offies, shops, transport and other facilities. Unlike other cities, Leeds’ population has also grown during this period of change, a sign that people have confience in the future. The success of Leeds has brought many benefis,but improvements still need to be made and major problems must be tackled, many of which were raised during the council’s consultation with local people, businesses and public organisations.

One of the main aims of this proposal is to aid the regeneration effort within the city by creating a more cohesive community and providing youth provision which is currently lacking in the area. The site location on Fearn’s Island on the River Aire beside the Royal Armouries museum is a prime location for such a proposal due to it’s centrality and the opportunity it holds to introduce a new demographic into the predominantly adult-oriented area.

The scheme’s initial concept was to create a retreat, loosely based on the idea of the ‘lost boys’ hideout’ in the children’s story, Peter Pan. This lead to a scheme which combined the idea of a burrow with seemingly hidden entrances from the external environment and a landscaped skin which concealed the spaces within.

This building would be designated to the youth of leeds who would come to the centre to socialise with other young people outside of school, participate in extra curricular activities or simply escape the fast-paced adult world outside. Moreover, the building’s plan is based on the idea of a small city or citadel with a city hub and business center, social marketplace, transitional town periphery and a green park. This would exist on the island itself, in effect creating a microcity of youth within Leeds city center.

The potential flood threat on site means that the a floodable building strategy has been adopted. While much of the building is elevated on a deck system, other parts of the site (predominantly external) will be allowed to flood. However, a flood preventive proposal for the adjacent weir to be converted into a movable weir will allow for water levels to be regulated mor efficiently on the river, thus minimising the risk of flooding in the building. Neverthless, this strategy will be seen as a precautionary measure, giving consideration to climate change and the potential mechanical failure of the new weir.

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The library/ auditorium/ social space has been designed to be as flexible as possible and can be used for a plethora of activities. This is the heart of the building and the varied program of activities which take place in this region of the building may be a reason for young people to come to the building from the farthest corners of the city.

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FAST

A ND

S LO W

The project brief was to design a proposal which would focus on the idea of “fast and slow�. It would providing the local town of Barnsely, England, with a building that will help rejouvinate the town centre and work alongside the Barnsley town centre commercial masterplan, reinvigorating the local area and bringing the local community together through education and movement.

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The cycle hub, based in Barnsley, is intended to connect the city centre to the rest of the municipality by means promoting cycling within the local community.

The building will not only support public health and wellbeing, but the new building typology aims to promote social wellness by combining as sense of fun with a building form based firmly on the concept of the european plaza.

This building will serve as an extension to the new market square in conjunction with the Barnsley city centre masterplan, accommodating yet more commercial opportunities for the public to enjoy, cycling amenities, and accommodation for commutors and tourists alike. Moreover, the building looks to appeal to a varied demographic and attract the youth of Barnsley into the market centre. Using the idea of the perfect pedal stroke as a conceptual catalyst, the architectural proposal has been informed directly by the programme of the building (which defines the spatial arrangements) and the addition of a velodrome on the top of the building.

The cycle hub looks to explore a marriage between the concept of blurring the boundary between external and internal spaces and that of social unity and openness. It challenges the limites of what is possible for a cycle hub within the very heart of the city.

LOCATION: BARNSLEY, ENGLAND USE: CYCLE HUP STRUCTURE: GLULAM FRAME, CAST CONCRETE VELODROM SUPPORTED BY SLIM STEEL COLUMNS MATERIALS: RECLAIMED TIMBER CLADDING, GLASS, CONCRETE, STEEL

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KA I J O NH A R J U U R B AN S PAC E DES I GN This project was an exercise in Urban Space Design based on the the Europan 14 Oulu site. The objective was to consider in depth how to connect Kaijonharju to the university campus and to the surrounding urban structure, whilst elevating the urban program and building typologies on the site, thus bringing Linnanmaa Campus and Kajonharju to a more forward-thinking technological and urban plane.

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The University of Oulu is situated in Linnanmaa, 5 km outside the city cen- ter. It has 14 000 students and 3 000 employees. The campus buildings are architecturally acknowledged and have received RKY status (cultu- rally significant built environment). East of the university is Kaijonharju, a suburban area with 3 800 inhabitants.

Kaijonharju is characterised by large open parking areas, C O NNEC T ED LAY ERED C OMMUNI TY low density concrete housing blocks and green forested areas. There are few services in the area and they are mainly located in a shopping center in the middle.

Between Linnanmaa and Kaijonharju is the student village of PSOAS that has apartments for 1 500 students.

Many of the buildings, built in the 1970’s, are now at the end of their life span. They will be demolished and replaced with new ones.

At the end of the 1960’s the University of Oulu was moved to Linnanmaa, 5 km outside the city center. An architectural competition was arranged in 1967 to design the campus and a new neighbourhood center of Kaijonharju next to it. In the winning entry the university was intended to form a vibrant entity with Kaijonharju and it’s urban facilities.

The area didn’t, however, develop as proposed in the competition. Today the housing area and university are two secluded, monofunctional areas with poor connections between them. The objective is to densify and diversify the areas, bring in new services and small businesses and to build new connections. The goal is to make Kaijonharju an attractive, 24h urban district.

Our design concept was formulated ff of the conceptual springboard of a central spine and nervous system.

A linear high street will run the length of the site, highlighted by an elevated light railway or tramline with interacts with hybrid buildings and creates a dynamic play with public transport and pedestrians, fast and slow, low and high. The tramline will connect the area to the city centre and continue on its way through the centre of the university building (which would house a new central station), creating visually stimulating links between connectivity, movement and travel.

Housing blocks have been designed in a layered system with private outdoor roof terraces for residents to use and semi-private internal courtyards based on the idea of more concealed nature parks. They are stacked such that each block would contain a certain number of amenities on the ground floors, such as cafes, shops and sheltered carparks for residents, creating potential even for self-sustained local communities, as well as connecting communities across the site overall: we aim to connect through layering program both vertically and horizontally in this way.

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HOW IS PRODUCTION CONSIDERED IN THE URBAN DIVERSITY PROGRAM ?

Create an internal heirarchy of streets and spaces

Oulu University of Applied Sciences (OAMK) will move to the same facilities with the University of Oulu in Linnanmaa in 2019. The shared campus will improve collaboration between the two universities and also attract more students, experts, services and companies to the area. It is estimated that approximately 20,000 people will study and work in the new campus. 1 000 new student apartments will be needed and also the services in the area need to be increased and improved.

The task of the competition is to create a vision for the developing area: • How to connect Kaijonharju to the university campus and to the surrounding urban structure?

• How to make Kaijonharju a versatile and diverse urban district?

• How to create a new urban identity?

• How to make the new local center of Kaijonharju function with new hybrid buildings and a public transportation hub?

• How to serve and attract different types of people from different ages and backgrounds?

• How to create and support local businesses?

• How could the university or PSOAS promote new models of produc- tion in this neighbourhood?

• How to support non-profit communal activities to improve the overall profile of the area.

400m

A network of streets connects different neighbourhoods in the area to the surounding areas. All modes of traffic are represented in a layering of new horizontal and vertical layers.

Create an internal network of streets

Define zones and create legibility

Through densification and aggrandisation the spatial heirarchy is made clear - defining individual the identity of streets and squares are public and allows residential areas to become more private with enclosed courtyards and private terraces.

Integrate through-traffic. but prioritise pedestrian and bicycles

Densify the area

Layering the urban grain vertically to create elevated streets and the addition of a light railway create a more vibrant and dynamic urban environment throbbing with life and activity, helping to create social cohesian of currently segregated demographics

Connect important places and destinations

Take up the scale

400m Scale 1:5000 @ a3 Site Granularity Map

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Birds e y e vi ew

S e ct io n B-B 1:500

+22 +19 +16 +13 +9 +5

11

18

19

15

46

6

36

15

9 47

34

52

14.5

S e ct io n C -C 1:500 +22 +19 +16 +13 +10 +7 +4

14

22

8

14

4

5

5

27

14

5

10

8

4

16

25

60

17

50

59

S e ct io n A -A 1:500 +22 +19 +16 +13

+5

9

4

17 30

42

20 102

40

4

15

6 31

6

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PLAN OF TH E INNOVAT I VE B LOC K A XO N O M E T R I C O F I N N O VAT I V E B L O CK

OFFICE SPACE 360m2

OFFICE SPACE 137m2

BIKE PARKING 184m2

LOBBY 39m2

GROCERY STORE 216m2

CAFE 90m2 RESTAURANT 162m2

C ONNECTIONS AND I M P OR TANT B U I LDI NGS

LR stop

B UI L D I N G US E S

LR stop

High rise residences

LR stop

High rise residences LR stop

LR stop

All necessary parking is incorporated into buildings Topographical cafe ideal Mixed use, mainly accomodation for spectating Mixed use, mostly offices and retail LR stop

LR stop

Entertainment centre

All necessary parking is incorporated into buildings Topographical cafe ideal

Mixed use, mainly accomodation for spectating

Mixed use, big stores on first floor

Mixed use, mostly offices and retail LR stop

Spiritual and cultural buildings

Entertainment centre Hotel and retail Cafe and sports equipment renting

Connections between buildings Connections between buildingsand andareas areas Architecturally significant buildings(hotspot (hotspot buildings) buildings) Architecturally significant buildings

Mixed use, mainly accomodation

Mixed use, big stores on first floor

Mixed use, mostly offices and retail

Spiritual and cultural buildings

Entertainment centre Hotel and retail Cafe and sports equipment renting

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Hotel and retail Cafe and sports equipment renting

Mixed

Spiritu

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VI EW FROM T HE C U LT I VAT ED GA R D E N T O WA R D S T HE LAK E

Publ i c green s pa ces

Forested Green Space Forested Green Space Grassy/Cultivated Green Space Forested Green Space Grassy/Cultivated Green Space

P r i v a t e c o u r t y a rd s a n d t e r rac e s

Private Green Courtyards Private Green Courtyards Private Residential Garden Terraces PrivatePrivate GreenResidential Courtyards Garden Terraces

Forested Space Private GreenGreen Courtyards Private Green Courtyards Grassy/Cultivated Green Space

Private Green Courtyards Private Residential Garden Terraces

Grassy/Cultivated Green Space Private Green Courtyards

Private Residential Garden Terraces

Ha bi t a t l i nka ge

U r b a n a re a s a n d a c t i v e fro n t s

Private Green Courtyards

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Very Very active urban spaces active urban spaces Somewhat active urban spaces Somewhat active urban spaces Active fronts Active fronts

KAI J O NH A R J U U R B A N SPAC E DETA I L I N G

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DETAIL DESIGN AREA 2: SECONDARY STREET

MIXED COMMERCIAL RAINWATER HARVESTING POOL

+0.6 +0

+0.6

PEDESTRIAN/BIC

YCLE STREET

+0.6 +1

+0

+0

PLAYGROUND +0.3

+1.2

+1.5 PRIVATE GARDEN +0.6

PRIVATE ACCOMMODATION

+0

PAVING MATERIALS:

GREEN:

CONCRETE PAVERS Grey

SLATE GRAVEL

CONCRETE PAVERS Light Grey

WOODEN PAVERS Light Brown

80-90cm

Molinia Caerulea

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30-45cm

15-20cm

Juniperus Horizontalis

Imperata Cylindrica

70-100cm

Miscanthus Sinensis

DETAILING SECTION

+19 +16 +13

+9

+5

5

8

23

8 44

GREEN:

MATERIALS: URBAN FURNITURES

Color: White

PLASTER

FABRIC FOR OUTDOOR

White

Various Colors

TEAK

RUBBER MAT

Dark Brown

Various Colors

BETULA ALLEGHANIENSIS

SORBUS HYBRIDA

Max height: 24m

Max height: 12m

PINUS

Max height: 20m

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DETAIL DESIGN AREA 1: LIGHTING PLAN AND SECTION

1

SLOT VELA

LIGHT BOLLARD

3000 Kelvin

3000 Kelvin

2

Light Column Pedestrian 3000 Kelvin

3

4

BLITZ 1 window

MOVIT

2700 Kelvin

3000 Kelvin

5

WORKSHOP EXPERIMENTS

cross beams

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narrow angle

continuous zig-zag

A - LIGHT BOLLARD SURFACE MOUNT WITH REMOVABLE BASE

A

F

B - PLANTER CAST CONCRETE STRUCTURE C - STEEL BENCH STRUCTURE

B

D - SOLID TIMBER BENCH E - WATERPROOF LED STRIP LIGHT, 4000 Kelvin

D G

F - WOOD DECKING G - CONCRETE PAVERS

0.10

0.80

1.00

0.10

0.90

0.50

TECHNICAL DETAIL - PLANTER SEATING AND PAVING

0.80

0.60

0.12 0.60

A

0.60

B

E

D

C 0.30

0.30

0.25

TECHNICAL DETAIL - LINEAR AND TAPERED CONCRET PAVING - DECKING - JOIST - CONCRETE FOOTING

2.80

1.40

0.20

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FL OATING

S A UN A

A project aimed at designing an architectural object that would be engineered to float on water. This was a secondary exercise in Design in Urban Context (DUC) based uder the umbrella of the Kajonhariju Urban Design task.

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This project covers the design of a small urban element within the context of a larger scale urban design scheme within the suburban Kajonhariju area of Oulu.

It is to be positioned on the Pyykoisjarvi lake to the South East of the Urban Design site. There will be a series of of these unique elements positioned at intervals along a short length of the boardwalk. The users approach the sauna by swimming or by boat and on entering through a flush push sliding door, they enter into a cave-like world of timber and warmth.

The floating sauna exciting hide-out on the water, camouflaged by mirrored walls that reflect their surroundings, creating a camouflaged refuge. The large 4 x 4m smartglass window will provide a stunning panoramic view. The interior is designed to look like the carved landscape of a water-formed cavern and the folds of the internal landscape create organic and ergonomic surfaces on which to sit and lie.

The Sauna is heated with a biolite timber/coal-fired kiuas which has an integrated thermo-electric generator and battery to store excess energy which will help power the smart-glass window, USB phone charging stations and cinematic projection systems. All electronic equipment within the sauna can be kept in integrated cupboards and drawers to keep them safe from moisture and overheating.

MULTIPLE FUNCTIONS

1. CONVENTIONAL SAUNA The kiuas can be fired to heat the sauna and charge the thermoelectric generator. The privacy screen can be switched on to allow the users access to the stunning panoramic view of the lake.

2. INTIMATE CINEMA SPACE The kiuas is not required to be fired for this function and instead, the holographic screen projection is powered by the energy stored in the battery attached to the thermoelectric generator. The smartglass screen, which can be connected directly to a laptop, can be switched to opaque mode and projects a film onto the surface without the requirement for an external projector.

3. NORTHERN LIGHTS VIEWING PONTOON Privacy screen smartglass is switched on to make it transparent, creating a panoramic view of the lake at night. The screen is powered by the stored energy within the battery that is connected to the thermoelectric generator.

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STRATEGY The Floating Sauna is a social space which has been deisgned to be flexible to accommodate several uses within its organic and ergonomic design. It is to allow for groups of up to five people to relax together and enjoy the natural surroundings of PyykÜsjärvi.

INTERIOR SPACES different spaces modeled for the human body

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STRUCTURAL ASSEMBLY

Reflective SpyGlass Skin

- Aluminium frame structure which will then be insulated and clad internally in solid cedar and externally in mirrored cladding

5m 4m

- Lightweight aluminum structured box supported atop a lightweight concrete pontoon - Foamed concrete is highly workable (low density material which can incorporate up to 50% entrained air)

4m

-The construction also alludes to how man relates to nature, how we use high tech materials and products when exploring remote places in harsh climates - Pontoon will not be visible above the waterline which will give the sauna the appearance of floating effortlessly on top of the surface - The reflective SpyGlass skin is transported in 5x2 m sections MIRROR GLASS

Aluminium Structure

Externally, the cube appears to be a mirror, reflecting the surroundings and causing the sauna to blend into the background, thus becoming almost invisible. To prevent birds colliding with the reflective glass, a transparent ultraviolet colour is laminated into the glass panes which are visible to birds only

PREFABRICATION DETAIL Foamfilled Concrete Pontoon

5cm

10cm 15cm

1

2 3 4 5

Smart Glass 6

Flush push slide door system

1 - The interior of the floating sauna will be clad in steam-bent solid cedar pieces that form the organic forms that help create the space.

2 - Small handholds will be cut into the timber planks in order to facilitate climbing within the sauna environment.

3 - Small gaps between the planks will allow for excess water to be drained fromom the surfaces.

4 - Second timber structure to support the pieces of solid cedar.

5 - Mini Square LED Linear Light, 1000x8x14.5mm, 3000 Kelvin.

6 - Secondary steel structure.

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TECHNICAL SECTIONS - 12 Timber Board - 22mm Particle Board - 45mm Insulation-mineral wool - 45x45 Battens - 50mm Insulation - Aluminium Profile - 6.4mm Adhesive Tape - Particle Board - Waterproof Membrane - Timber Decking

Spyglass/ Mirrores Glass skin 6.4 mm Adhesive Tape Waterproof membrane Sliding glazed rooflight/ terrace access 50x50 Aluminium Structure 145

8

ROOF TERRACE

8

145

- 12 Timber Board - Vapour Barrier - 45mm Insulation-mineral wool - 45x45 Battens - 50mm Insulation - 50x50 Aluminium Structure - 6.4mm Adhesive Tape - Spyglass/ Mirrored Glass skin Smartglass glazing-electrochrimatic glass switches between transparent and opaque HD projectionscreen 8mm Spyglass Glass-covered flush sliding door OUTSIDE

INSIDE INSIDE

OUTSIDE

Aluminium Structure (50x50) Adhesive tape 6.4mm - 12 Timber Board - 22mm Particle Board - 45mm Insulation-mineral wool - 45x45 Battens - 50mm Insulation - Aluminium Profile - 6.4mm Adhesive Tape - Particle Board - Waterproof Membrane - Foamfilled Concrete Pontoon

1 - DETAIL FACADE/ROOF TERRACE

24

44

2 - DETAIL FACADE/WINDOW

PLAN 1ST FLOOR A

1 KIUAS 2 CINEMA 3 RECHARGE ZONE

2

1

3

1

B

B’

3

2

A’ A

PLAN 2ND FLOOR 4 CHIMNEY

4

5 FIREWOOD

5

4

5

B

B’

1 SEATED 2 LYING 3 CLIMBING 4 LEAN AGAINST 5 INTIMATE SPACE

A’

41 45

SECTIONS

0.50

5.10 3.50

0.60

0.50 A-A’

B-B’

THERMO-ELECTRIC GENERATION

46

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SA RA

H I L DEN MU S E U M

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A RT

Our proposal called for simultaneous diversity. Whereas contemporary art museums typically opt for neutral, homogeneous “white cube” spaces, yet the artworks very clearly remind us that all things are interdependent upon one another and in order to understand complexity we must find a way to appreciate complex things as they are.

Thus, we should focus on the relativity of space more than absolutes.

1.

Step inside this cluster of qualitatively diverse spaces: light, dark, quiet, lively, warm.

The building interior enfolds us with many different experiences like a walk in the woods, inviting a childlike sense of wonder and expectation as to what we might encounter next. Each curved fold of structure has its own distinct size and functional environment according to how it is to be used. Moreover, attempts were made to incorporate such unquantifiables as “openness”, “closedness”, “grandure” and “intimacy”.

The overall form and structure of the building was primarily inspired by the industrial nature of the site and the idea of creating a cluster of ‘silos’ in which one could suspend artwork. These silos were then abstracted to imitate the textural folds of fabric or paper. The folds of the structure create the primary gallery spaces and have been laid out with an eye to their mutual interplay, almost as if trying to solve a puzzle. There was no one guiding principle, no one absolute solution. In areas where we wanted to create large, open spaces and awe-inspiring form, we used the idea of the roman arch and cathedral-like vaulting to cut out or gauge out the area required for each space.

This compositional complementarity is an important characteristic of the proposed Sara Hilden Museum, or what we might call “self-optimised design”, since the folded structure is self-supporting and requires no additional bracing.

Why, then, does the building have a square footprint? Why not go for a more flexible free-form shape in keeping with the overall building concept? It was decided that the outer skin should remain as clean and simple as possible because we needed something strong, allowing somehow universal or abstract to contrast the eclectic, yet elegant interior.

The exterior is designed to imitate the function of the building as a warehouse or factory of art, hereby connecting to the industrial surroundings of the site. The outer skin of the building provides a lightweight housing for the curvaceous structure and the two behave almost as two completely separate entities; a juxtaposition of light and dark, heavy and lightweight, orthogonal and organic.

We aim for an architecture in which opposites might simultaneously coexist—absolute with relative, pliant with rigid, abstract with concrete, simple with complex.

Lighting, both natural and artificial, plays a vital role in defining the visitor experience at a museum. Daylight studies explored how sunlight could animate the space through the seasons, as well as creating a dynamic and visually engaging environment for museum visitors.

The idea was to highlight the carved cylinders or ‘cans’ in order to maximise the impact of the architectural approach. Therefore, special emphasis was put in spaces such as the lift cans, the spiral staircase or the gallery walls – void volumes that become glowing features in the atrium – amongst others. The electric lighting approach aimed to work with and not against the day lighting condition within the atrium, and has the ability to provide a subtle transition to the electric lighting only once the sun sets.

Lighting fixtures are all kept exposed and selected to look heavy and industrial, contrasting the organic undulations of the overall building structure. This gives the space an urban edge and gives the fixtures and fittings a seemingly temporary feel and heavily juxtapose the solidity and permanence of the architecture of the space.

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2.

3.

In the proposal, the underutilised square will be rejuvenated and help reinvigorate the southern part of the city by the means of a kind of Architectural acupuncture. The proposal will help bring life and activity into the area through the introduction of a new public square, market and sculpture garden. The design aims to allow locals and visitors to passively come into contact with artwork and culture, enriching the public environment perception of art amongst the average passersby without even needing to enter the art museum itself. In essence, the proposal looks to bring the art to the people and allow it to form a part of everyday life within this part of the city.

The new sit plan will boast an eclectic mix of materials and activities. The piers have been given new, dynamic forms which speaks to the interior of the art museum, creating a greater area for more boats to dock at and creating a new public outdoor swimming pool and seating area for locals to enjoy in the summertime. The mix of surface materials create informal pathways through the square and allow playful manipulation of the way people will move through the site. The timber paths informally mark the locations of the sculpture park, green urban woodland, potential stage/event location and the public food. The introduction of a shared surface links two sides of the road together, prioritising the pedestrian realm and reducing the speed of traffic through the site.

N

SITE PLAN PROPOSAL

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PLANS AND INTERIORS

CAFE & SHOP & LOBBY 200M²

A

KITCHEN 15M²

3

B

B SHOP WASTE STORAGE 20M² 22M²

CLOAKROOM 30M²

CONSERVATION 80M²

STORAGE 10M²

SEATING STORAGE 40M²

SECONDARY RECEPTION

2

RECEPTION

CONTROL ROOM 20M²

EXHIBITIONS

LOADING AREA 150M²

AUDITORIUM 200M²

CLOSET 5M²

OFFICES

WORKSHOP 40M²

MEDIA ROOMS EXHIBITIONS

A

GROUND FLOOR 0

4

8

20

40

READING/STUDY NOOKS

EXHIBITIONS 1 SETTLING 150M²

TEL

HANDLING 100M²

ELECTR. HEAT

ART STORAGE 200M²

VENTILATION ARCHIVES

BIG STUDY ROOM

AIR RAID SHELTER AND STAFF CHANGING ROOMS

BASEMENT FLOOR

PERMANENT EXHIBITIONS 850M²

FIRST FLOOR

0

CONTROL ROOM STORAGE AUDITORIUM BACK OF HOUSE LOBBY SERVICES

-1

TECHNICAL

OFFICES (OPEN FLOOR)

TEMPORARY EXHIBITIONS 600M²

SECOND FLOOR 0

8

16

MEDIA SPACES 200M²

40

TEMPORARY EXHIBITIONS 400M²

THIRD FLOOR

MEETING ROOMS 15M² & 30M² AND RESEARCH LIBRARY

STORAGE AIR RAID SHELTER ARCHIVES BACK OF HOUSE

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SPACIAL PROGRAMME

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INTERNAL ARCHITECTURE Step inside this cluster of qualitatively diverse spaces: light, dark, quiet, lively, warm. The building interior enfolds us with many different experiences like a walk in the woods, inviting a childlike sense of wonder and expectation as to what we might encounter next. Each area of the building has its own distinct size and functional environment; from functional to purely aesthetic and visually impactful. As you enter the cathedral-like lobby, heavy folds of concrete float above you seemingly defying gravity and give you the sense of walking under the canopy of an abstracted forest, or under the surface of a frozen lake. Entering the smaller, more confined spaces of the galleries above, you wend your way along a predefined path, discovering artwork hovering, suspended in quiet, cornerless rooms.

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VIEW OF ENTRANCE, RECEPTION AND SHOP FROM LIFT/STAIR CORE WINTER EQUINOX MIDDAY

VIEW OF CAFE AND ENTRANCE ELEVATOR FROM MUSEUM SHOP WINTER EQUINOX MIDDAY

VIEW OF RECEPTION AND LIFT/STAIR CORE FROM ENTRANCE WINTER EQUINOX MIDDAY

VIEW OF ENTRANCE, RECEPTION AND SHOP FROM LIFT/STAIR CORE NIGHT ILLUMINATION

VIEW OF ENTRANCE, RECEPTION AND SHOP FROM LIFT/STAIR CORE SUMMER EQUINOX MIDDAY

VIEW OF CAFE AND ENTRANCE ELEVATOR FROM MUSEUM SHOP NIGHT ILLUMINATION

VIEW OF RECEPTION AND LIFT/STAIR CORE FROM ENTRANCE NIGHT ILLUMINATION

VIEW OF CAFE AND ENTRANCE ELEVATOR FROM MUSEUM SHOP SUMMER EQUINOX MIDDAY

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VIEW OF RECEPTION AND LIFT/STAIR CORE FROM ENTRANCE SUMMER EQUINOX MIDDAY

SOUTHERN ELEVATION

E L E VAT I O N S The building exterior has been designed to remain as clean and unassuming as possible, whilst holding an air of mystery and intrigue as to what is housed inside. Inspired by modern industrial architecture, the facade is made up of modular systems of precast concrete panels, clickfix white polycarbonate and glass, giving the building a sense of translucency. The two entrance facades remain as blank as possible, with factory-style bifold doors that seamlessly close the facade out of visiting hours;minimalist and austere, whilst the longer facades invite passersby to take a glance at the back of house functions of the museum, bringing to the forefront the functional side of receiving, processing and conserving artwork. It allows the inner workings of the museum - something that is usually hidden behind closed doors - to be showcased to the public.

The translucency of the polycarbonate facades allow for diffuse light to enter the building, creating optimal display environments for artworks, whilst at night emitting a soft glow, subtly revealing the mysterious heavy folds of the internal structure, otherwise invisible to the outside during the day.

VIEW FROM THE STREET ART ALLEY, SHOWING THE CONNECTION TO THE LOADING AREA

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EASTERN ELEVATION

0

4

8

20

ELEVATION DETAIL OF MATERIAL INTERFACES

ELEVATION DETAIL WHEN BIFOLD DOOR IS CLOSED SECTION OF BIFOLD DOOR WHEN CLOSED 1:50

ELEVATION DETAIL WHEN BIFOLD DOOR IS OPEN SECTION OF BIFOLD DOOR WHEN OPEN 1:50

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40

VIEW FROM THE CONSERVATION AREA, SHOWING THE CONNECTION TO THE LOADING AREA AND STREET ART ALLEY

There are three primary circulation routes within the building which serve the primary functions of the museum: Logistical/services, staff and visitors. These routes are kept relatively separate from one another and remain mutually exclusive, allowing for the highest efficiency of working within the building.

Back of house circulation is kept to the rear of the building through a minimalist and simple vertical circulation route. This reduces the need to move artworks large distances while they are being settled or refurbished. Visitors and other members of staff, however, are able to visually connect with what is happening in these spaces through glazed internal screens, adding a dynamic element to the art museum.

The primary staff entrance and group tour entrance is located to the rear of the building, where a separate coat rack area and toilet block is located. Staff offices are accessed through the main service elevator or the stairs located at the rear of the art handling areas, though staff may choose to enter by either front or rear entrances.

The main visitor entrance is located on the market square, opening into the impressive, full-height atrium and reception area. Located here are all foyer services, including a coat check, cafe, shop, main toilets and primary access to all the gallery spaces on upper floors.

The Auditorium is accessed from the entrance level through a wide crack in the folds and those attending events can easily find this with directional signs or simply by being directed by the reception. Galleries are accessed via a feature glass elevator and spiral black metal staircase, integrated within the structural folds of the building. They are clearly visible from the foyer and create a simple spiral circulation format for viewing the galleries. There is one main route which leads the visitors on an anticlockwise journey through each floor in a sequential manner before they return to the ground floor via the lift or staircase.

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SECTION A-A 1:200

0

4

8

SECTION B-B 1:200

20

40

57

F L E X I B I L I T Y O F D I S P L AY The flexible display system of the galleries allow for varied methods of hanging artworks within the individual spaces. The gallery is designed such that it becomes an undefined maze of artwork in which the artwork itself can be seemingly suspended, hovering in space. In this case, even though the architecture can be considered rather complex, it highlights the artwork, bringing it to the forefront, rather than swallowing it up, as can sometimes happen in homogenous, white boxes or warehouse spaces. The modularity of the display hanging spots and perimeter rails allow for various configurations or curations of displaying artwork.

GALLERY FLEXIBILITY GALLERY DETAIL

SUSPENDED CEILING (GYPSUM) SECONDARY STRUCTURE (STEEL) STEEL EDGE TRIMS/TRACKS SUSPENSION SPOTS

CABLES PLUGS FOR UNUSED HOLES

0

58

1

5

10

59

FAFA’S

S TA ND A L ON E D E SI G N COMPE TITIO N : K A R TON KA B I N

60

This concept aims to use cardboard as its main building material, creating a cutting edge solution for a modular restaurant design with exceptional beauty and constructive strength.

There have been several precedents of cardboard construction as a modern and sustainable construction method throughout Europe and it has been proven to be a highly effective method of building, even in the humid and cold climates of Scandinavia. Wikkelhouse- a Netherlands-based cardboard housing design company- serves as a prime example for this, supplying cardboard modular housing to Netherlands, Belgium, Luxembourg, Germany, France, UK and Scandinavia.

The walls of the proposed Fafa’s cabin are made up of repeatable modules that can be interchanged to suit each site and the number of occupants. Each module is a plywood shell with cardboard as its primary construction material and insulation. The plywood sheathing is exposed internally, allowing for flexibility of internal finishes and ease of refurbishment, while the exterior is clad with an additional skin of charred larch.

This system forms an ideal alternative to traditional construction, as it is lightweight and highly durable.

Modular furniture has also been designed as part of the scheme, doubling up as elegant benching solutions whilst providing a second layer of internal formwork and creating ceiling space for concealig services and ventilation. These furniture modules can be configured to suit each independent floorplan, creating a unique and defining aesthetic and helping maximise on floorspace.

For the Fafa’s Standalone concept, the units that have been designed are quick and easy to assemble, minimising labour and on-site impacts. The size, weight and materiality of each module makes these units highly suited to small crane or helicopter lifts, while also being robust and even resilient enough for remote sites.

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12 Layers of cardboard applied

Addition of Studwork

12 Layers of cardboard applied

Openings Punched into Cardboard Structural Skin

Concrete and timber chassis

Breathable membrane applied

In construction, a metal frame is wrapped with rolls of cardboard. A minimum of 24 layers of carboard are bonded together with eco-friendly super-glue, creating a fully recyclable, ecologically sustainable sandwich construction with impressive insulation qualities and structural integrity.

The segments (each with a usable internal floor area of 7.5m2) can be arranged accoring to each unique and bespoke floorplan, can even stacked on top of one another as required and form an extremely flexible grid configuration.

Additional openings are cut during the prefabrication process and are reinforced with timber elements before each module is fully lined and sealed with a breathable, waterproof membrane, making it fully watertight and moisture repellant. Cladding can therefore either be applied to each individual segment prior to shipping or to the overall structure on site, depending on the preferred aesthetic. Segments are fully interchangable, reconfigurable and - once the layers of material have been separated - ultimately 100% recyclable.

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Onsite stitching together of modules

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ARCHITECTURE IN COLOUR NAME

C HRISTINA GU E R R E R O - T HOM P SON

CONTACT christina.guerrero26@gmail.com

Tel: +420 602 114 711 Krasnojarska 681/14, Praha 10 Vrsovice