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CRISTIANgheorghe M | 15.12.1987 | unmarried address | str. Vistiernicul Stavrinos | Sector 6 | Bucuresti phone number | +40(0)756043123 email |

PROFESSIONAL EXPERIENCE +student-arhitect | 10.02.2010 - 30.06.2010 country | city | Slovenia | Ljubljana office | OFIS Arhitekti +student-arhitect | 2010 - 2011 | project based colaboration country | city | Romania | Bucharest office | ASDesign95 +student-arhitect | 2011 - 2012 | practice country | city | Romania | Bucharest office | ADNBA +responsibilities

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3D renderings for competitions or beneficiary involvement in the project concept involvement in the interior design of buildings: materials, textures, lights CAD plan drawings


PROJECTS i was part of


| University of Architecture and Urbanism “Ion Mincu“ | 1st-2nd year | University of Ljubljana - Faculty of Architecture | 3rd year | ERASMUS | University of Architecture and Urbanism “Ion Mincu“ | 4th-5th year


& workshops | Bronze Medal - graphic-painting contest: Francophony | ProManagement-Microsoft | 3DStudioMax Diploma | International Workshop of Architecture | Slovenia | Ljubljana | Fragility in Arch. | 2010 | Workshop of Architecture | Romania | Timisoara | Rehabilitation | 2009 | Workshop of Architecture | Romania | Hateg | Fractals & Bionic Architecture | 2010

+OFISarchitects _NOYELLE GODAULT, France - residential area competition _EPK 2012, Slovenia, Maribor - bridge competition _EPK 2012, Slovenia, Maribor - gallery competition _TWO NEST VILLAGE, Texas, El Paso - residential building competition _S1 CURTAIN TOWER, Slovenia, Ljubljana - mixed use skyscarper, construction drawing phase _ROSEN GARDEN CITY, Slovenia, Ljubljana - residential project _CULTURAL CENTER OF EUROPEAN SPACE TECHNOLOGIES (KSEVT), Slovenia, Vitanje - under construction _GARDEN CITY K66, Slovenia, Ljubljana, Rozna Dolina - mixed use hybrid competition, 2nd PRIZE _SOFT EDGE LAMP - Arcadia, design of lighting objects _SAUSLAMP - student houseing lighting design

SKILLS +language +pc

| writing | speaking | read | English | medium | advanced | advanced | French | basic | basic | basic | | | | | | |

AutoCAD 2004 - 2012 3DStudioMAX 2009 - 2012 + VRay SketchUP 7 + VRay Rhinoceros 4 + VRay | basic knowledge Adobe PhotoShop | InDesign | Flash | Dreamweaver | Muse | CS - CS5 DIALux 4.8

+ASDesign95 _CENTER UNIVERSITARY LIBRARY, Romania, Cluj - library extension competition _GOSTA MUSEUM, Finland, Serlachius - museum extension competition _VENICE BIENNALE - Romanian pavillion competition +ADNBA

_BRZ, Romania, Berzeasca - reabilitation & reconversion _AAF, Romania, Bucharest - residential, under construction


To whom it may concern,

We've had the pleasure to work and collaborate with Mr. Cristian Gheorghe on some of our projects for the past two years. During this period he has demonstrated a great ability to work either independently or as a part of a team with great creativity and enthusiasm. We've always appreciated his ability to stay focused and meet the deadlines. We are very pleased with Cristian performance and, we believe he would be an outstanding asset to any architecture office. We give him our highest recommendation.

Arh. Bogdan Pop Arh. Astrid Rottman


Intr. Vladimir Streinu nr. 8, sector 2, Bucuresti, tel/fax: 01-252.28.55, J/40/11117/1995, cod unic R07995590, Cont BCR - Agentia Mosilor R077RNCB5028000025260001




_pag.3 SPOTsport CENTER

_pag.6 ARHETIPURI2011







_pag.15 GOSTAmuseum EXTENSION

_pag.17 BRZ



_pag.21 GRAPHICS







For this project i have chosen to have a mixed program: the main program is the botanical including a botanical researching laboratory; the other programs are: an open air amphitheatre-concert hall, bars, restaurants and hostel. The site chosen provides a large naturalenvironment which is perfect for a recreation project. The main idea is to create a point of reference,a point of interest that connects both sides of the highway as so both of the communities from inside the ring and outside the ring. The building is suposed to develope a symbiosis between nature in urban - technology, between men and nature. Therefore i have included in the concept of building the use of sustainable systems as water recycling, drop watering for plants and photovoltaic cells. The inspiration for the shape of the building comes from one of the most important natural fenomenon: the mitosis division of the building plan, but seen in perspective view the building looks like floating trees. The structure used in constructing the floating garden is cable stayed steel structure. The 2 elevators are also bart of the structure, they are acting like pillors and they are made of reinforced concrete.



The main entrance is emphasized by the strong cut in the prime volume, which generates an ample and protected area in front of it. This gesture is empowered by the use of contrasting materials: white finished concrete and frosted glass for the entrance wall and black Stoverotec glass panels for the side wall and for the ceiling. The black finish can also be seen as a metaphor of the shadow. Combined with the natural shadows left by the ceiling and trees, it plays an important role in creating a theatrical game of light and shadows that leads you to the entrance point.


This project is situated in Romania, Bucharest, at the intersection Pictor Artur Verona Street with Jean Louis Calderon Street, across the Gradina Icoanei Park, being part of Casa Universitarilor site. The location has a privileged disposition because of its spatial coordinate in relation with the city’s urban context, but also because of the quality architecture that surrounds it and the richness of the natural environment. The building is placed parallel with Pictor Artur Verona Street, almost centered to the site, thus keeping the vegetation that borders the limits. The main access is situated on Pictor Artur Verona Street, closer to the streets intersection. The theatre consists of three intersected volumes: the main one is a box from which is subtracted the corner that gores the Jean Louis Calderon Street; it has two floors and it is open to the public while the south wing accomodates the administration; the third volume has the shape of a box made of white frosted glass, incorporating the spaces for puppeteers;


The images above show how the theatre building is perceived, more precisely, they show the fragmentation of the main facade caused by the tree layer that borders the site. This being the reason why I have choosen to use the two strips of clear and frost glass for the main facade.

theMAINfacade theSOUTHfacade | theWESTfacade

The main facade is basically designed of two materials |concrete and glass|, but with different textures of glass: for the ground floor it has been used a layer of clear glass that helps integrating the building into the public space and generates a dialog with the natural environment; the upper floor uses a frosted glass treated with a light pigment layer, which accentuate the kinetics of space and lets to be seen only the movement spectrum and the shadows; for emphasizing the main entrance it has been used black Stoverotec glass as a method of creating the illusion of shadow.

The south facade as well as the west facade are the most opaque, receiving small voids only for the office area and for the infocenter | gallery entrance. The office windows are provided with sliding sun shaders made of a special frosted glass that chages itstranslucency according to users needs, while for the west facade it has been used a clear glass screen.


The east facade’s most imposing element is the “puppeteer’s tower”, which is box made of medium translucency frosted glass panels. Using this material the public can catch glimpses of puppeteers actions but in the same time it gives intimacy to those inside the glass box.


It is common knowledge that actors of puppets theatre are also called “master puppeteers”. This title places them above all the other theatre actors. Taking this into consideration and also the how they control the puppets from a platform hidden from public eyes, above the main stage, I have felt the need to transmute those ideas into architecture resulting the “puppeteer’s tower”.



The construction is a composition of three volumes. The main volume is also the largest one, hosting the public spaces while the south wing accommodates the administration. The matte glass box is reserved to the actors and their activities.

spot CENTER r

Based on the proposed program for this project, Multifunction Sports Hall, I consider that a large public space that surrounds the construction and accommodates a large number of people is necessary. Taking into consideration the shape of the site I was led to liberate by locating the public parking (the largest – 204 parking spaces) and the one for the staff (20 parking spaces) on the narrow side of the trapeze (north), the remaining parking spaces will be located according to the operational needs, in order to ensure a more rapid access to the building. In this way a public space with a 7750 m2 footprint emarges. The plan presents it’s self as ellipse, chosen both for the flow of the geometry but also for the quality to differentiate it not only through the build mass, but also through it’s architecture.

The volumetric of the building was dictated both by the desire to maintain a fluid form not only in plan but also spatially, as well as the functional consideration, such as the construction of the moast terraces on the long sides, in order to offer a better visibility. The building’s skin consists of two layers of Baro EcoCast panels, made from an acrylic sheet in which circular photovoltaic panels are inserted, thus obtaining the design of the façade, filtered natural light inside the building, thermal efficiency due to the double façade as well as energy cost recovery.


While solving the functional aspects, I considered dividing the building into three vertical layers. This way, the ground floor is mostly public free, having reserved an athlete zone, as well as media and VIP spaces, administration and storage; on the opposite side (west) will be shopping stores, recreational facilities and the access for disabled people. Regarding the first and second floors (public layer) are reserved for spectators, except for the private access to the VIP zone (first floor). The first floor is accessed by two main staircases, 12m wide, located towards Barbu Vacarescu street, two secondary staircases in the public zone of the ground floor and a fire escape staircase on the east. The first public floor consists of a large lobby and hosts two large welcome areas for the spectators along with other functions that are necessary for such an architectural program. The third floor (technical layer) is reserved for the technical equipment and media (on the south side). The building hosts a total of 5800 seats for spectators.





Remove the cars from the site --> the void begins to breath, to be alive, it gets humanized. The empty space (the void) is left only with its outline (boundary) as its only tool. The void itself has the means to create its own identity (so it does not receive one implemented from the exterior) and to discover its relation with the city. Its first reaction is the need to protect itself and to take a shy glance at the exterior (the city). In order to create this interior sheded feeling, the virtual outline of the void becomes tangible by using a curtain. Thereby the void is no longer just an empty space, it becomes a place. This statute facilitates the exchange of looks between the city, which is now aware of the protected space, and this place. The curtain is diaphanous enough, permiting to one to be observed by the other and the other way around. This constant interaction makes the place conscious about the fact that it can not leave by itself. It is waiting for the city to wish to find out more about it. While approaching it, the curtain becomes less and less visible, invinting the people to get into easily. Being inside, the human becomes acquainted with the place and observes its universe. The interior space passes its state to the people on, making them look at the exterior with different eyes. Still an outdoor space, the noise is partly absorbed by the curtain, so one can enjoy a quieter place than the angry city. The human becomes aware of the private nature assigned to this public space. This makes him think that he can use this space in other ways than usual. Due to the protected feeling, the man begins to furnish the space with activities (comfortable coexistence between human and space). This whole time, the place keeps a curious eye on the exterior, has a constant desire to discern the vibration of the city, the shadows behind the curtain.


This interior space, the place, invites the city (during the whole year) to know it, to inhabit it. With the help of the people it is looking for an identity in order to become a strong space, to have personality and to be highly irreplaceable by an implemented image.Maybe sometimes the public space has to discover itself at first.




The Market Lab was imagined as a landmadk, that building heihjt in Paris, would rise at the general building height in Paris, making it’s way through surface out of the city, crouw, ordinary... It’s energy comes from the streel level, left free for the people and their activities. They rapidly ascend to the top, get a last glimpse of the city’s skyline from the mirador bar, then lean back into the city, slowly diving into a spatial and culinary experience. With little chance of seeing outside, submerged into Paris, they meet some strange periscopes that show them constantly the main attractions around the area Notre Dame Cathedral, Tour Eiffel and Palais Luxemburg.


Using a mirror screen for the kitchen, emphasises the interior space fluidity and creates an infinite reflection of it. The screen allows the chefs to have visual contact with the guests and in the same time keeps the intimacy of the chef artist.


the public accesses the building using the elevators from the ground floor public space, commencing their culinary journey

CULTURALCENTERofEuropeanSPACEtechnologies PA R To f O F I S A r c h i t e c t s T E A M


With its program, The Cultural Center of European Space Technologies (KSEVT) will supplement the local cultural and social activities of the Arts Center in Vitanje. With its size and typology the existing object already indicates a publicly significant role, but its capacity and technological design no longer suffice for newer collective requirements. The architectural design for the building of The Cultural Center of European Space Technologies in Vitanje originates from the schematics for the first geostationary space station, or to be more precise its habitation wheel, described in his 1929 book by Herman Potocnik Noordung. KSEVT will have emphasized public significance and will generate social, cultural and scientific activities. In the KSEVT building that replaces the existing object of the multifunctional arts center there will be an abundance of social activities, with fixed and temporary exhibitions, conferences and club/study activities. The building will therefore be intended for the local population, as well as guests of exhibitions and participants of international symposia and conferences.




PA R To f O F I S A r c h i t e c t s T E A M



TEAM: Arch.BOGDANpop | stud.Arch.CASSANDRApop | s t u d . A r c h . R OX A N A b a r a | s t u d . A r c h . VA L E N T I N s u r d i l a | stud.Arch.CRISTIANgheorghe






PA R To f A D N B A ’ s T E A M



PA R To f O F I S A r c h i t e c t s T E A M


Sauslamp has been especially designed by OFIS Arhitekti for use in their new 180 student apartments located in Paris, France. The unique design incorporates a simple modular formation which is secured with rotational joints to form a bendable structure. These joints allow the user to adjust and bend the lamp into various positions according to their own preference. The flexible design is featured also in various scales, ranging from desk to street lamps and each piece can also be adapted with an added opal plexi cover to create additional diffuse light if required. The light is constructed from carbon fibre modules secured with steel rotational joints and uses energy saving light bulbs to coincide with the buildings energy efficient concept.


B A N N E R p r o m o t e i n g then e w S TA R B U K S c o f f e S h o p

BOOKcover - MORNINGshades










Cristian Gheorghe