DINA D INA K KRUNIC
ARCHITECTURAL JOURNAL
Mul -Unit Residen al
West Pender Place, Vancouver, Canada
2-9
2011 Mul -Unit Residen al
Atelier on Robson, Vancouver, Canada 2010
10-17
Mul -Unit Residen al
Two Twenty Two, Minneapolis, MN
18-25
2007 Mul -Unit Residen al
Harwood Street Residence, Vancouver, Canada
26-31
2008
Commercial
Residence di Umberto, Vancouver, Canada 2007 Cultural, Renova on and addi on
Arena Stage, Washington, DC
32-39 40-45
2008 Commercial
Aberdeen Shopping Mall, phase 2, Richmond, Canada
46-53
2008 Cultural
Shenzhen Museum, Shenzhen, China
54-61
2008 Compe
on, Commercial
New Fundecor Headquarter Building CompeƟƟon, Costa Rica
62-69
2011 Compe
on, Cultural, Public swimming pool
The Wave, Aalborg, Denmark Compe
2002 on, Cultural, Urban
Waterford Waterfront CompeƟƟon, Waterford, Ireland 2002
70-77 78-85
Single-Unit Residen al
Shenzhen Vila, Shenzhen, China 2008 Single-Unit Residen al
Netscape Apartment, Belgrade, Serbia 2008 Single-Unit Residen al
Cockpit Apartment, Moscow, Russia
86-93 94-99 100-105
2005 Exhibit
Drawing Lightscapes, New York, NY
106-109
2009 Exhibit
Generator, Belgrade, Serbia
110-113
2006
1
2
Mul -Unit Residen al
West Pender Place, Vancouver, Canada 2011
3
4
WEST PENDER PLACE MIXED USE LUXURY TOWER: RESIDENCES, COMMERCIAL, AMENITIES VANCOUVER, BC, CANADA West Pender Place is an unusual canvas. The original Coal Harbour site is a large and unconven onally-shaped site, located next to a historically significant buildings designed by one of the most famous Canadian architects, Arthur Erickson. It was a challenge to make a simple form out of a building that has three programa cally separate buildings, each with its own lobby and an elevator. Besides a great variety of residen al units, raging from duplexes, studios, one, two and three bedroom units to penthouses, the complex programing of this mixed-use building also consists of a commercial space, mee ng rooms, lounges, a pool, a gym and a semi-public park on the roof terrace. The geometry of West Pender Place is simple and structural, like a prism. It follows the clean and pure forms of contemporary modernism but its can levered and sloping sides create drama and intrigue. The crisp pleat in the tower glass creates an evershi ing silhoue e. This geometric shape means that every interior space is slightly dierent, and that there is a maximum exposure to views. The building follows LEED guidelines to maximize eďŹƒciency. This building blends transparency with energy. Interiors have a cool simplicity that were perfectly func onal yet warm. 5
6
7
8
9
10
Mul -Unit Residen al
Atelier on Robson, Vancouver, Canada 2010
11
12
ATELIER ON ROBSON MIXED USE LUXURY TOWER: RESIDENCES, COMMUNITY, AMENITIES VANCOUVER, BC, CANADA Atelier on Robson is located on the bustling corner of Home and Robson Street right across the street from Robson Public Library, another signature building by Moshe Safdie. The Atelier is a mixed use bou que high-rise development. The building has a variety of well designed and livable floor residen al units, retail space with low rise commercial space above. With views spanning 360 degrees from its prime urban Downtown Vancouver loca on, residents have a bit of nature present in their living space. This building has 202 units raging from 6003000sf, observa on decks, garden plots and courtyard on the children care facility, green roof, fitness center, lobbies, and common rooms.
13
14
15
16
17
18
Mul -Unit Residen al
Two Twenty Two, Minneapolis, MN 2007
19
20
TWO TWENTY TWO TOWER MIXED USE LUXURY TOWER: WHOLE FOODS, PUBLIC PARK, RESIDENCES, AMENITIES MINNEAPOLIS, MN Two Twenty Two was designed as one of the tallest buildings in the downtown Minneapolis. This tower explores the concept of downtown living, where work, shopping, ea ng, and entertainment are easily accessible.
EXISTING CONTEXT: PREVIOUSLY ZONING FOR INDUSTRIAL BUILDINGS, ADJACENT TO MAJOR ROAD THAT DIVIDED THE DOWNTOWN AND GOVERNMENTAL SECTOR FROM THE INDUSTRIAL AREA. AVERAGE BUILDING HEIGHT 2-3 STORIES, SOME BUILDINGS RE-APPROPRIATED INTO LIVABLE UNITS
The urban context was an natural se ng for the podium-tower typology, where a podium adjusts nicely to the surrounding low-rise buildings, and the thin tower rises undisturbed high above the exis ng skyline. The building explores ver cal fragmenta on of the tower facade to further reduce the solid ver cal mass. By dividing tower’s mass ver cally and differen a ng its materials, the tower looses its compactness, power and dominance in the city skyline and it gives an illusion of mul ple ver cal towers closely spaced. The thin tower consist of 250 condominiums that were to be build above a Whole Foods urban supermarket. The roof of the grocery store was designed be a publicly accessible park. This project is an urban interven on project, that not only brought living back to the city center, but also provided parking, shopping and public park in an a empt to regenerate the downtown Minneapolis as much as provide func onal and livable spaces.
21
22
23
24
25
26
Mul -Unit Residen al
Harwood Street Residence, Vancouver, Canada 2008
27
28
HARWOOD STREET RESIDENCE RESIDENCES, AMENITIES VANCOUVER, CANADA
Harwood Street Residence is the first residen al tower in this area of Vancouver. Unprecedented height was allowed through a nego a on between the city and the developer to preserve a historically significant yellow house on the same site in exchange for transferring the square footage into a high, thin and long tower. The tower’s height and its loca on adjacent to the road ini ated explora ons into a vercal garden concept that not only so ened the monotonous long facade and reduced the noise, but also provided semi-public spaces in form of balconies that provided personal garden spaces with shared platings. Various colors and transparencies in the curtain walls added a level of individuality and diversity to the uniform building mass. The unit layout follows an equally diverse organiza on, including everything from single studios, one bedroom, and two bedroom, to penthouses on the highest level. This project a empts of accommodate an experience of living in a detached house within a residen al tower typology. The public gardens shared by few units as well as the integra on of green backyards for each unit both allows for the development of the community within these ver cal gardens, as well as promotes outside living, much like in a detached house. 29
30
31
32
Commercial
Residence di Umberto, Vancouver, Canada 2007
33
34
RESIDENCE DI UMBERTO BOUTIQUE HOTEL VANCOUVER, CANADA Residence di Umberto is a bou que hotel in the downtown Vancouver that creates an experience of a Tuscan villa within a densely urban environment. Integrated outside spaces, green walls, water features, pool and roof gardens expand the experience of the hotel into a small countryside oasis. The dining experience is also a central element during the stay at the hotel of this chefturned-hotelier owner, with mul ple rooms for dining. The breaking apart of the large massing of this 14- storey high hotel was as important as the ameni es that in provided. The design of the hotel maximized the small scale experience, with special a en on being placed on detailing the hidden spaces such as window sea ng, balconies and roof gardens. The labyrinth like circula on, indirect views and diverse room layouts add to the experience a small and slow Italian landscape. The use of natural materials was important to oset the austerity of concrete and glass construc on. Use of natural stone, wood and painted surface added to the reduc on of the scale, the diversifica on of experience as well as the giving a tone of serenity and calmness to the spaces.
35
36
37
38
39
40
Cultural, Renova on and addi on
Arena Stage, Washington, DC 2008
41
42
ARENA STAGE THEATRE RENOVATION AND ADDITION WASHINGTON, DC Arena Stage is a major center for American theatre. This project doubles the company’s previous facili es. It includes restoring two historic theatres, Fichandler and Kreeger, and adding a new experimental theatre, Kogod Cradle. This complex program includes a new theater, subsurface administra on, parking, support spaces, rehearsal halls and refreshment bars. All three theatres are wrapped in a wood and glass structure, topped by an sculptural and drama c can levered roof structure that proclaims the building’s presence within the na on’s capital. A free span roof with bars and a cafe is enclosed by the office’s signature wood/glass cable supported curtain-wall system. The complex geometries along with the complex program allow for a rich experience along the circulaon paths for both the staff and the visitors. The plethora and the diversity of possible experiences within space a est to the architecture that allows explora ons rather than demands obedience. Arena Stage is a composite of natural and ar ficial elements. This building is an experience of natural as much a technological innova on and richness.
43
44
Enter stage right
Location, location, location
FEDERAL TRIANGLE
CONSTITUTION AVE.
7TH ST. MA E
. BR T. HS 14T
WATERFRONTSEU
EXPW
Y.
Nationals Ballpark
as h
. Chan
OUG LA BR. SS
st
Arena Stage
co
Ri
ve r
Hains Pt.
An
a
W
6t hS
Bing Thom
t.
e Av e. S W
Kogod Cradle
t” aske ker b “Wic rface su
Wate rS
The most innovative and daring feature of architect Bing Thom’s complex may be the new 200-seat theater, which helps support the roof while reinventing the small theater space. Inspired by the sculpture of Richard Serra, the Cradle is approached through a narrow, semicircular passage that takes audiences on a journey away from the everyday world. Inside, woven wooden slats compensate for acoustical problems and make the audience feel as though it is sitting in a giant wicker basket.
t. SW
t SW
tree
MS
SW
Main
Bing Thom, architect of the new Arena Stage complex, says, "Architecture is more than pure art." He stresses the social responsibility of architects, the role they play in improving people's lives, and the necessity of "digging deep and asking tough questions." Arena Stage, his first major project finished in the United States, comes after a long career spent in Vancouver, where he is recognized as an authority on urban design.
W .S
1/4
St
ia
R.
h
Fort McNair
Waterfront SEU Metro
Garage: underground parking with a capacity for 70 cars.
F. D
4t
ne l
M. PKW Y.
0 MILE
Ea
S.E.
The new Arena Stage facility sits at the intersection of Maine Avenue and M and Sixth Streets SW. The front door, and the entrance to the small parking garage (check in advance for access), is on Maine Avenue The Waterfront Metro Green Line station on M Street is one block away, and Circulator passes down Sixth Street The building is best seen from Maine Avenue, where its serpentine glass front faces the Washington waterfront, giving new life to a rapidly transforming neighborhood.
NAVY YARD
M ST.
E.
W
. ME
R. a c ac m m to to P o
G. W
Po
VA.
395
Arena Stage
AV
After its $135 million, decade-long architectural reinvention, Arena Stage opens on Oct. 23 as Arena Stage at the Mead Center for American Theater, the largest performing arts center to open in Washington since the Kennedy Center. In a bold architectural feat, two existing theaters at Sixth Street and Maine Avenue in Southwest — Fichandler Stage and Kreeger Theater — were incorporated and a third theater added, Kogod Cradle. Now encased in a glass box, the three theaters form a new acropolis of the performing arts on the Washington waterfront. Theatrical and architectural highlights:
IN
395
D.C. 6TH ST.
Jeff. Mem.
INDEPENDENCE AVE.
U.S. Capitol S. CAP. ST.
THE MALL
14TH ST.
Wash. Mon.
St. Augustine’s Episcopal
0 FEET
500
Sunset carpets
Kreeger Theater In the early 1970s, Weese designed another venue for Arena, the 500-seat Kreeger Theater, which has also been refurbished and its acoustics improved.
Bonnie Thom, the architect’s wife, sketched the original patterns for the three huge carpets with crayons on copies of the floor plans. She chose colors from the three theaters and added tones that mimicked sunsets on the waterfront. Dark criss-crossing “energy lines” were copied from Bing Thom’s sketches.
Main entrance and box office The main entry is off Sixth Street, where the entrance to the Fichandler was.
Fichandler Stage Rather than abandon its existing, landmark theater spaces, including the Fichandler Stage, Arena preserved them, incorporating them into the new building. Designed by Chicago architect Harry Weese, who also designed Washington’s Metro, the 680-seat, arena-style Fichandler needed a lot of love, including better acoustics and sound insulation.
Rock garden You don’t need a ticket to eat at this cafe, built atop the Kreeger Theater. The terrace space is accessible to anyone via Maine Avenue. A rock garden adds a Zen like touch and solves an important problem: limiting weight on top of the historic structure. Elevator
Semi-circular passage
Elevator
Bar 55.5 ft
Bar
Sidewalk Access stairs
White roof overhang
Lobby bars and cafe
Bing Thom likes thin, curvaceous roofs. The white overhang of the Arena roof makes it stand out in a city of rigid, straight lines and uniform cornices.
The chances of getting a first-rate meal along the Washington waterfront just went from nil to very good. A new cafe, with chef Jose Andres presiding, offers views through the center’s towering windows, and a prize perch for people-watching as crowds mill around the new atrium and drink at the long, modish bar.
W Columns
Torquing floor
Bing Thom’s huge wooden columns are a first in Washington. Made of super-strong composite, they give the modern design a natural touch, each supporting more than 400,000 pounds. At their base, they taper to a ballerina-like point. Above, wooden spars help support the glass wall.
If there’s a secret ingredient to the building’s success, it may be its gently sloping floor, which connects the different entry points of the historic theaters without stairs — and adds a quirky, organic sense of flow to the main lobby space.
EAST elevation
WEST elevation
View from Sixth Street (Main entrance)
View from Maine Avenue
Offices An administrative suite brings all of Arena’s departments, from dramaturgy to community engagement, under one soaring roof.
Molly Smith’s office What’s Molly Smith doing? A fishbowl office puts the artistic director on display.
Roofline The roofline of the new theater is no higher than the surrounding buildings. But its bold shape announces that a new design aesthetic has come to Washington.
NORTH elevation
View from north side
45
46
Commercial
Aberdeen Shopping Mall, phase 2, Richmond, Canada 2008
47
48
ABERDEEN SHOPPING MALL SHOPPING MALL RICHMOND, CANADA Aberdeen Shopping mall is a Complex that will contain both retail and a hotel above. It explores the possibility of shopping tourism, as many visitors travel for sole purpose of shopping. The convenient loca on of the shopping mall to their hotel accommoda on hopefully allows shopping tourists me for other ac vi es during their stay. The convenient loca on of the sky train sta on next to the site guided the design of the public plaza and generous entrance area zone to the complex. The curvilinear atrium space both pulls in and directs the visitors on the promenade across the mul ple levels of the retail space. The building pulls away from the sta on to allow comfortable influx and distribu on of people from the sta on. The thick curvilinear facade contains the space for exhibits and promo on of ar st. The art wall is not only an orien ng element in the shopping mall, but the contribu on of the shopping mall to the community as well as the dynamic gallery space that constantly changes the face of the city. Even though the hotel is part of the same development, its massing, separate entrance and the transparent curtain wall facade, clarifies this dieren a on of use. Besides the convenient access to shopping, the visitor has the privilege of unique views through the full glass facade and exclusive experience at the hotel’s terrace on the roof of the shopping mall. 49
50
51
52
53
54
Cultural
Shenzhen Museum, Shenzhen, China 2008
55
56
SHENZHEN MUSEUM GALLERY AND HOTEL SHENZHEN, CHINA Shenzhen Museum is a unique art experience where the visitor not only come to see the art but to stay and live with the art. This building is a combina on of gallery and hotel program, that promotes a long contempla on of art. The museum itself is located on an extremely sloped site which inverts the circula on organiza on of the building. The descend into the living quarters is made into an experien al promenade. The long sequence of movement through dierent spaces that leads to bedrooms include the glass elevator, the main public space, interior terrace overlooking the main gallery, the open staircase, outside gallery space, a sculpture garden, main gallery space, and an outside pool. Each space is a separate ambient that seamlessly transi ons into anther environment. This museum integrates nature, living and art exhibi on into a unified experience. The interplay of allowing and disrup ng the views towards the outside world as well as towards the water, places nature as an art object within the museum. This building is a completely sustainable development using passive systems of orientaon and cross ven la on, as well as providing solar panels and geothermal system to generate energy for everyday use, as well as hea ng and cooling. 57
58
59
60
61
62
Compe
on, Commercial
New Fundecor Headquarter Building CompeƟƟon, Costa Rica 2011
63
64
INTERNATIONAL ARCHITECTURAL DESIGN COMPETITON: FUNDECOR OFFICE BUILDING, PUERTO VIEJO DE SARAPIQUI, COSTA RICA
The design for the new FUNDECOR headquarters strives to achieve a balanced approach between maximum landscape integra on, a memorable and efficient building for FUNDECOR and minimum environmental impact of building and construc on.
DESIGN CONCEPT: A singular, narrow building shape straddles the most pronounced hill of the gently rolling landscape of the site. The building is located as far away from the busy street as topography and site condi ons allow. The orienta on of the long and narrow building shape is northwest to southeast, thus offering maximum exposure to the prevailing trade winds from the northeast. This orienta on also offers the best views of the forest on one side and the plains on the other. In sec on, the new office building follows the contours of the hill, its roof slope mimicking the hill’s contours to allow for harmonious landscape integra on and easy water runoff. While the floor plan of the building is deliberately kept to a narrow width of five meters to ensure op mal cross ven la on, the actual construc on is li ed off the ground as it straddles both sides of the hill to minimize site disturbance and allow air movement beneath the building. 65
66
67
68
69
70
Compe
on, Cultural, Public swimming pool
The Wave, Aalborg, Denmark 2002
71
72
THE WAVE COMPETITION AALBORG, DENMARK Our proposal for the Aalborg sports complex inves gates a methodology that metamorphoses the found topography, culture, and the environment into semi-arfical sculptured surfaces, which embodies mul ple performances. We inves gated the en re topography as a series of performave strings a ached to a dense surface. With the use of anima on so ware, we channeled movements at various speeds through func onal and topographical energe c fields. By lo ing the energe c flows, we generated surfaces that embody ac vi es. We then further intensified the performance criteria of each surface by thickening, interlocking and crea ng dieren a ons in the mul layered topography, which supported various veloci es, materials, humidity, temperatures, and fluid dynamics. We obtained a mul -layered, wave like structure with various programma c and technological performances. The layered structure easily wove itself back into the surrounding landscape where it supported water-management sites, ac vity fields, parking structures and landscape features.
73
74
75
76
77
78
Compe
on, Cultural, Urban
Waterford Waterfront CompeĆ&#x;Ć&#x;on, Waterford, Ireland 2002
79
80
THE WATERFORD WATERFRONT COMPETITION WATERFORD, IRELAND Waterford Crystal Compe on is furthering the concept of building as a signifier by conceiving a building as an object that simultaneously performs as infrastructure and landscape. The design reacts to the flows, pressures and views along the water and to an opportunis c southern exposure. The urban diagram consists of several strings running along the riverfront, which create a knot in the center. Once a specific need is defined, modular elements are installed onto the strings in a chain-like fashion. The stackable crystalline modules provide for unit-based residen al types and small public programs. The knot is the conceptual posi oning the venue building, and also is the signifier of the Waterford Crystal Chain. Unlike the string-like units and segmented infrastructural inser ons, the spacious volume of the Venue building is smooth and includes large public programs. Opportuni es for rapid prototype making and on-site tes ng provide this region with possibili es in manufacturing with new building technologies.
81
82
83
84
85
86
Single-Unit Residen al
Shenzhen Vila, Shenzhen, China 2008
87
88
SHENZHEN VILA SINGLE-UNIT RESIDENCE SHENZHEN, CHINA Shenzhen Vila is a sequen al experience. Situated on a extremely sloped site, he house is a mediator between the road and the sea. The organiza on of a house is inverted. With a parking next to the road, one approaches the house by from the hill. The first experience of the house is the roof, which assumes the func on of the front yard with the green roof, water pool and pla ngs. The entrance to the house is through the semi-enclosed space that leads pass the pain ngs and sculptures to main terrace space that opens up views towards the horizon. Only a er this ini al promenade, one turns around away from the sea to actually enter the house. The staircase at the entrance opens up vistas towards the living room, the library and the dining area. In addi on to these, the main living space includes the kitchen, the outdoor pa o and the bathroom. Two lower levels are private zones with master suite and guest bedroom, on the upper level, and children bedrooms and playroom on the lower one. The house opens maximum views to the water and the outside, while simultaneously protec ng against the views from the neighboring proper es. The thinness of the surface is carefully explored where surfaces imply con nuity and endlessness and seamless flow from ar ficial landscape into a natural. 89
90
91
92
93
94
Single-Unit Residen al
Netscape Apartment, Belgrade, Serbia 2008
95
96
NETSCAPE APARTMENT SINGLE-UNIT RESIDENCE BELGRADE, SERBIA Netscape Apartment is an explora on in making a con nuous space. Previously funconally fragmented spaces of this Modernist apartment building is now an unified open space with minimal physical divisions. The infrastructure is the only trace of the separa on of func ons. The guts of the apartment: structural columns, electrical cables, light, internet, television and telephone have been detached from walls and unified. The cables are channeled through the ceiling branches throughout the apartment and brought to the central point. The central column is also a main network area where all cables meets, and where the main control sta on lay. The main hub consis ng of all electrical connec ons is the entertainment center, with the TV, speakers, light switches, internet modem and telephone connec on. The living room is a space for working, lounging, cooking and ea ng. Each of the ac vi es is defined by the built-in furniture rater than the dividing walls: with the work desk, dining table, kitchen cabinets, and the reading library. Most furniture in the apartment is custom built to maximize its use and increase organiza on within spaces. Even with no physical boundaries, each area is self suďŹƒcient and adjusted to the complete sa sfac on of user needs. This apartment is a func onal machine that allows internal psychological and community development. 97
98
99
100
Single-Unit Residen al
Cockpit Apartment, Moscow, Russia 2005
101
102
COCKPIT APARTMENT SINGLE-UNIT RESIDENCE MOSCOW, RUSSIA Cockpit Apartment is a renova on of Russian style ‘komunalka,’ a communal apartment living space which previously hosted seven families. The two bedroom apartment was organized around the centrally placed kitchen and bathrooms. Unlike the modernist func onal living spaces that hid away the u litarian aspects of living, this apartment celebrates the most essen al bodily needs, by making the cockpit its main sculptural element. The cockpit is inspired by the airplane construc on, where the minimal frame carries the load and the define the shape. The structural frame is then covered with minimal amount of material to reduce the weight and increase u lity. In the case of cockpit space, the irregularity of the central element was necessary to create a dynamic experience and break away the long hallway that separates the master bedroom from the main living space. The advanced computer technology was used to calculate the exact angles, lengths and dimensions of this irregular shape with high level of accuracy, as well as to manufacture it.
103
104
105
106
Exhibit
Drawing Lightscapes, New York, NY 2009
107
108
Drawing Lightscapes Exhibit art/architectural installation – music performance – dance performance Drawing Lightspaces is a full scale installation curated and designed by Dina Krunic featuring Yael Erel and Avner Ben Natan’s custom-made, sustainable, atmospheric lamps whose projections create spatial drawings. The installation explores the extent to which light can become a material of drawing and create performative spaces. Drawing Lightscapes explores drawing with light to create temporal lightscapes, through constructed environments that build the depth of drawings, which is pierced by the viewer as he or she enters it. This exhibit is interplay between the environments and the body, as the curator Dina Krunic states: “This installation is an attempt to adapt to environment that we construct and allow symbiosis to emerge from the interplay of the constructed and the living, which is quite pertinent in today’s time of environmental changes. In this exhibit, the attempt is to surpass solipsism of one person, and develop a dissolved self, a self which is a part of the greater whole”. Drawing Lightscapes explores the tension between the physical and the projected through using light as a medium to draw lightscapes onto screens and lighting objects as an instrument to project, filter and reflect this light. The installation is composed of screens and custom light fixtures that are designed to work together to create several different immersive environments. It uses light as a projectional drawing device at the scale of architecture. The screens allow for two major modes of viewing: the unobstructed view of the lightscapes as drawings, which imply an imaginary scape, as well as narrow passage zones, which encourage the viewer to peek behind the screens and enter the field of projection. As one journeys behind the screen, one enters into the depth of the drawing and in so doing modifies the drawing itself. The artists’ custommade lamps placed behind the screens, made entirely of recycled and reused material in collaboration with ceramic Artist Sharan Elran, are the camera obscura which focus and deform the light. 109
110
Exhibit
Generator, Belgrade, Serbia 2006
111
112
113
dina@studiodina.com +1 347 863 0698