KRISTINA KUPSTAITE Achitectural Porfolio
Kristina Kupstaite email@example.com +31 6 41598931 (Netherlands)
MSc in Architecture // TUDelft // Architecture, Urbanism and Building Science // Delft // The Netherlands // Sep ‘14- Feb ‘18 BA (Hons) in Architecture // University of Newcastle upon Tyne // Architecture, Planning & Landscape // Newcastle upon Tyne // UK // Sep ‘10- June ‘13
Adobe Illustrator // Adobe Photoshop // Adobe InDesign // Sketch Up Pro // Autodesk Autocad // Artlantis Studio rendering engine // V_ray rendering engine // Model Making // Free_Hand Sketching // Microsoft Office Package //
Degree in Visual Arts // E. Balsys //Gymnasium of Arts // Klaipeda // Lithuania // Sep 1996- June ‘03
Experience Internship // ANA Architecten // Amsterdam // The Netherlands // Sep ‘13- July ‘14 Summer School Participant // Xsite Architecture // Newcastle upon Tyne // July/Aug ‘12
‘Porosity_Borders vs. Boundaries’ Using the physical body of Architecture to enliven the social realm of the residential urban block. MSc Research paper: Autumn ‘15 ‘Phantasmagoria and the Neurosis’ Analysis of built environment and its effect on the individuals through the notion of the phantasmagoria as a phenomenon applied by Walter Benjamin. MSc Theory Thesis: Spring ‘15 ‘Happiness:Individuals and their home Environments’ BA Dissertation: Winter ‘13
Publications Project for Religious Heritage Friesland // Tjotter Museum // Published in // Stichting Alde Fryske Tsjerken // Nieuw leven voor oude kerken // Nr. 13 Dec ‘15
Languages English // fluent // Lithuanian // fluent // Russian // fluent // Dutch // basic //
A little bit about myself
Originally from Lithuania, I have been away from home for the last 13 years - exploring, learning and growing (on a personal level as well as within the architectural sphere/profession). I have a longstanding passion for architecture which began when I was a teenager, and discovered technical drawing (then still by hand). I entered art school at the age of 13 with a dream to some day become an artist, but when introduced to technical drawing I never looked back. As most professionals and students of architecture would observe I am a perfectionist; every given task/challenge/situation I strive for my personal best. I thrive on being creative, overcoming constraints, developing solutions, creating possibilities. During my bachelor years at Newcastle University (UK), I was struggling to find my own voice, therefore I turned to explored the possibilities and potentials of different materials from timber to Plexiglass to concrete. As a native of a post_soviet country, pre_cast concrete tenements were the norm - I knew I needed to challenge my perception of concrete as a brutal or inferior material. To this end I chose as my graduation project (BA) a brief whose main constraint was the compulsory use of concrete - this helped me to see the potentials, possibilities, advantages and the beauty of the material. Following an 8 months internship with an architecture firm based in Amsterdam, I was accepted to TU Delft to study for my Masters in Architecture, completed in February â€˜18. During my studies in TU Delft I have developed a fascination with the notion of // Blurring the Boundaries // or understanding the powerful effect that architecture has on the wellbeing of its users - society/the public/the individual - and how it can have a crippling or enabling effect on their existence and well being. Thus, architecture for me is a multifaceted discipline of art, requiring a great understanding of the human condition, which I look forward to further explore and develop a depth of knowledge, and am eager to begin my journey within the profession.
Re_Claiming Rome // Graduation Project // Tiberinus Brewery // Winter ‘18
Figure of Speech // MSc 3 Architectural Expression // 3 Facades // Winter ‘17
Pop_up Monument // MSc 3 Charrette // Retracing the Tiber //Autumn ‘16
Religious Heritage Friesland // MSc 2 Project // Tjotter Museum // Spring ‘15
Palazzo Enciclopedico // MSc 1 Project // Home of Carpet // Winter ‘15
Building Technology_Timber // MSc 1 BT Project //Neudeflat // Autumn ‘14
Free_Hand Drawing // Selected works // Summer ‘15_ Winter ‘18
Graduation Studio // Re_claiming Rome // frame work was to engage and intervene into the city of Rome, as well as to challenge the stereotypical definition of the city as the // Eternal City // taking into consideration not only its history, but also its contemporary context/conditions; paying particular attention to the role (or the lack) of the river Tiber. Rome holds the status of a global city and ranks as one of the most visited cities in the world due to it’s well preserved historical traces (in abundance). However, the fragmentation of the cityscape is evident, therefore the objectives of the studio were to face the conditions under which Rome succeeded over the centuries and to establish new conventional languages, questioning their necessity and shared expectations.
The chosen site for the proposal was a former Papal Arsenal, which lies on the west bank of the Tiber, approximately 3 km south from Vatican City. The edifice was erected in the early 18th C. and acted as a barge and ship repairing facility for the city, as it was located just outside former city wall (Janiculum Walls), adjacent to main port of Rome. However due to the embankments of the Tiber that were erected in 19th C. the shipping trade within the city rapidly declined resulting in the abandonment of the two aisle Gothic structure which has not been re_purposed since. At the present it lies on the Via Portense - a busy traffic road, that is also a place of a small marginalized ‘community’. The neighboring edifices are self_made corrugated aluminium barracks that act as a bike and bicycle shops and derelict buildings, as well as the location for the weekly Porta Portese flea market. Additionally, it lies almost directly on the banks of the river, however due to the embankments and the drop between the river and the street level the proximity is not traceable. During the analysis and the research of the site the following facts stood out, which became the fundamental factors in the proposal development // _Proximity to Tiber // its present and the past conditions // _Productivity // present and the past conditions // _Informality // present social condition // Design Proposal // Tiberinus Brewery: a public brewery which uses the river as a source of water, transforming that water within the site from // dirty water // through a filtration process (Reverse Osmosis) to a consumable - Beer. _The main building is submerged under the existing site, in order to provide an open public square within the perimeter of the former Arsenal. _The underground edifice reaches the level of the Tiber, but in order to protect the habitable spaces a slightly protruding ‘dam’ is constructed into the bank of the river. _The existing buildings on the street level become part of the same building complex _As a broader aspect of the proposal and as an agent of further rejuvenation for the city, it is possible to integrate these water dams city-wide.
Graduation Project // Re_Claiming Rome // Papal Arsenal // Rome // IT //
// Tiberinus Brewery //
Rome // known for ......................................................
and much more // however ......................................................................
..........neglect // decay /
// brown fields prevail..........
............ Papal Arsenal // Trastevere // Rome //
The city turned away from the Tiber, after the erection of the embankments on both sides in 1876. All shipping and trading activities are disengaged. The Tiber has become a blank zone within the city.
Throughout the histo was of great importan bustling space and a s the embankments we
Hadrian Mausoleum The Vatican
Baths of Deocletian
Temple of Hadrian Pantheon
Tiburina Nero’s golden house Labicana
Via Portuense (Portuensis), one of the Roman ancient roads, that led to the Port, the town at the mouth of the Tiber near Ostia
Baths of Caracalla Latina
Janiculum Walls XVII C. AD, Porta Portese is part of the wall system, one of the entrances to the city.
Hadrian Mausoleum The Vatican
Baths of Deocletian
Temple of Hadrian Pantheon
Tiburina Nero’s golden house Labicana
Baths of Caracalla Latina Portuensis Ostiensis
Papal Arsenal // Overview
Auralian Walls III C. AD, The future Arsenale Pontiﬁcio site is within the City walls
Porta Por sculpture cate of Po
‘Old’ Trastevere train station was built on Viale di Trastevere just on the south east side of the Arsenale location in 1894. After only 16 years all services ceased in around 1910.
ory of Rome, the Tiber nce to the city, it was a source of water until ere raised.
On the Via Portuense side raised walls are still present - it may be assumed these were part of the train station complex, some of the entrances/niches are still in use.
A weekly Porte Portese market began around 1945 (when the city was slowly recovering from WWII) and was the new home of a black market - formerly held in Campo de’ Fiori (presently a fruit market). Trastevere seems to have been born under the star of trade.
rtese, built in 1644, never completed, missing es and a tower at the top. Built during pontiﬁPope Urban VIII (the shortest papacy in history).
Arsenale Potiﬁcio built in 1714, By pope Clement XI, was intended for the maintenance of river boats and barges, it was positioned just outside city walls (Janiculum). Prior to the erection of the ediﬁce the location was a rural area outside the city used for agriculture. The ediﬁce itself is 2 aisle accessible with a double Gothic arch and gable roof, which is highly atypical of Roman architecture.
In 1853 Pope Pius restored the location and added gates with his coat of arms at the top. The reason for the restoration is not known - as the shipping trade had been in decline, replaced by rail infrastructure.
After WW II the arsenale had been occupied by the building materials trade, and was in use for more than 50 years, until 2015 when the facilities moved.
At the present the area is of a particular typology, which could be called a shanty town; self-built sheds fabricated from corrugated aluminium, and currently used as bike and bicycle shops. It may be assumed that the unregulated self-built community gradually established itself after the PP market began and developed itself into a permanently established market.
Dominant axis - Via Portuense
Parallel to the road situated - Tiber river
Present Site Conditions
Reading existing form as form in between Approach to the site
Present conditions of the site _ linearity, strict bordering and decay led to contractive explorations. In the diagram/sketch above the Arsenal site is seen as a space without borders or limitations. A space that is open for exploration and accessible for all - this was a result of the research conducted on the present and past conditions of the area. This involves translating the physical structure from being a boundary between public and private (or in this case city and brown field), into a porous border that allows appropriation.
Existing situation // Core axis maintained
Introduction of the Perpendicular routes // Visual and // or Physical
Stepping down into the Tiber
Public Building // Existing situation
Outdoor Public Space // Urban Green
Recessing into the ground // New program
Historic Traces // Territory // Action
Square // Nature// Event
Embankment // Architecture // Program
PROGRAM // Beyond the Brewery
Tiber (water) - catalyst of activity
Papal Arsenal- bringing redundant sites into the city metabolism
Beer- as any other consumable, great driver in capitalist world
Educational and attraction
Site Plan // Viale di Trastevere
Water Dams // Precedent
Theatre of Marcellus, Rome // Archetypal Roman Public Building
// Water Theatre //
Birriﬁcio di Tiberino Città del Vaticano
Entrance Brewery Shop Arsenal //Eatery ‘n’ Tap room II Site Office Urban Green Hop Promenade Loading Bay
Tap Room II ‘n’ Eatery
14000 Loading bay
Foyer // Reception // Tap room I // Brewing Info Center // Shop Basin Terrace Lavatories Kitchen // Eatery Staff Room Storage Brewery Exit
Loo Brew exit
Reception ‘n’ tasting hall
35600 Eatery Info c. for brewering
Vertical Circulation Party Suites Exhibition space Brewery Mezzanine Storages Loading Bay
16600 Fermentation Chmber
R.O. exit Storage Part y Suite Part y Suite
16250 Fermentation Chmber
Water Theatre Reverse Osmosis Chamber Brewery Back stage
Reverse Osmosis Chamber
Tiberinus TiberinusBrewery Brewery// , Rome Where is? Wherewhat everything is? Entrance
Reception Tap room II and eatery
Descend to the basin Water basin
Reverse osmosis chamber
-6000 -11000 -16600 -21000
Section AA 1:500
Water Metamorphosis within the site // From River Water to Consumable _Beer
Production Potable water
Section AA 1:500 Distribution
Visitorâ€™s Journey // *_ Descend into the basin **_Follow the journey of the water
Production Potable water
I. Entry to the site
Visual Tour through the Tiberinus Brewery
II. Reception/ Tap room
VII. Urban Green/ Hop Promenade
I. VII. II. III.
V. RO Ch VI. Brewery
Descend into the Water Theater // City vanishes from the site
III. Descend to the Water Theater
hamber IV. Water Theater
North_East view of the Brewery
South_East axonometric view
Entry into the Site // View from Porta Portese
Reception and tasting room
Flight of Stairs towards Water Theatre
Entry to the Water Theatre
Water Theatre// Sluices down
Water Theatre// Sluices up
Brewery // Vapor // Heat recovery unit
Brewery // Brewhouse
View from Hop Promenade // Towards the Basin
Urban Green // View towards Former Arsenal
Axometric detail: Front Facade
16 4800mm 850mm
10 11 12
5 2 3400mm
The Design Exercise // Figure of Speech // framework was to design 3 facades for the Etienne_Louis Bouleeâ€™s project for the Bibliotheque Royale (1778_1788); for which the French architect elaborated himself 3 different versions of the facade. Additionally, the exercise focused on architectural expression and the way in which this crucial, yet very ambiguous aspect of the architectural design can be developed through a number of rhetorical figures. Therefore, Figures of Speech were selected: Hyperbole, Parallelism, Synechdoche, Oxymoron, Accumulation, Classification and Alliteration. Which were to become the drivers or the starting point of the architectural idea and architectural position. Not forgetting that the program is given - the library, from which the answers such as: whether the facade should convey the function of the edifice? and if so_ how?
Chosen Figures of Speech // Synechdoche Hyperbole Oxymoron In the process it was decided that each individual Facade will be treated as an individual units rather than a triptych and the variation of it according to the Figure of Speech. The result was 3 distinct facades which express the chosen Figure of Speech, however there were underlying commonalities to the character and make-up of the facade due to its already given edifice symmetry, the central entry point and emphasis on the formality of the edifice program - the Library.
Figure of Speech // A Design Exercise on th Architectural Expression //
// based on E._L. Boullee Bibliotheque Royale //
In literature this figure of speech uses an element or component of something when referring to a larger whole, and vice versa; i.e. referring to a book as ‘pages’. To translate this concept into architectural language for the purposes of this brief – our aim is to construct/design a façade library – we may take a small part of the brief, the institution’s prime function; books – since the library is a ‘cathedral’ of books, and express it in the language of the façade. To establish the scope of the proposal for the façade I have chosen a specific Synecdoche; ‘turning pages’ – meaning to read a book. Therefore, the façade of the library is intended to visually and conceptually represent ‘book pages’, this is aided by the vertical blades protruding through the façade and which flair out towards the edges of the edifice. As a visitor approaches the entrance of the library they are visually and physically turning the pages of a book.
In literature this figure of speech is an obvious and intentional exaggeration. To translate it into architectural language – the function of the library is ‘the container of books, therefore, we may exaggerate some given elements of the interior and retranslate them into façade elements. I have taken a specific hyperbole; ‘this library contains millions of books’. The façade is constructed with large concrete or steel components with small penetrations that are suspended from the load-bearing structure. The façade not only mimics the coffered ceiling of the interior main hall, but is also used to represent books. Due to the dimension of the components the façade becomes dominating and exaggerated – emphasising the importance of the institution by its grandiose nature.
Oxymoron; in literature, an oxymoron is an ambiguity of meaning (usually a given subject or object). To use the library as an example; the libraries’ prime function is as a container of literature, which itself can be seen an ambiguity – Words and ideas (spoken) are conceptual by nature, but as soon as they are put into print they become lasting and palpable. Therefore, the façade of the library is presented as ephemeral monumentality (longevity). The extended portico is suspended on tall slender columns, and prior to the entrance proper of the edifice. Due to the scale it may be perceived as monumental, however the slenderness of the building elements negates this – it is consolidated by the patchwork of the opaque and translucent façade and further by the roof elements all of which create a play of light and shadow and create a sense of the ephemeral. Finally, the patchwork itself may be interpreted as shelves of books: emphasised verticality on the front façade – reminiscent of a book spine.
Charrette // Pop_up Monument // framework was a one week group workshop that encouraged investigation into the imaginary and the real within the city of Rome. Workshop objectives // _Elaborate on the notion of appearance and disappearance _Deliver a // pop_up // which may be used as a methodology that exploits the interstitial conditions within the given environment.
In the given area of the assignment (in the vicinity of the Hadrian Mausoleum) it was found that the Tiber river is the interstice. The river was erased from the urban tissue of Rome when the embankments were raised, while in the past it was a vital part of the city. At the same time in the vicinity of the Ponte Sant’Angelo we found the interesting notion of death as the start of something new. Such as_ the crucifixion of St. Peter, Hadrian’s Tomb but also Dante’s Inferno. In a reaction to these precedents it was proposed to reactivate the river by creating a place of memory. The difference between the very public atmosphere on the Pont Sant’Angelo and the secluded atmosphere at the river level allows for a transition from the public into a more focused private setting. People will be accessing the monument from the bridge leaving the chaos of the city behind. The proposed memorial is one where the act of remembering is closely related to the water. The monument itself will provide a descent towards the water. This descent is shaped by solid blocks decreasing in height and size once you go further, transitioning from more public to more private. The medium in between these blocks is made out of net, creating a fluid space between the solid places of memory. The net also makes sure that the monument is not a simple continuation of public space but an area that you have to enter consciously. At the bottom of the monument you can leave a memory behind in order to let it be taken by the river. These memories would be small tablets of a soft lightweight soluble stone, that allow people to inscribe a name on them. When the river rises during flood periods these tablets will be taken by the water and will eventually dissolve into the water. In this way the memorial allows for an act of memory and at the same time a ritual of letting go.
Charrette // P0p_up Monument // St. Angelo Bridge // Rome // IT
// Retracing the Tiber // Group work // Personal input_ Initial sketch All vignettes Model (not incl.)
Elevation ‘n’ Section
Perspective ‘n’ Plan
Vignettes toward the descend
Tiber the heart of the Rome
Tiber erased from the city
Present_ city of monuments
Stepping into unknown
// Stepping Stones //
Redrawing the river into the city
Proposed_ retracing in between
Precarious = Awareness
Escapism // a moment of awareness
As a part of the proposal for the // Pop_up monument // the interactive element was added, a gesture of // letting go //. Meaning that the visitors would be encouraged to not only physically embrace the experience, but also emotionally. This was presented in a shape of small soft pellets which could be inscribed and inserted in the stand at the bottom of the monument and than expected to be taken by the flood water. A gesture of letting go of sorrows, bereavements and // or wish making. Additionally, as the pellets were to be an organic dissolvable matter - it could act as a fish feed or water cleansing material in order to decrease the pollution level of the Tiber.
Design Studio // Religious Heritage Friesland // framework was to analyse, contextualize and re-purpose for secular function one of the defunct churches in the rural settings of Friesland for the present and future. Studio objectives // _How to deal with religious built heritage in times where in the Netherlands church buildings lose their function _The ultimate aim for the design is to reflect a vision about how to deal with the existing. How to transform the idea, the concept of the existing space and existing materiality to fulfill new functions? Search for the permanence and temporality in architecture in the rural landscape of Friesland. It is about being and becoming.
For the proposal_ a small // 70 m2 // church was selected (currently closed), located in a rural village of Goingarijp, which lies on the shores of Goaiingarypster Puollen in the province of Friesland. The village has expanded cyclically, the church seems to be at the centre of the expansion. The edifice is surrounded by private residences and the only cafe in the village, which directed the proposal of a small public attraction. The village has a connection to sailing; on the north side of the village is located a locally well known sailing club. Which led to an idea that this could be a catalyst for the new program. The area would benefit from an additional attraction on the south side of the village, a thematic connection. The Tjotter is a traditional Frisian boat, which used to be built just 20km away from Goingarijp, in the town of Joure, however no dedicated museum to the boat exists anywhere else. This resulted in proposing a small museum dedicated to the Tjotter boat, but the church was too small to contain an exhibition space, reception area and facilities - therefore expansion was required. Additional buildings // facing south - a glazed foyer, 2nd - a thatched building for the exhibition of Tjotter paraphernalia. The existing church interior would be stripped off, upgraded and will host an original example of the Tjotter boat and projections of video footage. The former place of god - the church - becomes a cathedral of local heritage.
Religious Heritage Friesland// Goingarijp // Friesland // NL
// Tjotter Museum //
Pressure force Soldier course
Horizontal thrust Keystone
Vertical load Header course Stretcher course Voussoirs
Head-Neck-Rump farmhouse, Fresian Vernacular
Proposal : Present
Goingarijp Kerk, section
Tjotter - the smallest of the open round Fries sailing ships
The village, located in the west of Friesland, population approximately 230. Local tourist attractions // â€˜t Garijp - sailing school, camp site, B&B and cafe De Klokkenstoel, 18th C. Church (currently closed), turtle sanctuary (just outside the village). The concept is based on the already existing attractions; the village is small and the main attraction is sailing as Goingarijp is located on the shore of the lake Goengarijpsterpoelen. The proposal is to convert the old unused church into a small Tjotter museum - as the church is only 70m2 the only option for locating a museum there is to extend the existing church building. The village would benefit from an additional attraction. The Tjotter is a traditional Frisian boat, which used to be built just 20km away from Goingarijp, in the town of Joure, however no dedicated museum to the boat exists anywhere else. Examples of the boat may be found in the Einkhuizen and Friesian sea museum.
Goingarijp // Present situation ‘n’ inspiration
13495 Section AA
3266 Floor plan B
Existing structure of Goingarijp Kerk
Location within broader context
Watersportcentrum 't Garijp Bungalowpark Garijp, camp
Goingarijp Kerk De Klokkenstoel, eatcafe
Goingarijp and activities within the village
Stichting It Schildhûs, turtle sanctuary
1.Graveyard 2. Road 3. Water 4. Historic belfry
Site Constraints 1
1.Extrude upwards 2. Extend westwards
1. 3600 circulation 2. Singular entry Entries and circulations on the site
1.New entry hall 2. Additional space for the Museum 3. New belfry structure 4. Maintenance of the Old Church Proposed additions
1.Maintaining 3600 circulation 2. Maintaining original entrance 3. Internal access between two museum spaces
Maintaining the circulations on the site via extension
3 1.Old Church // Open space for Original Tjotter boat 2. Exhibition space 3. Reception // Entry hall Composition
7000mm 5800mm A
6200m 2190mm 2390mm B
Sailing Museum Plan
Tjotter Museum Section AA & BB
Traditional Frisian sailing boat. Built in Joure in the 2nd half of the 19th century. The length of the Tjotter can vary from 3.8 to 5 m. The wide and round version is 2.2 to 2.4 m, the slim version is 1.35 to 1.8 m wide. It has a flat surface with rounded bending lines. The tjotter is a typical fun â€˜jachtjeâ€™, but in the beginning it was also used by tradespeople to carry their wares. The Tjotter is especially associated with Friesland as this is where it was both used and created.
Birds eye view of the Goingarijp Kerk // Tjotter Muesum
Entry // Foyer
Old Church Exhibition Space
Extension // Exhibition Space
Detail 1:20 AA
Detail 1:20 BB
Detail 1:5 CC Detail 1:5 DD
Detail BB // Old Church
Detail AA // Extension
Detail 1:5 EE
CLT ridge board 230x400mm Thatching 300mm 0.23 W/m.K Thatching spars Fire board Timber battens 40x60mm Water control layer Sandwich insulation panels 60mm Vapour contol layer Plasterboard 20mm CLT rafter 200x300mm
Clay roof tiles Timber battens Timber cladding Sarking Board (insulation) 22mm Water proof membrane Vapour -permiable insulation 120mm Vapour control layer Plasterboard 20mm Existing timber roof structure
CLT beam 110x220mm Timber frame windows Double garzing External shading ( Timber)
Existing solid masonry wall Water proof membrane Vapour -permiable insulation 120mm Vapour control layer Plasterboard 20mm New timber box window Existing Stained glass window
Polycarbonate wall 100mm CLT Flooring system 50mm Insulation panel 50mm Plasterboard 20mm CLT beam 110x220mm Thatching 300mm 0.23 W/m.K Thatching spars Fire board Timber battens 40x60mm Water control layer Sandwich insulation panels 50mm 0.024 W/m.K Vapour contol layer Plasterboard 20mm CLT column 200x300mm
Concrete ﬂoor ﬁnish Rigid ﬂoor insulation 50mm 0.022 W/m.K Vapour control layer Concrete pile foundations Water proof layer
Concrete ﬂoor ﬁnish 50mm Vapour control layer Rigid ﬂoor insulation 22mm Waterproof layer Concrete ﬂoor slab
6. 1. 4. 2. 3.
1. CLT column/rafter 200x300mm 2. Plasterboard 20mm 3. Vapour control layer 4. Sandwich insulation panels 60mm 5. Weather control layer 6. Fire board 7. Battens 40x60mm 8. Thatching spars 9. Thatching 300mm 0.23 W/m.K 10. CLT beam 110x220mm 11. Timber frame window, double glaze 12. External shading
120mm 1. 9.
1. Existing solid masonry wall 2. Water proof membrane 3. Vapour -permiable insulation 120mm 4. Vapour control layer
1. Existing solid masonry wall 2. Water proof membrane 3. Vapour -permiable insulation 120mm 4. Vapour control layer 5. Plasterboard 20mm 6. Existing timber door
5. Plasterboard 20mm 6. New timber box window 7. Existing Stained glass window 8. Gutter 9. Clay roof tile 10. Timber battens 11. Timber cladding 12. Sarking board (insulation) 22mm 13. Existing timber roof structure 14. Duct cavity
7. Compriband 8. Timber frame double glazing 9. CLT column 200x300mm
BuďŹ€er area automatically operable windows Boiler room Dye solar panels partial shading
Sustainability // Climate Diagrams
Model // South East West views
Site constraints and possibilities: the site is surrounded on all sides; to the south, east and north it is surrounded by a road and on the west it bordered by a canal, the site itself; the church building is surrounded by a graveyard on the south, east and west sides, also on the west side is the belfry which is replaceable (considering that it is replaced every 30 years or so). However the bell that is located in the belfry was made in the 16th century, and is the oldest part of the site (church), so therefore carries a rich historic value. This site restrictions dictate the extension positioning. Additionally, there is a path around the church, the proposal suggests that the circulation should be maintained, but now go through the intervention. Final proposal - 2 additional buildings, the 1st facing south a glazed foyer, 2nd - a thatched building for the exhibition of tjotter paraphernalia. The existing church interior will be stripped out, upgraded and will host an original example of the Tjotter and projections of video footage. The former place of god - the church - becomes a cathedral of local heritage.
Design Studio // Palazzo Enciclopedico // framework was based on the 55th edition of the International Art Exhibition in Venice, which was celebrating the Utopian vision of the artist Marino Auriti, and his vision of an imaginary museum that would accommodate all of mankind’s knowledge. The setting of Istanbul was considered a perfect location to explore the possibility of the totality, due to city’s fundamental character - the duality and ambiguity of the city; economical, social, political and spiritual. The brief was open for individual interpretation of the assignment theme and location, the only restriction being the increased awareness of the implicit relationships between conditions of decay and the will of the new order.
As the site for the proposal was allocated in the vicinity of the former grand railway station of the Haydarpaşa (at the time of the visit mostly redundant), the location was chosen at the end of the station platforms, this setting was partially mimicked in the final design proposal in anticipation that the structure could be re-appropriated in its condition. During the visit to the area and the Metropolis itself, the initial impressions were of chaos; The first reaction was to escape, to find a quiet, safe place. This impression was taken further during exploring the ‘museum’ theme. Carpet was chosen as the subject for the proposal. Carpet has a long history in Turkey and remains one of its biggest exports. It also intertwines with the notion of peacefulness, calm and sanctuary; as the process of weaving a carpet or rug is rather meditative and serene. The exploration of the history and process of carpet weaving led to a fascination with the weaving technique. This led to the conceptual reflection within all aspects of the proposal. A now three dimensional grid and linearity provided the structure to the proposed edifice. To challenge the brief to design a museum of all human knowledge within a particular field - as knowledge cannot be held to be merely tangible objects - the Home of carpet structure will not only house objects (carpets), but actually incorporate all aspects of carpet production; from sheep (wool) to the final product - the Carpet.
Palazzo Enciclopedico // Kadikoy // Istanbul // Turkey //
// Home of Carpet //
Kadikoy is a large cosmopolitan district in the Asian side of Istanbul, which lies on the northern shore of the Marmara sea. It is mixed use area_ residential and commercial, with numerous bars, restaurants, shops and worldwide famous Kadikoy Bazaar (market). Through analysis of the area a great variety of plinth was discovered, from shoreline to narrow market alleyways which result in a rich tapestry of human activity. On the north side of the district lies (at the time of the visit) the mostly abandoned HaydarpaĹ&#x;a railway station, built in 1909 by the German architects Otto Ritter and Helmuth Cuno; it has become a symbol of Istanbul and Turkey and is famous throughout the Middle East.
4th millennium BC. prototype of the polychromatic kilim rug natural animal ﬁbers geometric motifs or designs of shamanistic signiﬁ
Knot ( per 2.5 cm)
City of pergamus (-mum)
5-8.5 h./ 7-11 p.
Ghiordes ( Gordes)
7-12 h./ 8-16 p.
Village of Kulah (Kula)
5-10 h./ 7-12 p.
4-8 h./ 4-9 p.
Island of Rhodes
5-8 h./ 7-9 p.
5-8 h./ 6-10 p.
Village of Ladik
9-12 h./ 10-12 p.
Kir- Shehir (Kırşehir)
5-9 h./ 5-10 p.
100 ml. within Tuz Golu
5.5-9 h./ 7-11 p.
City of Sivas
7-11 h./ 9-15 p.
City of Mudjar
6-9 h./ 7-12 p.
5-7 h./ 6-9 p.
Melassa ( Melez)
5-8 h./ 6-11 p.
Weft Crosses 2-6 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2-4 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2-6 between 2 rows of knots Crosses 2-6 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2 between 2 rows of knots Crosses 2,3,4 between 2 rows of knots Crosses 4 between 2 rows of knots
Borders 1-4 stripes 6-9 stripes 6-9 stripes 3 stripes 2-3 stripes 2-5 stripes 3-5 stripes 5-8 stripes
only natura the middle
1-4 stripes 1-3 stripes 3-4 stripes 4-6 stripes 3-6 stripes
Major kilim producing regions:
Investigation on the history, techniques and types of the Turkish Carpet
Aegean Region: Afyon Aydin Bergama Denizli Manisa Ushak
Central Anatolia: Eastern Anatolia: Aksaray Erzurum Cankiri/Corum Kars Elmadag Malatya Kayseri Van Kirsehir/Nevsehir Thrace : Konya Sharkoy Sivas
Southeastern Anatolia: Gaziantep Marash Mediterranean Region: Adana Antalya Fethiye
"...there is no dir development an
vertical - sedentary
Neolithic Anatolia ca. 6000BC Anatolian kilim motifs -images of the archetypical Mother Goddess
horizontal- nomadic Loom- The earliest known illustration of a loom appears ca. 4000BC
al dyes until e of the 19th century A.D.
Konya Carpet Bergama Carpet
Yürük rug the kilim weavers who are often illiterate in our sense of the word, but are wonderfully erudite in the language of kilim rugs
rect answer or watertight paradigm that organizes and explains the nd meaning behind the patterning and motifs found in a kilim rug."
Warp Weft Knot
A fraction of the carpet and how the 3 main elements of the weave juxtaposed, Warp, Weft and the Knot provided great aesthetic interest. The techniques of different carpet were explored, analysed, drawn and abstracted.
Site Plan // Home of Carpet
8.1 8.1 8.1
5.2 8.1 6.1
The edifice is composed in a linear manner, so the visitor is able to see not only the final product but also each stage of the process. To emphasise the idea of the intertwining, the edifice is composed in a grid like manner and divided horizontally in the stages of the process with vertical divisions delineating periods. To enhance the idea of the carpet the processes are located in separate boxes which would, with further development, represent the verticality of the knot in the carpet. The visitors may view these spaces from the suspended walkways above, which undulate throughout the building.
entrance via main space
Primer access to the rooftop
19thCentury Century 19th 21stCentury Century 21st
PostNomadic Nomadic Post
division division of of periods periods
OďŹƒce OďŹƒce Intogallery galleryspace space Into
114m 114m 200m 200m
Carpet Carpet gallery gallery
Cafe Cafe Personel Personel Reception Reception Entry Entry
6m 6m Carpet Carpet
Final Weaving/ Final Weaving/ inspecting teaching teaching inspecting
Wool Wool Dyeing spinning Sorting spinning Sorting Dyeing
Divisionininprocesses processes Division
Sheepshearing shearing Sheep
Sheepraising raising Sheep
Section // Home of Carpet
Sheep rearing section of the museum
Roof system and skylights
Steel and glass walkways
Rammed earth walls
The Structure Steel column and ties
The structure of the edifice is composed in a grid manner in keeping with the carpet weaving grid technique. The structure sits on an in_situ cast concrete foundation. The perimeter of the building is composed of rammed earth walls, with insulation and containing minor openings throughout. The entrance (south facing) and rear of the building (east facing) also incorporate a vast timber frame fenestration system. The rammed earth was chosen for its integral qualities and its vernacular usage in Turkey. The interior is composed of a beam and column structure, the technique was chosen to maintain open spaces for the majority of the building. The CLT beams run along the length of the building supported by concrete filled steel beams, initially the beams were intended to be timber, however due to the dimensions required slender steel was a more suitable choice. For the structure to be stable, steel ties are installed between the beams, and cross ties between the columns. The roof consists of a regular pattern; solid roof: which is composed of green roof, insulation with the box timber system of the interior and glazing, 7m by 2.5m respectively. The glazing includes automatically rotatable louvres for natural ventilation. The roof top glazing provides the majority of the natural light in the structure, however the expansive areas of glazing might prove to be excessive, and therefore dye solar panels may be installed within the glazing, to not only provide shading, but also generate sustainable energy for the building.
Build up of the Structure
*In situ concrete ďŹ‚oor with footings *Insulated rammed earth wall 500mm
*Concrete ďŹ lled steel *columns 150x200mm
*CLT beams 200x600mm
* box timber roof system 120x120mm * Rigid insulation 100mm * Extensive green roof system
*Roof glazing *Internal partitional walls * Steel and glass walkways
Structure build up sequence 1 :150 *Steel ties
Detail Scale 1:5 20 340mm
extensive green roof increases the temperature of the underdeck tenfold compared to a standard roo during winter period
17 1. Vegetation roof slope 8.5 degrees 2. 70mm growing medium 3. 2mm ﬁlter fabric 4. 70mm drainage/storage layer 5. Retaining tie 6. Gutter 7. 2mm moistuire retaining layer 8. 12mm aeration layer 9. 100mm rigid insulation 10. Protection course 11. Weatherproof membrane 12. 120x120mm box timber roof sytem 13. 200m rammed earth wall 14. Puddled earth 15. 100m Insulation 16. Window frame, double glazing 17. 200mm x 600mm CLT beam 18. 50mm D Steel tie 19. Rotatable louvers (vent. system) 20. double glazed cleare acrylic
AA Hot air in
13 Rammer earth wall: *suitable for load bearing structure *classed as non-combustable * 300mm wall ﬁre resistance for 90 min *Weather erosion is reduced / prevented through appropriate detailing eg extended eaves, raised plinths, rainscreens etc. * provide eﬀective acoustic separation * U-value of 300mm rammed earth wall "H 1.5 – 3 W/m2K, therefore insulation needs adding in external wall applications.
500mm ELEVATION 1 20
external sheltering around the perimirer of the building protects the rammed earth from being washed oﬀ
SECTION AA 1 20
* green roo of energy n temperatur * decreases underdeck b during summ * inceases t the deck ab standard ro *green roof burning hea *have excel *green roof of waterpro
warm air out
cool air in
warm air out
cool air in
extensive green roof decreases the temperature of the underdeck by half compared to a standard roof during summer period
+ rammed earth wall thickness and density means that heat (or cold) penetration of the wall is very slow and the internal temperature of the building remains relatively stable
10 rain water let run oﬀ the roof freely into the gutter on the ground
ofs can reduce the amount needed to moderate the re of a building s the temperature of the by half compared to a standard roof mers temperature underneath bout tenfold compared to oof fs have a much lower at load llent noise attenuation f decreases the exposure ooﬁng membranes
2 3m 6
1. 200x600mm CLT beam 2. 150x200mm steel beam, concrete ﬁlled 3. sloped roof acts as a gutter 4. drainage 5. 500mm external rammed earth wall with insulation 6.300mm Floor system, ﬁnish, insulation, steel beam 7. Roof system with green extensive roof 8. 250mm internal ranmed wall 9. 300mm window openings length varies 10. Puddled earth 11. 300mm in situ concrete ﬂoor with ﬁnish 12. Lighting 13. Strenghtened earth
11 SECTION BB 1 20
Building Technology Workshop // Timber // framework was to developing a new construction strategy with the focus on timber as the primary material for the currently standing Neudeflat, office building in Utrecht. It was important to understand the present condition of the edifice. Whose construction stands 56 metres tall, with 15 storeys above ground and two subterranean levels. For its construction it uses a 1.5m deep in_situ concrete foundation slab, a load bearing concrete core, with concrete floor slabs and segmented concrete walls on all sides of the structure.
For the proposed replacement structure (which must closely match the original floor space and overall dimensions) finding any relevant precedent for timber constructed buildings proved to be quite difficult as the development of timber high-rises globally was at the time sluggish. The primary material was chosen to be Cross Laminated Timber (CLT). The construction of the core was solid CLT panels and for the rest of the structure a CLT beam and column frame with insulated timber compost panels in between. CLT was chosen as it provides a number of benefits – both practically for its construction (especially when considering the overall size of the new building) and also towards the environment; it is lightweight, it has a strong load distribution, it utilises renewable material (it will continue to store carbon throughout its usable lifespan), it is suitable for internal and external uses, it requires minimal construction on site. The structure is proposed to have a double façade, in consideration of the climate system attitude. The internal façade is weather tight. The wall frames are fitted to the internal façade meaning the external framework of the structure is fitted after the wall frames are in place. Additionally, the external glass panels are fitted with dye solar panels which as well as generating energy for the building also provide external shading on the south side of the edifice.
Building Technology // Utrecht // NL //
// Neudeflat_Timber //
Core // CLT sections_ 9600 x 3000 x 400mm
Load bearing column distribution 5 stories // columns_ 6400 x 200 x 77%mm beams_ varies x 77% x 200mm
6 stories // columns_ 6400 x 200 x 88%mm beams_ varies x 88% x 200mm
6 stories // columns_ 6400 x 200 x 450mm beams_ varies x 400 x 200mm
Model // Timber beam and column connection
Build up of the Structure
400mm CLT solid core 400x200 CLT beams Foundation
400x200 CLT column
160x200mm box timber floor system 280x340mm box timber roof system
200mmwall timber frame composite
CLT beam and column second skin
prevailing southwest winds drives the turbines
winter_ sun is low heats the trapped air in the double skin extensive green roof
summer_ sun is high, the deapth of the double skin provides shade, not allowing direct sun
DYE solar panels generate energy (process similar to photosynthesis), generates energy even during overcast days
winter_ sun heats the air in the double skin
summer_ louvers shut, only upper glass louvers open to withdraw hot air out of the structure
Double skin also acts as a sound buﬀer Heat pump Warm season Cold season storage storage South facing facade
North facing facade extensive green roof decreases the temperature of the underdeck by half compared to a standard roof
prevailing southwest winds drives the turbines summer condition
A lack of direct sunlight to the north façade means a cooler air temperature, the louvers may be opened to utilise the cooler air thus lowering internal temperature and reducing the need for mechanical air conditioning. Exhaust air is removed through the wind catchers. The air temperature during the cooler nights can be trapped in the cavity spaces to provide a further boost to the natural air conditioning system.
Louvers to the inhabited spaces are closed, with only the external façade open to generate a heat stack eﬀect in the cavity. The internal spaces are cooled with the precooled air from the core of the building. The dye solar panels generate a high level of energy during the summer months, the excess of which may be stored for later uses, or boost the indoor cooling systems as necessary. The double layered façade includes a recessed internal cavity; to a depth of 1200mm. The overhang of this space prevents direct sunlight from entering the internal spaces during the peak summer months – at least partially reducing the need for an internal cooling system.
North facing facade
South facing facade extensive green roof increases temperature undeneath the deck about tenfold compared to a standard roof prevailing southwest winds drives the turbines
Due to the low level of exposure to sunlight, the louvers of the north facing wall remain shut. The cavity space insulates the internal spaces ensuring the cold air ﬂow is controlled.
The louvers provide control of internal heat levels by responding to the conditions outside. Most fundamentally heat retention is ensured during colder winter periods by preventing warm air from escaping or cold air from entering. The sunlight warms the air in the cavity, meaning the need for mechanical heating is greatly reduced. Dye solar panels ﬁxed to the façade provide a sustainable energy source and function even during overcast days, this energy can be used for underﬂoor heating. Wind catchers (installed on the building-core roof) generate additional energy, the excess of which may be stored for later use. Exhaust air is drawn through the building, utilising the natural ventilation stacks and the air velocity of the core.
winter condition +
Internal Facade Detail
Roof Detail // Bottom Left 14. 400x200mm CLT beam 15. 12mm Gypsum board 16. 50mm rigid insulation 17. 30x30mm timber batten 18. 22mm horizontal cladding 19. 120x20mm timber ceiling finish 20. 75x75mm timber joist 21. 100x250mm timber truss 22. 20mm plywood sheet 23. 0.16mm waterproof membrane 24. Roof deck (acts as a gutter) 25. Drainage cap 26. Aluminium cap
1. Vegetation 2. 100mm growing medium 3. 2mm filter fabric 4. 70mm drainage/storage layer 5. Retention tee 6. Gravel 7. 0.2mm moisture retention layer 8. 12mm aeration layer 9. Cap sheet membrane 10. 200mm rigid insulation 11. 0.2mm protection course 12. 0.16mm weatherproof membrane 13. 280x340mm box timber roof system
1. 450x 200mm CLT column 2. 12mm Gypsum board 3. 60mm solid timber panel 4. 30mm thermal insulation 5. 25mm cavity 6. 50x30mm timber batten 7. 12mm Gypsum board x2 8. 0.5mm vapour control 9. 200mm timber wall frame 10. 15mm Gypsum board 11. 50mm rigid insulation 12. 0.16 weatherproof membrane 13. 30x30mm timber batten 14. 22mm horizontal cladding
26 1 6
2 3 4
9 10 11
25 22 21
12 13 20 14
19 17 18
External facade Detail
1. Glass panes with dye solar panels 2. Supporting glass blade 3. Fenestration spider tee 4. Rotatable louvers 5. Ventilation duct 6. 400x200mm CLT beam 7. 75x75mm timber joist 8. 300x100mm timber trusses 9. 30x100 timber battens 10. 120x20 timber deck finish
4 5 8 7
2 3 45
7 8 9
10 11 14
As a graduate of art school I have been brought up in an environment where self expression through drawing was encouraged and expected. After entering education in architecture where the early focus was on the development of digital media skills, my passion of drawing and sketching for pleasure was suspended. Recent travels through Europe have provided the perfect inspiration and opportunity to re_embrace the skill. Even though the sketches are not always successful, I believe that I have developed a strong personal style and I try to sketch as often as possible. It has became a hobby that enables the clearing of my head from all worries, fears and burdens. This selection of pieces is a combination of sketches that I have compiled whilst traveling as well as sketches produced for design projects within University, they are produced either on site or from photographic images after. All images undergo minor post_production as they are originally conceived on off_ white paper.
Free_hand sketching // Selected works from travels across Europe //
Lake Bled, Slovenia Copenhagen Amsterdam Nuremberg Edinburgh Warsaw Utrecht Venice Rome Lyon
Lake Bled, Slovenia
Via Portuense // Rome
Published on Mar 11, 2018