Portfolio - selection of works - Bumbál

PORTFOLIO Martin Bumbál

selection of works

CURRICULUM VITAE PERSONAL INFORMATION name and surname Martin Bumbál birthdate 26. XII. 1997 address Vajnorská 6, 831 04 Bratislava-Nové Mesto, Slovakia Jugoslavských partyzánů 738/38, 160 00 Praha 6, Czechia phone +421 918 583 103 e-mail martin.bumbal@gmail.com EDUCATION 2008 - 2016 general secondary education Gymnázium Ladislava Novomeského, Bratislava 2016 - 2020

Bachelor in study field Architecture and Urbanism (Bc.) Faculty of Architecture of Slovak University of Technology in Bratislava Ateliér Kusý/Paňák 2019 - 2020

Bachelor Erasmus+ Exchange Department of Architecture of Technical University of Munich Studio Krucker Bates 2020 - 2022

Engineer Architect (Ing. arch.)

Faculty of Architecture and Design of Slovak University of Technology in Bratislava Ateliér Kusý/Paňák 2020 -

Master of Arts in Architecture (M.A.) Department of Architecture of TUM EUD of Technical University of Munich Studio Danzl Studio Krucker Bates Studio Hild Nagler 2022 - 2022

Freemover Exchange School of Architecture of Academy of Fine Arts in Prague Ateliér Šik

WORK EXPERIENCE 2017 - 2020 QArtAll atelier LANGUAGE SKILLS english german slovak czech WORKSHOPS 2018 2018 COMPETITIONS 2018 2019 2020

C1 - advanced B2/C1 - upper intermediate C2 - mothertongue C1 - advanced (no certificate) Južné mesto - VOK, MOK Autumn university of architecture - building-historical and urban development of Banská Štiavnica - 1st part: Romanesque Banská Štiavnica

2021

Južné mesto - VOK, MOK (awarded proposal) Multi-Comfort Student Contest (national round) nonarchitecture competitions: RE-DRAW.02: guggenheim new york: experimental architectural representation (finalist) Reconstruction of “Hviezda” dormitory (1st place)

SOFTWARE SKILLS ArchiCAD Autodesk AutoCAD SketchUp Enscape renderer Adobe Photoshop Adobe Illustrator Adobe InDesign

baginner advanced advanced advanced advanced intermediate upper intermediate

CERTIFICATES 2014 2014 2016 2016

ECDL (European Computer Driving License) DSD I (Deutsche Sprachdiplom der Kultusministerkonferenz Stufe 1) Level B1 DSD II (Deutsche Sprachdiplom der Kultusministerkonferenz Stufe 2) Level B2/C1 CAE (Cambridge English: Advanced) Level C1

COURSES TAKEN 2021 - 2022 Munich Plan Prof. Stephen Bates; Prof. Bruno Krucker; Dipl. Ing. Akad. Claudia Düll-Buchecker 2021 - 2022

Contemporary trends in architecture prof. Dr. Ing. arch. Henrieta Moravčíková; Ing. arch. Monika Bočková

2021

Gender Studies in Architecture Angela Stiegler

2021

Architectural analysis (Mies Exhibits / Exhibiting Mies. Exhibitions by and on Mies van der Rohe) Prof. Dr. phil. Andres Lepik; Sina Brückner-Amin M.A.; Dr. Laura Martínez de Guereñu; Clara Teresa Pollak M.A.

2021

History of culture and development of architectural thinking doc. PhDr. Jarmila Bencová, PhD.

2021

Building Register II Prof. Stephen Bates; Prof. Bruno Krucker; Dip. Arch LMU, RIBA Adam Gielniak

2020 - 2021

Regionalism and traditions doc. Ing. arch. Nadežda Hrašková, PhD.

2020 - 2021

Enviromental entity of architecture prof. Ing. arch. Róbert Špaček, CSc.

2020 - 2021

Staging Heritage for Future prof. Dr. phil. dott. Thomas Danzl; Dott. Ric. Roberta Fonti

2020 - 2021

The Art of Inhabitation Prof. Stephen Bates; Prof. Bruno Krucker

2019 - 2020

Green Technologies - Living Architecture Prof. Dr.-Ing. Ferdinand Ludwig

2019 - 2020

Urban and Landscape Transformation Prof. Stephen Bates; Prof. Bruno Krucker; Prof. Mark Michaeli

2019 - 2020

Theory of Architecture and Design Prof. Dr. phil. Andres Lepik

2019 - 2020

Summer School of Drawing doc. akad. soch. Milan Lukáč; akad. soch. Michal Šuda, ArtD.

2019

History of Urban Planning prof. Ing. arch. Peter Vodrážka, PhD.

2018 - 2019

Modelling doc. akad. soch. Gabriela Gáspárová-Illéšová

CONTENTS TRANSFORMATIONAL BUILDINGS: ARCHITECTURE AT THE FRINGE AND FOR THE FUTURE MA Project Studio Krucker Bates Prof. Stephen Bates; Prof. Bruno Krucker; Simon Burko; Adam Gielniak; Amelie Nguyen; Markus Stolz with Lukas Jusas; Andreas Rindal (33%) 2021 Moosach, Munich, Germany HALLS TO HUBS MA Project Studio Hild Nagler Prof. Andreas Hild; Prof. Florian Nagler; Ferdinand Albrecht; Stefan Bannert; Barbara Brinkmann; Matthias Kestel with Stijn Desmedt; Desirée Schäfer (33%) 2022 TUM City Campus, Munich, Germany

6 - 25

26 - 31

DOUBLE EXPOSURE: MIES AND LILLY EXHIBIT 32 - 35 exhibition proposal Prof. Dr. phil. Andres Lepik; Sina Brückner-Amin M.A.; Dr. Laura Martínez de Guereñu; Clara Teresa Pollak M.A. with Matilde Pires Raimundo Aleixo; Jean Boche; Lukas Jusas; Teresa Kunkel; Carolina De Moura; Kilian Paterson; Maja Šket; Liu Zhiwei (11%) 2021 Neue Nationalgalerie, Berlin, Germany TOWARDS THE INTELLIGENT RUIN BA Project Studio Krucker Bates Prof. Stephen Bates; Prof. Bruno Krucker; Matthias Haber with Pedro Bonilla Artigas; Anela Dumonjić (33%) 2020 Freiham, Munich, Germany

36 - 47

TRANSFORMATIONAL BUILDINGS: ARCHITECTURE AT THE FRINGE AND FOR THE FUTURE course studio supervisors assisstants collaboration year locality

MA Project Studio Krucker Bates Prof. Stephen Bates; Prof. Bruno Krucker Simon Burko; Adam Gielniak; Amelie Nguyen; Markus Stolz Lukas Jusas, Andreas Rindal (33%) 2021 Moosach, Munich, Germany

brief As the city expands physically from the centre outwards and at the same time invisibly contracts through the growing dominance of digital communication the question of where an appropriate location is to ground buildings grows. The global Covid-19 pandemic has also brought into question the future relationship between working and living and challenged the traditional autonomy between the two activities. Therefore as we continue to speculate upon the potential of the European city we draw our attention to the places of change, the fringes of the traditional centre, the sub-centres, the ring-roads, the outer edges of the transport network.

These locations are often challenged by noise pollution, connectivity, lack of coherent urban structuring and are neglected by city authorities and imbued with negative associations by citizens. And yet they have the potential to be transformed and given renewed value.

In previous semesters we have investigated the potential of buildings as infrastructures or intelligent ruins; spatial structures that facilitate use, that can be designed for an unknown future. This semester we wish to renew our focus on this theme, of buildings which are useful, suitable, usable and re-usable and with a strong physical identity. Buildings which have an expression of an economy of means and an economy of energy. Buildings that support ideas of a social sustainability and act as carriers of culture and guardians of cultural continuity and collective space. We may call these ‘Transformational Buildings’, highly flexible shells that provide for a multitude of possible uses in which living is at the heart. To design such buildings it is necessary to define its core values - its essence, as an urban figure and spatial experience.

The assignment this semester is to invent new structures on a number of sites in and around the city and periphery of Munich. These new buildings will be developed, either through the manipulation of existing prefabricated structural systems or through more bespoke, site specific structures, but always with an eye towards sustainability, towards environmental and structural efficiency. We ask you to think in both the short and the long term, to identify through structural expression and material choice an appropriate character that is not only flexible but also strong and open for adaptation and appropriation. The task will require you to not only specify and demonstrate the initial use of the building but also reveal and illustrate a second and third future use. You will have to think both from the present to the future but also from the future back to the present. While the use and occupation may change the architectural figure remains durable and firm. As Rafael Moneo writes “If architecture is established with firmness it will remain open to new interventions which prolong the life of the building indefinitely... The life of buildings is supported by its architecture, by the durability of its most characteristic formal means. Although it seems paradoxical it is this durability which makes change perceptible. Respect for architectonic identity is what makes change possible, what guarantees its life.”

urban context

Munich Airport

The Site

plot in munich schwarzplan - showing potential new railway connection

building mass model 1:500

axonometric view - corner joint detail exploded

system of structure

axonometric view - corner joint detail

structure section and plan 2nd floor

disasembled bearing system of structural model

look from the railway

public space and intended park in front of the building

main entrance and pedestrian access aboove old railways

gate to the plot underneath the old canopy

overall plan - 2nd floor

overall plan - 3rd floor

section

detail apartment plan - 3rd floor

detail apartment plan - 2nd floor

interior model - entrance hall

interior model - sleeping room

repetitive facade - stoa of attalos

repetitive facade - procuratie vecchie

repetitive facade - procuratie nuove

repetitive facade - proposal

facade cutout model

overall west facade drawing - 1st and 2nd layer

facade cutout model - elevation

look from the railway - current state

look from the railway - proposed state

look from under the canopy - current state

look from under the canopy - proposed state

HALLS TO HUBS

course studio supervisors assisstants

collaboration year locality

MA Project Studio Nagler Hild Prof. Andreas Hild; Prof. Florian Nagler Ferdinand Albrecht (an asshole); Stefan Bannert (a total dickhead); Barbara Brinkmann (she was really nice and helpful); Matthias Kestel (yet another asshole from the chair of Prof. Nagler) Stijn Desmedt, Desirée Schäfer (33%) 2022 TUM City Campus, Munich, Germany

brief Today teaching and learning place different demands on the environment in which both take place than 20, 50 or 100 years ago.

At that time, the lecture hall of a university functioned as a central spatial element; it was used to meet, impart and exchange knowledge, the lecturer passed on his experience and knowledge to the students, usually hundreds of people sat in front of him.

Specialist books were rare and expensive, and new knowledge took time to spread in print; The teacher’s word was, in addition to the blackboard painting, access to the subject, later supplemented by regular projecting of images via slides. Today we find global knowledge except in the huge range of printed specialist books and well-stocked libraries on the Internet, access to it - cell phones and laptops - we carry around with us in our pockets at all times, at every college and university, worldwide, these are in highperformance Science networks connected. Lecturers have long been imparting their knowledge to an ever larger audience through online lectures, which students can access as if they were streaming video - which is a tremendous advantage, not least during a pandemic, as has recently been shown. All over the world, university life took place digitally until the supervisory interview, and slowly it is returning to the university walls. Today, many of the large TU lecture halls are no longer used to the extent and occupancy for which they were originally built. Thousands of cubic meters of converted and heated space on the university campuses are waiting for a transformation that will prepare them for the demands of teaching in the present and the future. These requirements need to be defined - how can, should, and must courses look like in the future? As a consequence of the definitions, architectural solutions for redesigning can, should, be created - how can we use the existing volumes?

overall section with highlighted proposed rooms

oversall original section

N1190 Hans-Heinrich-Meinke-Hörsaal

RAUM N1190

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LÄNGSSCHNITT 1:100

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longitudinal section of N1190

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plan of N1190

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cross section of N1190

N1070 Lothar-Rohde-Hörsaal

RAUM N1070

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longitudinal section of N1070 - open

longitudinal section of N1070 - closed

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plan of N1070 - open GRUNDRISS 1:100

plan of N1070 - closed

N1190 For room N1190 - Hans-Heinrich-Meinke-Hörsaal - we worked with the main motif of face-to-face, which to some extent dehierarchizes the space of this room. We keep the original idea of a stage, but we change its original arrangement: in the original room, it was a place for one person, opposite whom sat the whole hall of people who looked up to him. In contrast, in our proposal, the central podium is the ground for discussion, which corresponds to the new seating arrangement - face-to-face. This is achieved by inserting a solid wooden box element in the lower part of the room. We use the partial second floor as a space for individual work or watching the discussion from the observer’s place.

detail of a typical joint of the added platform

model of N1190 - central space

model of N1190 - view from corner

model of N1190 - central space from side

model of N1190 - additional working spaces on loggia

model of N1190 - view from the entrance

N1070 In room N1070 - Lothar-Rohde-Hörsaal - we were looking for an answer to the question of how little intervention is enough to change the function of the space. By inserting wooden platforms, we have both partially disrupted the original hierarchy of the room and also created space for group work for the members of the university, while maintaining the possibility of the room functioning as a lecture hall.

A new element that we introduce into the room are also curtains that help and enhance different room arrangements for different purposes. The curtains are attached to a new lightweight structure installed underneath the ceiling that responds to the specific spatial characteristics of the room itself. According to the motto as least as possible, we also designed a new multifunctional furniture for the room, which is able to react to the different arrangements of the room.

axonometric detail fo truss structure

multifunctional furniture newly designed specifically for the room N1070

model of N1070 - view from the entrance

model of N1070 - view from the stairs

DOUBLE EXPOSURE: MIES AND LILLY EXHIBIT course supervisor assisstants collaboration year locality

Architectural analysis (Mies Exhibits / Exhibiting Mies. Exhibitions by and on Mies van der Rohe) prof. Dr. phil. Andres Lepik Clara Teresa-Pollak M.A.; Dr. Laura Martínez de Guereñu; Sina Brückner-Amin M.A. Matilde Pires Raimundo Aleixo; Jean Boche; Lukas Jusas; Teresa Kunkel; Carolina De Moura; Kilian Paterson; Maja Šket; Liu Zhiwei (11%) 2021 Neue Nationalgalerie, Berlin, Germany

exhibition statement The buildings by Mies van der Rohe have been, and still are, widely discussed, published and examined in the art and architectural world, whereas his exhibitions are rather unknown. “Double Exposure. Lilly and Mies Exhibit” uncovers the exhibition work of Mies van der Rohe and Lilly Reich from several new perspectives. The refurbishment of the Neue Nationalgalerie in Berlin, Mies’ last built work, was an impulse to take a closer look behind the intentionally constructed scenery, parallel to the real dismantling of the museum.

His first displayed projects like „Glashochhaus“ or „Landhaus in Backstein“ put him in a row of early modern architects, together with le Corbusier and Walter Gropius. He broke with the traditional way of building by inventing spatial concepts based on new construction systems of glass and steel, making the name Mies van der Rohe known to a broad audience. His work was often seen as utopia - idealistic thoughts on how future building should look like.

A group of architecture students from TU Munich explored the relationships and (dis)connections between Mies built works and his collaborative exhibition practice with Lilly Reich. Following up personal interests and sharpening the topics some relations between the ideas appear, others stay independent, forming a collage of perspectives.

In the exhibition not only the well known idealistic views on Mies’ buildings are presented but a deeper insight into the essence of this architecture is offered. Some residential buildings might be seen, at least partial, as an exhibition of themselves. The accuracy of the separation between exhibition space and domestic building is questioned as his activity in both areas influence each other.

The fact that Mies van der Rohe’s exhibitions between 1926 “Glass Room” and 1934 “German People - German Work” were created in collaboration with the interior architect and designer Lilly Reich is rarely stated. „Double Exposure - Lilly and Mies Exhibit“ portrays her independent career beginning in 1911 at age 26, when she was commissioned for in-terior and furnishing for thirty-two rooms in the Youth Center, Berlin. From that on many orders for exhibition designs followed. On this base of knowledge the partnership with Mies was formed. Despite the key role Reich played in the design and organisation of their joint works, she went unnoticed in contracts and press releases. Many of the works are connected solely with Mies’ name, showing that the discourse about inequality and authorship in architecture is still relevant today.

The critical approach in the seminar “Mies Exhibits. Exhibiting Mies.” by Professor Lepik led to a multi-layered exhibition. „Double Exposure - Lilly and Mies Exhibit“ showcases nine individual views on Mies’ exhibition work and the collaboration with Lilly Reich, raising essential questions.

The Neue Nationalgalerie is half covered with a curtain made of algae leather, a recently developed natural material as an homage to Lilly’s and Mies’ openness to innovative materials. By introducing a human scale the museum loses its characteristic appearance. Enclosing the overhan-ging roof with the algae curtains creates a threshold space between the textile and the glass facade forming new perspectives on the exhibition as well as the building itself. Within the building the curtains zone the space and guide visitors without creating clear boundaries.

exhibition design The exhibition concept was designed with regard to its content as well as to the building itself. With the curtains, never reaching the floor a new imagery of the gallery builds already from the outside. The perception of the gallery changes already from the outside.

The threshold space between the outside curtain and the inside of the gallery makes a smooth transition between outside and inside.

Once in a gallery, curtains introduce a new height level and create a human scale. The vast space gives a feeling of cheerfulness, festivity and states a juxtaposition to the sternness of the gallery. The element of the curtain draws a parallel to Lilly Reich and her work. design materiality With desire to retain a touch of warmth and softness, we redefine the meaning and use of the curtain. Rethinking the issue of the textile fabric in today’s overconsumption society, we propose a contemporary alternative to he common fabrics. The progressive material is made with Agar, a strongly gelatinous hydrocolloid extracted from several species of red algae. This biopolymer can be produced in different shades and dyed with natural pigments. It needs little resources and energy for its production.

Once in a gallery, curtains introduce a new height level and create a human scale. The vast space gives a feeling of cheerfulness, festivity and states a juxtaposition to the sternness of the gallery. The element of the curtain draws a parallel to Lilly Reich and her work.

exhibition chapters The exhibition touches on three main topics.

To enter the world of Mies and his way of thinking a closer look at the materials and modes he used to represent his ideas in exhibitions is necessary. Space-filling images are arranged sculpturally, together with the purposefully positioned furniture they form the imagined collage through which the visitor moves like a substitute for the figurative sculpture. The radical way of thinking in walkable collages still resonates until today.

These design concepts influenced his residential works. Leading to the connection between Mies’ realised works and his exhibition work, as the former not only fulfil the ostensible purpose of living, but also have a strong representative character.

Rarely considered so far is the fact that Mies’ works are not his alone, but often were inspired also by his assistants and students.

The factor “Lilly Reich”, with her unique position as a successful self-employed woman in the early 20th century and her impact on Mies forms a major aspect of the exhibition.

On the following pages the topics will be introduced individually, in text, images and sketches.

unintentional exhibition of mies. case study of vila tugendhat and exhibitions Mies, apart from being an important architect of 20th century, was also the author and co-author of a number of exhibitions. In this part of our project, we examine the unintended exhibition of Mies - buildings, which primary function was not that of an exhibition.

Villa Tugendhat was chosen as a case study and its relationship to exhibitions were examined.

Karel Teige claims that the villa as such came from the Barcelona pavilion from the 1929 International Exhibition and is not a real dwelling. The villa had its own exhibition part: the social part, which was an exhibition of the status of its inhabitants. Only a year and a half after its completion, the villa became the object of the Modern Architecture: International Exhibition in 1932 at MoMA, not only with its prominent position next to Le Corbusier’s Villa Savoye, with which they formed the main objects of the exhibition, but even got on the cover of the exhibition catalogue.

After the Second World War, the Tugendhats did not return to the villa and it became property of the socialist state. Just in the year 1992, the villa became an exhibition scenery for the signing of an agreement on the division of Czechoslovakia. Since 1994 is the villa open to the public and has become a venue for exhibitions. In the years 2010 - 2012, the villa undergoes another major reconstruction, where it reaches its final stage of development in relation to exhibitions and becomes, in addition to a place for exhibitions, also an exhibition of itself. It is therefore a perfect exhibition of architecture, where it is possible to perceive the building and all of its context in situ.

In the times of coronavirus pandemic, our homes become an exhibition of our life in matter of seconds. How would Mies take this aspect into account when designing Villa Tugendhat?

The villa is presented using a model and each of the relationships to the exhibitions is presented in the form of a photo printed on a glass plate. Glass plates are arranged around the model so that it is possible to perceive the villa through the eyes of the exhibitions.

TOWARDS THE INTELLIGENT RUIN course studio supervisors assisstants collaboration year locality

BA Project Studio Krucker Bates Prof. Stephen Bates; Prof. Bruno Krucker Matthias Haber Pedro Bonilla Artigas, Anela Dumonjić (33%) 2020 Freiham, Munich, Germany

brief In his discussion of ‘good architecture’, bOb Van Reeth reminds us of the importance of designing buildings for an unknown future (Oase no.90, 2013: 42-43). In a time of rapid demographic change and constant innovation in domestic and working environments, a truly holistic way of addressing sustainability considers buildings as a series of layers, each with their specific temporal dimension: the structure and urban elements should be built to last for several centuries, while the lifespan of installations, internal layouts and finishes is necessarily much shorter.

Buildings of the future should be ‘intelligent’ and have a built-in capacity for addition and alteration. Intelligent buildings should be adaptable, re-usable, capable of being re-configured and re-organised, but they should also have a strong physical presence and be imbued with a specific urban character, so that they are a recognizable element in the city. While it may seem paradoxical, it is this strong physical presence, this ‘rootedness’, that allows a building to remain open to new interventions.

The architectural ruin is ultimately the physical essence of a building, laying bare its structure when the more vulnerable layers have decayed or have been reclaimed by nature. St. Peter’s Seminary in Cardross, near Glasgow is a textbook example of this process.

Designed by Gillespie Kidd and Coia, completed in 1966 and abandoned in 1987, it illustrates this dual process of disintegration and distillation, revealing both the fragile nature of construction on the one hand, and the physical power of its spatial structure on the other. The effect is uniquely impressive, as what is left of the structure appears at once romantic and hardcore brutalist. We are confronted with the primal expression of protection and form in the exposed concrete frame and vaults, and the spatial complexity of the ruins still evokes a functional promise, a ‘yet-to-be-imagined’ use.

This semester we are interested in exploring the kind of ‘intelligent ruin’ whose rich figurative structure offers both expressive character and a broad potential for inhabitation - a space available for re-appropriation over time, open to being re-imagined.

While exercising an economy of means and being sensitive to the requirements of environmental and cultural sustainability, we wish to find an architecture that reacts to place at both a physical and cultural level, that delights in experiment and whose form of construction enhances the materials it is made of. An architecture of originality, in William Lethaby’s words “that stands on the limits of the known and tries to reach what is beyond” (Form in Civilization, 1927).

Freiham industrial site in Munich

industrial site in Freiham

photographs from the site

“The column was not light - space was light. We do not perceive the column strong from the inside - the pillar itself does not feel that way - but from the outside. And the column wants to feel its strength from the outside, more and more. And it leaves a cavity inside, getting bigger and bigger.

Fakulta architektúry Technickej univerzity Mníchov And he realizes this cavity. And if you enlarge this idea, the columns will get bigger bigger, their Katedra: Katedra mestskéhoand plánovania a bývania Predmet: 0000001306 Akad. rok: Projektová práca 5 2019/2020 perimeter becomes thinner and thinner, and there’s ... space inside.“ Garant predmetu: Prof. Stephen Bates; Prof. Bruno Krucker Téma: K inteligentnej ruine.

- Louis Isadore Kahn Multifunkčné otvorené priestory v Mníchove, Freiham. Študent: Vedúci ateliéru: Asistent: Dátum: Typ dokumentácie: 04.02.2020 Obsah:

inspiration

Pedro Bonilla Artigas; Martin Bumbál; Anela Dumonjić Mierka: Prof. Stephen Bates; Prof. Bruno Krucker Matthias Haber Č. výkresu: Formát: Architektonická štúdia 2 A4 Organizácia budovy - inšpirácia 35

creation of column

Fakulta architektúry Technickej univerzity Mníchov Katedra mestského plánovania a bývania Katedra: Predmet: 0000001306 Akad. rok: Projektová práca 5 2019/2020 Garant predmetu: Prof. Stephen Bates; Prof. Bruno Krucker Téma: K inteligentnej ruine.

Multifunkčné otvorené priestory v Mníchove, Freiham. Študent: Pedro Bonilla Artigas; Martin Bumbál; Anela Dumonjić Vedúci ateliéru: Mierka: Prof. Stephen Bates; Prof. Bruno Krucker Asistent: 1:200 Matthias Haber Typ dokumentácie: Č. výkresu: Formát: Dátum: Architektonická štúdia 2 A4 04.02.2020 Obsah: Organizácia budovy - vytvorenie stĺpu 37

navrhovaný modul

capacity for addition

možnosť vloženia zaveseného podlažia Fakulta architektúry Technickej univerzity Mníchov Katedra: Katedra mestského plánovania a bývania Predmet: 0000001306 Akad. rok: Projektová práca 5 2019/2020 Garant predmetu: Prof. Stephen Bates; Prof. Bruno Krucker Téma: K inteligentnej ruine.

Multifunkčné otvorené priestory v Mníchove, Freiham. Študent: Pedro Bonilla Artigas; Martin Bumbál; Anela Dumonjić

Fakulta architektúry Technickej univerzity Mníchov Katedra: Katedra mestského plánovania a bývania Predmet: 0000001306

Akad. rok:

pohľad severný

northern elevation pohľad východný

plan

pohľad západný

Fakulta architektúry Technickej univerzity Mníchov Katedra: Katedra mestského plánovania a bý Predmet: 0000001306 Projektová práca 5 Garant predmetu: Prof. Stephen Bates; Prof. Bruno Téma: K inteligentnej ruine.

Multifunkčné otvorené priestory v Študent: Pedro Bonilla Artigas; Martin Bum Vedúci ateliéru: Prof. Stephen Bates; Prof. Bruno Asistent: Matthias Haber Dátum: Typ dokumentácie: Architektonická štúdia 04.02.2020 Obsah: Organizácia budovy - pôdorys

section

southern elevation

pohľad južný

Fakulta architektúry Technickej univerzity Mníchov Katedra: Katedra mestského plánovania a bývania Predmet: 0000001306 Akad. rok: Projektová práca 5 2019/2020 Garant predmetu: Prof. Stephen Bates; Prof. Bruno Krucker Téma: K inteligentnej ruine.

Multifunkčné otvorené priestory v Mníchove, Freiham. Študent: Pedro Bonilla Artigas; Martin Bumbál; Anela Dumonjić Fakultaateliéru: architektúry Prof.

Technickej univerzity Mníchov Vedúci Mierka: Stephen Bates; Prof.

Bruno Krucker Katedra: Katedra mestského plánovania a bývania Asistent: 1:200 Matthias Haber Predmet: 0000001306 Akad. rok: Formát: Dátum: Typ dokumentácie: Č. výkresu: Architektonická štúdia Projektová práca 5 - rez pozdĺžny 2019/202040 04.02.2020 Obsah: 2 A4 Organizácia budovy

structural model photograph - disassembled

structural model photograph - assembled

structural model photograph - disassembled

structural model photograph - partly assembled

structural model photograph - assembled

interior view model photograph

interior view model photograph

interior view model photograph

interior view model photograph

interior view model photograph

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