Paul Văleanu Portfolio

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Work Experience

Exhibitions

Project architect at D Proiect, Timisoara (RO)

Calea minoritatilor etnice Exhibition - ASTRA Museum, Sibiu (RO)

Sep. 2014 - May 2017

Paul Vladimir Valeanu I am a meticulous and dedicated architect who searches for a genuine place to work for and be part of. I am good at conceptualizing, representing and writing and love to think at large scale. Even though working wise I prefer to do my tasks autonomously, I am at the same time an enthusiast team member.

Finally, as a person, I am an autodidact, a continuous learner, that is always open to learn a step more. . born nationality tel. e-mail

Romanian English Italian French German Archicad Photoshop

My main role here was to do a landscape design and a traditional craft exhibition space, both for ASTRA Museum in Sibiu. At the same time, I got specialized in the office presentations, concept design and research.

I worked also in Unirii Square, Timișoara, for the conversion of a historical building into an office one, and on the Old Theater in Oravita.

Material Matters Exhibition - Dutch Design Week, Eindhoven (NL)

Ass. architect & intern at Powerhouse Company, Rotterdam (NL)

2009 with Timisoara Polythecnics (coord. Radu Radoslav)

May 2013 - Jul. 2014 (8 months +6 months) The main projects I worked on were Willemswerf Office Building Lobby in Rotterdam and Villa B in Munich. I was in charge with presenting design options to the project architect and draft the interior of the second building in Archicad. At the same time, I did stair designs, design tasks and presentation booklets for several projects.

Intern at TD Architects, Flachau (AT) Sep. 2012 - Feb. 2013

01.09.1986 Romanian +40 744662293 paulvaleanu@outlook.com

My main activity was to gather information and to represent it graphically for a theoretical project: Beyond Plan B, European Research Project or for Mark Magazine articles, while my architectural work consisted in the design of the Droog’s 2012 pavilion at the Dutch Design Week Exhibition in Eindhoven, and drawings for a house in Flachau, AT.

C2 C1 C1 B1 A2

Remote arch. collab. at Prodid, Bucharest (RO) Jan. 2012 - Apr. 2012 I was in charge of drawings, site work and client discussions for the Victims of the Communist Regime Monument in Timisoara.

Education

Illustrator

University of Bucharest, Bucharest (RO) (Philosophy)

In Design

2018-2019 1 unfinished Bachelor year

Vray Cinema 4d Writing

2016 with D Proiect

Polytechnics University of Timisoara (RO) (Architecture) 2005-2011 Bachelor and Master degree in Architecture

Autocad 2d

University of Trento (IT) (Architecture)

MIcr. Office

2009-2010 2 sem. ERASMUS exchange in Arch. & Engin.

2012 with TD Architects and DROOG In Between Pavillion - part of Parallel Cases Exhibition, at the International Architecture Biennale Rotterdam, (NL)

Publications & Competitions mention BETA, Timisoara Biennal Essay Competition Oct. 2018 “Collective Housing: Crossover from Now and Then“) collective living in the communist condominiums essay rewritten 2020: https://paulvaleanu.ro/collective-housing-as-shared-space/ short listed for Cantacuzino Palace Restoration Competition 2015 with D Proiect, Floresti (RO)

short listed for A_ta Annual Timisoara essay competition Dec. 2014 “Tendencies“, essay on image and architecture Mark Magazine Article Apr./May 2013 with TD Architects In Between (urbanism book, Editura Politehnica 2009 coord. Radu Radoslav (Case study on “Soarelui: Neighbourhood Timisoara)

Autodidact activities Writing, editing & blogging (own site) Jan. - Mar. 2020 From 2008 on, I began writing and then editing my own poetry volumes, architecture essays, literature and a philosophy essay. Since January 2020, I started my own site where I posted my works divided in 3 parts: poetry, literature and essays. https://paulvaleanu.ro Justice X - HarvardX Certificate Sep. 2019 - Dec. 2019 online Political Philosophy Course

Architectural Imagination - HarvardX Certificate Apr. 2017 - Aug. 2018 online Architecture History and Theory Course

CONTENTS THINKING architecture T01.

FRAGMENTS: CONCEPTS, TEXTS, COMPETITIONS, PUBLICATIONS T05.

Romanian National History Museum 2016 | Bucharest | with D Proiect & Synopsis

T02.

2017 | Timisoara (RO) | with D Poriect Arch. design and restauration comp.

01.

p.5

T10.

p.6

p.7

Global Style, MARK Magazine (Article) 2013 | with (TD Architects)

Article on world column styles

T11.

Toreweg stair Individual house stair design

T08.

Urbanism Competition

p.6-7

2013 | (NL) | Powerhouse Company

p.4

Cantacuzino Castle Arch. Competition

DOING arhitecture

Volume & function study for hotel

T07.

2017 | Timisoara (RO) | with D Proiect Arch. design and restauration

T04.

2018 | Timisoara (RO)

p.4-5

Unirii Square Office Building

Collective Living as Shared Space (Text)

Winnipeg Masterplan Competition 2013 | Winnipeg (CA) | (TD Architects)

p.5

Volume & function study

T06.

Chasing Harmony (Text) 2019 | Bucharest Triennale Essay Competition

T03.

2015 | Timisoara (RO) | D Proiect

p.4

Architecture Competition

T09.

Hotel Cina Investment Study

p.7

inBetween (Book) 2009 | with Timisoara Polytechnics (RO) for Rotterdam Biennale (NL)

p.7

Eigner House 2013 | Flachau (AT) | with TD Architects Collective housing marketing

p.6

5 PROJECTS PRESENTED ENTIRELY

ETHNOGRAPHIC EXHIBITION (built) | 428 sqm 2016 | Sibiu (RO) | D Proiect | project atchitect

04. WILLEMSVERF OFFICE (built) | 2400 sqm p.8-12

02. ASTRA MUSEUM LANDSCAPE (built, incomplete) | 61464 sqm 2014 -2015 | Sibiu (RO) | D Proiect | project atchitect

p.13-17

03. HOUSE CRASNIC (design phase) | 187 sqm 2016 | Ghiroda nearTimisoara (RO) | D Proiect | project arch.

p.18-21

2013-2014 | Rotterdam (NL) | Powerhouse Company | ass.arch. p.22-5

05. MATERIAL MATTERS EXHIBITION (built) | 250 sqm 2012 -2015 | Dutch Design Week Eindhoven (NL) | TD Architects and DROOG | intern

p.26-8

4

THINKING architecture

Romanian National History Museum Competition 2016 (with D Proiect and Synopsis) 1. Introduction (Functional & Spatial Criterion) Our proposal for the new MNIR is born from two ambivalent relations. On the one hand there is a need to preserve and display the valuable fabric of the old Palace of the Post, and, at the same time, to refurbish the building into a modern institution setting, a platform capable to bring together different entities in order to research, expose and debate upon Romanian History. On the other hand, there is a need to create a visible, active and well-defined city node and at the

CHASING HARMONY literature/architecture essay

for 2019 Bucharest Triennal

T02.

[...]

Circulation and functions

The Phantasms | I wanted to go to the theater, but didn’t want to book the ticket on the Internet. Instead, for no apparent reason, I decided to take a walk to the place. On this gigantic boulevard I’ve seen it from afar, disturbing the night. I decided to approach it, but didn’t go too close. Later, passing by during daytime, just for curiosity, or for some pure physical attraction, I went closer to it, but still only on the other side of the road. Even if it felt still distant, it was at the same time too close.

A gigantic castle imposing from above. It was like a mammoth that threatens you by mere presence.

It was an object that was putting a question mark upon your existence. I rushed up the pace along the main facade, while instinctively turning my head towards its centre. I was looking for the man with the rattle voice. Was this his balcony? Where was his last shout in the air? I found out later that it was at the Ministry of Internal Affairs. There you can see him now only as mere shadow. Unseen people at rampage still fighting the illusion, still moving directionless on the streets. These images are embedded on those walls, blood that can’t be washed (continuation on next page)

T01.

same time a porous environment capable to attract urban fluxes. The core of the project lies in the interior covered courtyard, acting both as a public space and as a horizontal and vertical distribution space. The courtyard together with the foyer will be a no ticket space, encouraging an Est-West axis linking Calea Victoriei with the Old City Center area through a line containing the main entrance portico, the courtyard placed column replica and the secondary visitors accesses from the Postei street.

Unirii Square Office Building, 2017 Timișoara (built) (with D Proiect) (interior courtyard design with elevator and restoration of the building)

T03.

5

THINKING architecture

Cantacuzino Castle Restoration Competition 2015 (with D Proiect)

T04.

FACADES - Intervention with hall and canopy on top of the existing structure

Hotel Cina 2015 (short volume study, with D Proiect) (volume, area and function short study for a client, existing + 3 options)

T05.

away from the pavements. Souls squeezed from chunks of flash still wavering there. Is this home? [...]

Chasing harmony

| 2018. On the 10th of August I went to Bucharest for the protest. Already in the train there were some agitators. I knew for certain it will not end well, and decided to stay cautious. Approaching the place the atmosphere was similar to the one before a big football match.

People with tricolour flags everywhere, hundreds of them walking in the same direction, laughter on the street’s overcrowded terraces. 6.45 p.m., but the air still irresistibly hot. The asphalt almost melting.

Then the sound growing bigger and bigger until it reached its peak in the square. All the world’s flag were there. Romanians coming from all corners of the world to manifest. Here were the people I would constantly want to have around: polite, supportive and easy going. A bit later, out of nowhere, they started to launch teargas on us. People panicking, but didn’t surrender. We have retreated to breath and then instinctively came back to boo them. We were not afraid. It was trust that I felt. 100,000 were there not for the rescue, but for their own freedom of thought. Teargas grenades thrown from the nearby towers, a city sieging inwardly its own population, trying to devour it. Protesters not intimidated by aggression. I was proud we were fighting together to call this place home. Home is the place you fight for.

https://paulvaleanu.ro/chasing-harmony/

Inserted layers on of the existing ruin, with: -administrative functions (Basement) -hall (1st Level) -canopy

6

Optie 3

THINKING architecture

COLLECTIVE LIVING AS SHARED SPACE architecture essay (written as T06.

“Collective Housing: Crossovers from Now and Then “& rewritten for website)

for 2018 Timisoara Biennale ABSTRACT In this essay I will state that collective housing’s most important aspect is to have the qualities of a public space through shared space, and in this way collective housing becomes collective living. [...] I will use mainly Christopher Alexander’s theory, saying that a good design has the qualities of a „semi-lattice” and not of a „tree structure”[4] and Jane Jacobs’ conclusions from „Life and Death of Great American Cities„. In addition, I will do constant comparisons between the Romanian condominiums from the three periods [communist, after ‘89 period, and nowadays] and compare them to the typical modernist examples as: La Ville Radieuse, Unité d’Habitation, and CIAM 1929 program Existenzminimum.

[...]

SHARED SPACE [...] I want to sustain here are the advantages shared functions in collective housing over monofuctionality and top-down fuctionalist approaches over architecture. A first step before having shared functions is to (1) mix functions. This was also done

by Le Corbusier in Unité d’Habitation, but functions were mixed only partially because they were actually segregated. Then a step further is to (2) mix functions and put them together in order that people using one function can profit from the advantages given by the other functions, while also the space is always populated. In this case people of different interest use the same functions together. This is Jane Jacobs’ idea taken from chapter 8: The need for primary mixed use, of her renown book: The Life and Death of Great American Cities. ”The district, and indeed

as many of its internal parts as possible, must serve more than one primary function; preferably more than two. This must ensure the presence of people that go outdoors on different schedules and are in that place for different purposes, but who are able to use many facilities in common”[22] Taking this last of common facilities, we can further build on it. For common facilities we can have just functions that are shared or shared spaces by different types of users where different activities can happen. This type of shared space is the public space which is shared without being built for a specific function, but for many functions and sometimes for no function at all.

We can sustain this by starting from Christopher Alexander’s theory of a tree and semmi-lattice structures. The problem with a tree like structure is that functionally every space is made only to sustain a certain function, while in a semi-lattice like structure you can have a single space serving different patterns or needs, so sustaining different functions. Both core modernism ideas and today’s marketing driven architecture tend to create monofunctional spaces in order to have control over the user. This is not economical, while some functions like laundry don’t have to necessarily be doubled in every apartment. At the same time, if only a function is assigned to every space, then more functions have to be maintained.

The developer gains profit, but then the user pays the bills. From the idea of common facility we can build the idea of shared space where people can use the same space in different ways: at the same time, or one after another. If you have a functionalist standpoint you build a playground where children can play and parents are watching (this is also a snapshot from the Mnemonics movie[23]) while if the design is good enough the adults or even neighbours can do the surveillance indirectly, from their windows, or directly, as pasers-by[24]. Furthermore, if functions and space are not shared, contacts between tenants will happen more rarely. This gives fewer chances for a community to develop. But why do we want in the end to directly control the user? My response for today’s society is that it is matter of money. And it is at least understandable that developers want to do so. But, in this case, the architects should be the ones defending the interests of the users and of their own realm. That is why, we should rather differentiate (continuation on next page)

Optie 3

Toreweg stair 2013 T07. (with Powerhouse Company) (creating different options for the central stair of an individual owned house)

Toreweg 37 - Powerhouse Company

Eigner House 2013 (with TD Architects) Toreweg 37 - Powerhouse Company

(Photoshop image of the collective living flat, in Flachau, AT)

T08.

7

THINKING architecture

Winnipeg (CA) 2013 Masterplan Competition (with TD Architects)

Global Style 2013, Magazine Article (with TD Architects)

T09.

between customer and user. The customer is the one targeted for a certain need, while a user can do an activity also casually. A customer implies a tripartite relation, where the space is mediated by the market and then by the service giver rules. Meanwhile, a user is not mediated by anything except its own will and ethics. Public space in the highest sense is only a bipartite relation between user and space. Because of this, it is hard to sell the qualities it has. But a public space, a historical square for example, can be sold only as a vista, but its quality has to do not only with the activities envisioned by the designer specifically, but also with the ones that can happen without being necessarily envisioned, potentially.

T10.

(going beyond the 5 collumn style of classical architecture education)

inBetween 2009 T11.

Book for International Architecture Biennale Rotterdam (students Competition) (with Timisoara Polytechnycs, coordinator Radoslav Radu) Case Study for Timisoara “Soarelui” neighborhood (study based on Christopher Alexander’s patterns)

4 Alexander, Christopher, A city is not a tree; appeared in Design (magazine), London: Council of industrial design, no.206, 1966; Tree and semi-lattice are the two important concepts for the article. The idea is that if a set of elements are arranged in such a way that every other element has only a root, then the whole structure is a tree, if not it is a semilattice. The difference is that in a tree structure subsets are segregated, while a semi-lattice structure sets are interwoven, giving the real picture and complexity of today’s human life, generally, or of good architecture, specifically, ibid.; 22 Jacobs, Jane, The Life and Death of Great American Cities, Random House, New York, 1961, p.152; 23 See note 12; 24 Op cit. The Life and Death of Great American Cities.

Chapter two: The uses of sidewalks: safety, pp.38-9. She explains this case of passive and active surveillance giving the example of a little girl having a conflict with an apparent stranger that came out to actually be her father, while both passers-by and people at the window intervened to end the conflict by either indirect or direct intervention;

https://paulvaleanu.ro/collective-housingas-shared-space/

8

DOING architecture

01. Etnographic Exhibition

01. ETHNOGRAPHIC EXHIBITION 2016 | built | 428 sqm | ASTRA Museum, Sibiu (RO) | D Proiect | project architect curator anthropologist sound design visuals architecture project manager project architect communication designer photos museograph

Ovidiu Danes, Apparatus 22 Paul Breazu Catalin Matei Silviu Visan, Lea Rasovszky Bogdan Demetrescu Paul Valeanu Synopsis (Ovidiu Hrin) Silviu Popa (ASTRA Museum) ASTRA Museum

WHY I did it?

-to build a cost-efficient design with public finances -to work with a public institution -to get independent in a project -to work in an interdisciplinary team -to learn to use technical equipment wisely

HOW I did it?

-putting a lot of work in every detail -finding a very clear formal concept and doing the design -maximizing flexibility -searching the best ratio between budget and proposal -researching examples of museums and exhibitions -communicating openly with the team -having a good and fruitful relation with my manager

WHAT I did?

-a product with positive impact on the image of the museum -a flexible and easy to use space for the exhibition -everything in the design phase including architectural design, installations, cost lists, details and representations: booklets, exhibition renderings, and photoshopping

9

DOING architecture

01. Etnographic Exhibition

PREMISE The Astra Museum Exhibition describes the traditional Transylvanian fair as a heterotopy, a place for cultural exchange between 4 different cultures: Romanian, Hungarian, German and Romani. We were part of a multidisciplinary team that had to bring a strong atmosphere and curatorial view in order to accommodate a 5 year exhibition, researching in parallel the implications of the subject on today’s Romanian society.

THE PROJECT The project is placed in a 4.5 m high concrete basement where we proposed an open constant section consisting of (A) an open technical area painted in black at the top, (B) a white exhibiting area in the middle, (C) a technical plint and a concrete floor at the bottom. We used ordinary affordable materials and insisted only to have very qualitative spotlights.

Building site

It resulted a neutral and flexible space capable to house a wide range of events.

Functionally and curatorially, the exhibition is divided in three spaces: (1) “the fare” (an interactive media space in the largest room), (2) “the workshop“ (an analogue display space made of 5 traditional workshops, in the smaller room) and (3) “the path” (linking the two spaces and introducing the exhibition).

“Mostrar“- the main exhibit - is creating a system of traditional decoration patterns and represents the core of the display, being the ultimate object and the core of the entire exhibition.

“MOSTRAR” This both unifies all objects which all rely on patterns, and mirrors the plan of the exhibition with two ends linked by a paths.

Building site

10 DOING architecture

ublisherVersion 0.0.100.100

01. Etnographic Exhibition Concrete slab painted in black

30

structure of reinforced concrete concrete slab painted in black, RAL 9011

1.00

metal structure ventilation lighting spots

Concrete painted

1.35

gypsum board painted in white RAL 9010

local spots

plint with sockets concrete floor

in black

hanging system

A

floor heating leveling layer reinforced concrete structure white stucco RAL 9010 gypsum board 1.25 mm acustic insulation 100 mm

25

3.20

structure reinforced concrete 300 mm

11.25

11.25

Exhibiting

cable tube 40 mm plint vernished in

cable tube 40 mm

floor socket

RAL 9011, 20 mm

5.25

metal bar sinked in the concrete

metal bar sinked

metal bar sinked in the concrete

10

2

RAL 9011, 20 mm

in the concrete

5.25

2

4

Plint with sockets

15

4

area

black,

plint vernished in black,

“The workshop“ (photo Silviu Popa)

Concrete floor

15

Typical cross section

B

300

“The Fare” (photo Silviu Popa) 05

C

11 DOING architecture

01. Etnographic Exhibition

2.1. HATTER One of the objects attesting the craftsmen community of Saxon Germans that remained in Transylvania, and that in the 1980’s almost disappeared, because of the communist party’s nationalistic politics.

(3)“THE PATH” SPACE

1.1. ARCHIVE The archive presents by analogue means content that can be researched by the visitors, from books to old TV screens.

This is a render made to capture the atmosphere of the exhibition space.

1.2. “MOSTRAR”

2.2. BLACKSMITH Objects selected by the museograph for the blacksmith’s workshop.

1.3. RACK Shelfs specially designed to room key objects of the exhibition.

2.3. CARPENTER Carpenter made objects and carpenter tools.

The display’s plan can recognized in the central exhibit, a cloth representing a collection of traditional patterns on a bone like shape, being a very modern object in its thought, a mysterious and fascinating item found in the archive of the museum, capable to create narratives of its own and between other exhibits.

2.4. POTTER Examples of pottery from the museum’s archive, which can be exposed in the “Workshop”.

1.4. INTERACTIVE WALL Creating different narratives; using a digital wall, making the viewer active.

(2)“WORKSHOP” SPACE 2.5. WEAVER Traditional cloth objects exposed in the weaver workshop

2.1. HATTER 2.2. BLACKSMITH 2.3. CARPENTER 2.4. POTTER 2.5. WEAVER

(1)“FAIR” SPACE 1.1. ARCHIVE 1.2. MOSTRAR 1.3. RACK 1.4. INTERACTIVE WALL 1.5. NEGRENY DOCUMENTARY

1.5. NEGRENI FAIR DOCUMENTARY A research film projected on the wall, consisting of an anthropological inquiry on the different ethnics taking part every autumn at a 40000 people fair in Transylvania.

12 DOING architecture

01. Etnographic Exhibition

“The workshop“ (photo Silviu Popa) Wood structure in the workshop building site (Photo Ovidiu Hrin)

Permanent Exhibition (photo Silviu Popa)

Building site before installing the exhibition (photo Ovidiu Hrin)

13 DOING architecture

02. ASTRA Museum Landscape

02. ASTRA MUSEUM LANDSCAPE 2014-2015 | built & incomplete | 61464 sqm | ASTRA Museum, Sibiu (RO) | D Proiect | project architect

manager project architect intern landscape design electrical engineer

Bogdan Demetrescu Paul Valeanu Jose Peralta Guererro Alexandru Ciobota Horia Dinicica

WHY I did it?

-to highlight the cultural heritage for the public -to build strategies within a minimal budget -to understand traditional Romanian architecture -to simplify and better the visit in the museum -to understand wood building techniques -to get more autonomy in the project -to think link the landscape to the city -to induce the idea of a masterplan for the administration -to work with an important museum in Romania

HOW I did it?

-acting strategically -working close to the landscape designer -taking part and preparing several client meetings -coordinating an intern -writing general specification and rules for the masterplan -preparing extensive specifications for the biding process -working methodically

WHAT I did?

-the design of the individual objects, the design of the masterplan together with the landscape architect and manager -presentation booklets for the client of all the drawings -specification and documentation for the entire project

14 DOING architecture

02. ASTRA Museum Landscape

PREMISE ASTRA Museum is a renown ethnographic open air museum in Romania that needed extended planning for the new landscape and building insertions.

Being a very sensible place, because of the traditional crafted houses, any intervention would mean to take into account all the scales from detail to the whole.

THE PROJECT We were commissioned for several subjects, from landscape design to individual buildings, and furniture. fatadaWe nordworked on three levels: zooning, fatada est connections, and focal points. The whole plan was thought strategically, in order to maximize impact with less possible means, and to create predictability.

Some important tasks we completed were designing a children’s playground, including a tower and a school (1), reshaping a fair area facility (2), proposing new wooden alleys (4), designing a panoramic bridge (5), and a covered one (6), and most importantly, planning a pasture scheme with alleys, in the middle of the museum (3). The process meant constant visiting the site and frequent discussions with the museum’s board. At the same time, a close collaboration with the landscape architect happened. Planing in several steps and writing extended specifications were important in order to obtain predictability, apply for funds and stay in the budget.

Tower facade fatada sud

1 CHILDREN’S AREA

15 DOING architecture

02. ASTRA Museum Landscape

ASTRA Museum View 2.

6.

5.

3.

LEGEND 1.

CHILDREN’S AREA

2. FAIR AREA 3. PASTURE DESIGN 4.

4. PANORAMA BRIDGE 5. WOODEN ALLEY 1.

6. COVERED BRIDGE

16 DOING architecture

02. ASTRA Museum Landscape

2. FAIR AREA

Sketch Jose Peralta Guerrero

3. PASTURE AREA musta rd corn whea

t

whea t pota to children’s area

pasture

planted trees

bridge

wheat

path by trimming

mud path

wood path

lawn

lake edge

willow dike

raffia bush

17 DOING architecture

02. ASTRA Museum Landscape

5. WOODEN ALLEY

1. INTRODUCERE

Render Jose Peralta Guerrero

2.PEISAJ

4.ȘEICA MICĂ

3.ETP

POD dulapi 5 cm

1.92

4. PANORAMA BRIDGE

contravantuire 10x20 cm cosoroaba 15x15 cm

5.14

contrafisa 15x15 cm

3.22

stalp 20x20 cm

dulapi 5cm

dulapi 5x10cm contravantuire 15x15 cm

40

talpa 20x20 cm

stalpi 20x20 cm

1.00

1.00 1.00 6.450

1.00

1.00

90

90 2.50

90

1.00

1.00

1.00

1.00 6.450

1.00

1.00

35

capriori goluri

30 20

1.00

covered bridge plans

1'

plan 35

contrafisa 15x15 cm

2' 2.80 3.00 3.40

2 dulapi 5cm

20

3.00

3.00

sectiune 22'

3.00 15.40

3.00

3.00

20

30 20

caprior 10x20 cm

travee

1 375

dulap 5 cm

20

3.00

plan talpa

3.00

3.00 15.40

3.00

3.00

20

20

6. COVERED BRIDGE (BUILT)

contravantuire talpi 20x20 cm

3.40 1.325 375

3.00

1.325

20

stalp 20x20 cm

talpa 20x20 cm grinda 15x15 cm

5.L

18 DOING architecture

03. House Crasnic

03. HOUSE CRASNIC 2014-2015 | design phase | 187 sqm | Ghiroda, near Timisoara (RO) | D Proiect | project architect

manager project architect

Bogdan Demetrescu Paul Valeanu

WHY I did it?

-to delineate the typology of the suburban house -to learn how to manage a project -to have an integrated discourse -to do a work of art -to define a method

HOW I did it?

-thinking about the suburban Romanian house -working on several variants -concentrating all the energies towards the center, to define a introvert house -observing modernist architecture -thinking in frontal perspectives -trying to understand the client -trying to put together Ando and Breuer -being tutored by the manager architect

WHAT I did?

-design the house, but starting from an initial sketch of the plan made by my tutor -presentation booklets for the clients, consisting of:

-mood panels -options

-research CLT building method -client meetings -plans and sections -rendering -offer, calendar scheme and contract

19 DOING architecture

PREMISE House Crasnic is a house for a retiring couple, designed for a plot in the outskirts of Timisoara, Romania. The clients wanted a quiet place, to live with their dogs and only occasionally celebrate or spend time with their family.

03. House Crasnic Living room concrete slab

3.

Concrete slab

2.

White plaster walls

rised living room

sleeping area

THE PROJECT Thus, the project started as an introvert one, an almost opaque volume consisting of two connected areas: (A) the living area and (B) the sleeping area. Both volumes concentrated inwarkdly, to their own interior courtyard, the first one connected to the main courtyard and its sculpture, while the second one focuses on a small courtyard linked to the bathroom. The plan was thought having in mind frontal perspectives, the movement through the space being always at 90 degrees.

4.

living area

impenetrable street facade

Additionally, the composition has at its center a 1.5 story high living space, and the only vertical of the design: the fireplace. Even so, the living area has a second focal point, the sculpture accommodated by the interior courtyard.

While this main center gets the attention, U shape exterior pockets accommodate secondary ones, by newly planted trees.

While horizontally the plan is clearer right now, in crosssection the house has three different layers: (1) an exposed concrete base, followed at the center by (2) plastered brick walls painted in white, and on top (3) an exposed concrete slab, covering the terrace.

protected central courtyard with sculpture

1.

Concrete socle

20 DOING architecture

03. House Crasnic

Main facade

Transversal section House plan

3

Site view towards the street, containing some maintained burch and fir trees.

2 14 12 11

10

1

13

4 9 5 8

7

6

1.Living room 2.Dining room 3.Pantry 4.Main entrance 5.Office 6.Bathroom 7.Laundry 8.Bedroom 9.Dressing 10.Main Bedroom 11.Bathroom 12.Bedroom courtyard 13.Interior courtyard 14.Terrace

Interior courtyard pattern

21 DOING architecture

03. House Crasnic

Longitudinal section

22 DOING architecture

04. Willemsverf Office Lobby

04. WILLEMSWERF OFFICE LOBBY 2013-2014 | built | 2400 sqm | Rotterdam (NL) | Powerhouse Company | ass. architect

partner in charge project architect assisting foto

Nanne de Ru Sander Apperlo Donna van Milligen Bielke, Paul Valeanu, Stefan Prins Kim Zwarts

WHY I did it?

-to learn to do a task independently -to understand the office working methodology -to fit in a team -to learn Cinema 4d -to start to use Rhino

HOW I did it?

-concentrating on particular tasks and deadlines -working slowly and precisely, in order not to come back once more to the same problem -using geometrical rules and proportion in designing the objects -following advice from the project architect -assigning time to understand the programs I was learning -researching different options for the floorto-wall, wall-to-ceiling details

WHAT I did?

-design, from start to end, the main stair of the building -design of chandelier -design of the reception desk and -options for every particular solution -project architect assistance -drawings for the biding process and draughting -research on relevant stair examples -site visits

23 DOING architecture

04. Willemsverf Office Lobby

THE PROJECT The Willemswerf Office Building lies on the bank of the river Maas in Rotterdam and was designed between 1984 and 1988 by Dutch architect Wim Quist.

Powerhouse Company was assigned with the renovation of the lobby of the building since the design was functionally outdated. The new restaurant and lobby would have to become a hot spot in the area, an icon for the building. This should be transformed in a fashionable place to lunch and discuss business

Willeemsverf Building

THE PROJECT The main interventions were the renovation of the restaurant area and the lobby, and the design of a new entrance apparatus, with stair, chandelier and reception desk. The design keeps the perpendicular grid concept of the existing building, emphasizing it at the floor level by black stripes of marble, by black seams at the wall level and by U shaped profiles at the at the ceiling level. Inside this grid, free standing objects like the stair, the reception desk, lounge areas and the buffet are introduced, giving dynamism to the project. The same dynamism is given by the accelerated perspective of the lobby, with hanging lights displayed different heights.

In general a palette of four colors were used white for the lobby floor and ceiling, as a background, dark gray for vertical elements, as columns, brown for furniture and champagne for individual fixed objects as the lobby’s mirror and the recessed sealing.

Stair sketch

Willemswerf 003

Lobby (photo Kim Zwarts) 1

X

2

3

4

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A

F

LEGEND

4

E

E

E

E

E

E

E

E

E

E

E

E

A

D

D

A

B

D

A

B

A

A

A

B I

A

B I

I

A

A

A

B

B

I

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A

B I

A

B

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I

A

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A

Q

OPMERKINGEN

I

9

k. k.

k.

1.entrance stair 2.reception desk 3.lobby 4.restaurant area 5.buffet 6.coffee area 7.kitchen area 8.meeting room 9.elevator area 10.wc

A

B

H

B

H

ALGEMEEN

-Alle maten in het werk controleren -Daar waar omschreven zijn elementen gemaatvoerd op tegelmaat 600x600.

-Max. tolerantieverschil tussen tegelmaat en meubel is 2,5 mm -bovenkant vloer = +1.805 (begane grond) +4.973 (1e verdieping) -Alle tegelmaten zijn moduulmaten, netto tegelmaat kan afwijken

Bestaande VIP parkeerplaats

INSTALLATIES

-Inbouwapparatuur elementen cf. opgaaf Electrolux -Aansluitpunten/Afvoerpunten E/W voor inbouwapparatuur cf. opgaaf Herman de Groot (HdG) ingenieurs -Opbouwapparatuur kassa-units n.t.b. cf. opgaaf Facilicom -Verlichting en aansluitpunten cf. plafondtekeningen WT700/101 en armaturenboek, E installatie cf. opgaaf Herman de Groot

H

H

5

H

F J-1

k.

J-1

ALGEMEEN Daar waar niet omschreven dienen de volgende onderdelen op de volgende manier uitgewerkt te worden: -Kast rompen: 18 mm gemel. sppl. (zwart), diktekanten in het zicht: 2mm ABS band zwart algemeen gelijk aan front, of anders aangegeven -Kast achterwanden: 18 mm gemel. sppl. (zwart) of anders aangegeven -Kast schap: 18 mm gemel. sppl. (zwart), diktekanten in het zicht: 2mm ABS band zwart gelijk Demarcatielijn projectgebied aan front, of 0.00 anders aangegeven Ruimte Ruimte nummer, Ruimte benaming, ruimte oppervlakte -Deurscharnieren: Hettich Sensys Potscharnier 110°m, of anders aangegeven 0,0 m2 -Push-to-open: Berma Decor AA.H00 AA.V00 Detail aanduiding

Renvooi

3 - 11-02-14

J-1

DEMARCATIE INTERIEUR/BOUWKUNDIG BESTEK

-Demarcatie W0.00 interieurbestek en bouwkundig bestek cf. omschrijving wanduitslag interieur aanduidingtekenwerk en bestek

8

J-2

DI-00 HOU sp

+0.000 (bk. vloer)

beveiligings tourniquets

kozijn aanduiding peil aanduiding

BSH

7

G

Brandslang haspel in kast Cf. plattegrond

6

BMC/OP

O

Brandmeld centrale/ontruimingspaneel deur zelfsluitend

O

N 26 zitplaatsen

N

BSH+HBM

Bestaande wanden en constructieve elementen

O

M

M

M

M

wanden

O

N

demarcatielijn project gebied

deur zelfsluitend 60 minuten WBDBO

demarcatielijn project gebied

BMC

N

C

2

O

Kalkzandsteen niet constructieve wand 100 mm

Q

Hoogwaardige wand afdekking cf. details

P

metalstud wand 150 mm

Nevenpaneel en HBM in receptie meubel

balie

vloeren

M.2 Marmer (wit) 600 x 600

M

H.8 Houten planken, (White Oak)

D

BSH+HBM

K.1 PVC tegels (zwart) vloertegels 490x490

1

17

16

15

K 11

18

3

19

14 13 12 11

10

B11

B11

M.2 Marmer (wit) 300x300

K2

Mo.1 Mozaïek (zwart)

K3 K4 L2

9

KT.3 tegels zwart/blauw 300 x 300

L1

M.3 Marmer (zwart)

8 ANV

KT.1 Keramische tegel 600 x 600

7 6

K5

5 4

3

2

1

KT.2 Keramische tegel 600 x 600

K6 L3

K 10

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afwerking tapijt: Desso Desso Marathon A231 9502

kamerbreed

K7

L4 K8 K9

N

F

Lobby plan with stair and reception desk Projectnaam

Lobby Willemswerf verbouwing lobby Onderwerp

Eerste verdieping [A0] Meubelopstelling (1)

Tekeningnummer

WT101-M

24 DOING architecture

04. Willemsverf Office Lobby

balustrade balustrade

stucco entire model stucco

Willemswerf 001 metal board

Lobby (photo Kim Zwarts)

finishing

LEGEND STAIR STRUCTURE balustrade’s metal handle metal balustrade wooden balustrade stair stucco cast concrete slab marble finishing stair beams floor metal structure BB-V02

950

11.220 + P (bk. afgewerkte vloer)

demarcatielijn project gebied

5.940

5.320

620

10.270 + P (ok. verlaagd plafond)

trap

2.577

lobby

BB-V04

BB-V01

+4.973 + P (bovenkant afgewerkte vloer) 620

koffiebar

BB-V06

4.330 + P (ok. verlaagd plafond)

brasserie

Receptie

lobby

koffie bar

BB-V08

BB-V11 2.525

2.548

kantoren facilicom

entreehal BB-V03

tochtsluis BB-V05

voorrij ruimte

BB-V07

metal structure

1.782

+1.805 + P (bovenkant afgewerkte vloer)

950

Peil = 0 BB-V02

11.220 + P (bk. afgewerkte vloer)

demarcatielijn project gebied 620

10.270 + P (ok. verlaagd plafond)

5.940

5.320

3.600

trap

2.577

lobby

7.200

X

BB-V04

BB-V01

+4.973 + P (bovenkant afgewerkte vloer)

2

7.200

7.200

3

4

brasserie

koffiebar

BB-V06

4.330 + P (ok. verlaagd plafond)

14.400

lobby

5

7.200

6

7

Receptie

7.200

8

7.200

9

10

structure

koffie bar

BB-V08

BB-V11

Doorsnede BB

2.525

kantoren facilicom

2.548

620

3.600

1

entreehal

tochtsluis

BB-V03

BB-V05

voorrij ruimte

BB-V07

1.782

+1.805 + P (bovenkant afgewerkte vloer)

Legend

Peil = 0

3.600

1

3.600

7.200

X

7.200

2

7.200

3

14.400

4

5

7.200

6

7.200

7

balustrade’s metal handle

7.200

8

9

10

metal balustrade Doorsnede BB

wooden balustrade

demarcatielijn project gebied

950

stair stucco AA-V03

+11.220 + P (bk. afgewerkte vloer)

AA-V04

casted concrete slab

+10.270 + P (ok. verlaagd plafond)

kantoor

keuken

restaurant

uitgifte AA-V09

marble finishing

AA-V07

Projectnaam

AA-V08

Lobby Willemswerf verbouwing lobby

2.548

643

+4.330 + P (ok. verlaagd plafond)

2.548

643

koffiebar

AA-V02

+4.973 + P (b.k. afgewerktevloer)

demarcatielijn project gebied

AA-V06

V05

2.577

5.297

5.297

AA-V05

lobby

diensttrap

tochtsluis

AA-V01

950

AA-V03

AA-V04

demarcatielijn project gebied

+10.270 + P (ok. verlaagd plafond)

kantoor

keuken

E

5.400

D

uitgifte

AA-V09

restaurant

AA-V06

AA-V07

9.000

C

diensttrap

hertekade

demarcatielijn project gebied

9.000

5.400

D

Projectnaam

Lobby Willemswerf verbouwing lobby Onderwerp

Doorsnede AA & BB Datum

9.000

C

Opdrachtgever

A

Longitudinal and transversal section

tochtsluis

AA-V01

Peil = 0

E

10-02-2014 20-01-2014

9.300

B

AA-V08

Doorsnede AA

643 2.548

2.548

643

koffiebar

AA-V02

1.782

+1.805 + P (b.k. afgewerkte vloer)

9.000

V05

lobby 2.577

5.297

5.297

AA-V05

+4.973 + P (b.k. afgewerktevloer)

+4.330 + P (ok. verlaagd plafond)

Datum

10-02-2014 20-01-2014

9.300

B

A

Opdrachtgever

ASR Vastgoed Vermogensbeheer

ASR Vastgoed Vermogensbeheer

Fase

Werktekeningen Definitief

Projectlocatie

Rotterdam

Tekeningnummer

WT200

Projectnummer

1302 Versie

1

Fase

Werktekeningen Definitief

Projectlocatie

Rotterdam

stair beams floor metal structure

Doorsnede AA & BB

hertekade

Peil = 0 +11.220 + P (bk. afgewerkte vloer)

WT200

Onderwerp

1.782

+1.805 + P (b.k. afgewerkte vloer)

Tekeningnummer

Schaal

1:200 Formaat

A2

25 DOING architecture

04. Willemsverf Office Lobby

A PROJECT IN A PROJECT STAIR DESIGN AND CHANDELIER The sculptural element of the stair works both as a signal and as a center.

The design of the stair is of a single balustrade

continuous bent plane that rises up

480

in the lobby and goes back in the

7.200

480

Lijn bestaande trapsparing

entrance hall. This is a steel plane

Afwerking buitenkant balustrade (5 mm zwart staal hoogglans gespoten (RAL9005)

claded on one side with MDF and wood veneer, while the bottom of

4.973 (b.k. afgewerkte vloer) 4.330 (ok. plafond)

the stair is made of flexible stuccoed

Afwerking bovenkant balustrade massief hout (Italiaans Noten)

gypsum board. The stair defines in

entire model

Afwerking balustrade H.2 Houtfineer (Italiaans Noten) door meubelbouwer

the middle of it a vertical connection stucco

afwerking ok trap P.1 Akoestisch stucwerk (wit)

1.805 (b.k. afgewerkte vloer)

between the two spaces, reinforced by a 4m high glass tube chandelier.

Positie stalen liggers e.e.a. cf. opgaaf constructeur

Designing the two objects I did like a

6.799

Axonometry of structure 4 Chandelier Rechter zijaanzicht Stair photo from the side (photo Kim Zwarts)

project in a project.

3

600

D

finishing

401

7.200

1.380

1.610

BSH+HBM

B

14

Balustrade H.2 Houtfineer (Italiaans Noten) door meubelbouwer

2.V

Balustrade door laten lopen over vloer

167

B11

2

3

3.168

4

1

1.565

Afwerking balustrade H.2 Houtfineer (Italiaans Noten) door meubelbouwer

Gestraalde strook in tegel exacte detaillering n.t.b.

2.525

4.973 (b.k. afgewerkte vloer) 4.330H.2 (ok. plafond) Afwerking balustrade Houtfineer (Italiaans gebogen houten leuning (Italiaans Noten) Noten) door meubelbouwer door meubelbouwer Afwerking binnenkant balustradeafwerking (wit) (5 mm zwart staal hoogglans gespoten (RAL9005) Afwerking ok. trap: P.1 Akoestisch stucwerk (wit) HEB300 stalen ligger (overspanning tussen as 3 en 4)

Afwerking balustrade H.2 Houtfineer (Italiaans Noten) door meubelbouwer HEB300 stalen ligger (overspanning tussen as 3 en 4) Afwerking voorkant balustrade massief hout (Italiaans Noten) Hart dubbele stalen ligger in hart balustrade

1.805 (b.k. afgewerkte vloer) 5.075

E

structure HEB300 stalen ligger (overspanning tussen as 3 en 4)

HEB300 stalen ligger (overspanning tussen as 3 en 4)

HEB300 stalen ligger (overspanning tussen as 3 en 4)

5.075

D

9.000

320

1.740

1.865

balustrade’s metal handle metal balustrade

stair stucco casted concrete slab marble finishing stair beams

320

1.740

1.865

E

Hart dubbele stalen ligger in hart balustrade

7.200

Achteraanzicht

7.440

480

E

7.200

3

wooden balustrade

Achteraanzicht

9.000

HEB300 stalen ligger (overspanning tussen as 3 en 4)

D

Hart dubbele stalen ligger in hart balustrade

Legend

Plattegrond

480

4

ok trap P.1 Akoestisch stucwerk

1500 mm lijn

167

167

afwerking ok trap P.1 Akoestisch stucwerk (wit)

Afwerking bovenkant balustrade massief hout (Italiaans Noten)

1500 mm lijn

2.525

5

167

ANV

6

Afwerking bovenkant balustrade massief hout (Italiaans Noten)

1500 mm lijn

Afwerking buitenkant balustrade (5 mm zwart staal hoogglans gespoten (RAL9005)

2.525 + vl.

167

.V

3.168

5.825

8.400

2 60

7

643

643

2.525 + vl.

167 167 167 167 167 167 167 167 167 167 167 167 167 167 167 167 167

167

9 01

Afwerking buitenkant balustrade (5 mm zwart staal hoogglans gespoten (RAL9005)

1.380

Lijn bestaande trapsparing

167 167 167 167 167 167 167 167 167 167 167 167 167 167 167 167 167

03 2.V

10 BB.V04

6.240

643

leuning door laten lopen

8

2.525

1.380

02

11

Houten trapbaluster (Italiaans Noten) Door meubelbouwer

B11

1.000

19

60

leuning door laten lopen

167 167 167 167 167 167 167 167 167 167 167 167 167 167 167 167 167

3.168

18

60

Afwerking buitenkant balustrade (5 mm zwart staal hoogglans gespoten (RAL9005)

17

16

12

tegelverdeling lobby doorzetten op traptreden

Lijn bestaande trapsparing

15

13

1.000

Lijn bestaande constructieve sparing

1.380

7.620

6.240

1.380

Lijn bestaande trapsparing

+5.973 (bk. balustrade)

1.380

6.240

Stair plan and section E

Vooraanzicht

9.000 9.000

D

Hou No

26 DOING architecture

05. Material Matters

05. MATERIAL MATTERS 2012 | intern | Eindhven (NL) | TD Architects

Concept &director Content & project manager project architect interns

Renny Remakers (Droog) Agata Jaworska (Droog Lab) Theo Deutinger Stefannos Filipas, Elisa Mante Dario Marino, Paul Valeanu

WHY I did it?

-to be introduced in an office environment as I started my first internship -to work independently -to learn the Adobe Suite -to work in an international environment -to enjoy the mountains in Flachau

HOW I did it?

-communicating clearly upon tasks -learning a new way of working methodology based on options -having day to day deadlines -doing what I was told, but also coming up with my own solutions -communicating with the curator team -working in Illustrator and InDesign

WHAT I did?

-parts from the design phase -presentations and booklets -exhibition material -logo design, -e-mailing day-to-day results with the project architect when not in the office -doing several foam models

27 DOING architecture

PREMISE “As a part of Dutch Design Week, this second edition of Material Matters brought together existing, emerging and speculative initiatives by scientists, designers, entrepreneurs and ourselves, and presented them as 38 imaginary future companies that might come to thrive in the near future. The future furniture fair aims to stimulate designers to develop business models urged by material scarcity, and to broaden discussions on the future of our material culture.�

Renny Remakers (Droog)-curator.

speculative initiatives by scientists, designers, entrepreneurs and ourselves, and presented them as 38 imaginary future companies that might come to thrive in the near future. The future furniture fair aims to stimulate designers to develop business models urged by material scarcity, and to broaden discussions on the future of our material culture.�

Renny Remakers (Droog)-curator.

TD Architects were commissioned to do the design of the Material Matters Exhibition and to prepare all companies branding and graphics materials. As a response to the exhibition subject, the design uses as little material as

PROJECT We as TD Architects, were commissioned to do the design of the Material Matters Exhibition and to prepare all companies branding and graphic materials. As a response to the exhibition subject, the design uses as little material as possible.

Virtuality and reusable materials were key ideas for the exhibition design.

Projections, paper panels and no printed ones, A4 paper stacks used as racks, rented curtains and projectors and some used doors as test stands are the only materials used in the exhibition. The 38 companies are displayed in a rectangle layout, with 4 stands in the middle and 34 projection panels illuminated from behind by projectors. The different slideshows projected around the room create the sensation of a dark box circled by stained glass.

no printed ones, A4 paper stacks used as racks, rented 05. Material Matters curtains and projectors and some used doors as test stands are the only materials used in the exhibition. The 38 companies are disposed in a rectangle layout with 4 stands in the middle and 34 projection panels illuminated from behind by projectors. The different slideshows projected around the room create the sensation of a dark box circled by coloured windows.

My work consisted in sketchmodelling for the design of the exhibition, logo design and graphical work for the companies and exhibition brochure.

C

C C T

E

Own design logos proposals

28 DOING architecture

05. Material Matters

THANK YOU

paulvaleanu@outlook.com