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SELECTED WORKS Sara Gistelinck


TABLE OF CONTENTS

STUDIO PUBLIC BUILDING

p. 3-8 p. 9-13

STRUCTURE

p. 14-17

DEPARTMENT BUILDING

p. 18-29

ABOUT ME

p. 30


STUDIO


LOCATION Arenbergpark, Heverlee, Belgium. The grass field north east to the castle of Arenberg. ASSIGNMENT Design a studio no bigger than 6x4x10m that can be used by an artist/guest professor/writer/ architect to work, but also occasionally to sleep over. LEVEL & EXACT CONTRIBUTION • Academic project • BSc 1 • November - December 2010 • Individual project • Design & elaboration were all my responsibility GRADES EARNED 15 out of 20 SUPERVISORS Head supervisor: Hans Verplancke hans.verplancke@asro.kuleuven.be Mentor: Geert De Neuter g.deneuter@g-o-a.be

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CONCEPT & INSPIRATION The choice of location was influenced by several factors. I wanted to give the artist/guest professor/... the time to get calm and concentrated on his way to the studio. I tried to do this by pulling it away from the roads. Also I wanted to give him an inspirational view. I thaught the Dijle, the river on the south of the terrain, would serve perfectly for this. Behind the Dijle lies a road that has a lot of circulation. This way the artist can see movement without being disturbed by it. At the Arenbergpark, there are many buildings in an industrial style. As the design project concerned a workspace, I decided to adopt this industrial style in my design. I used red bricks like the ones used in the surrounding buildings, I used rhythmic placement of high windows, and I gave my studio a clean look, without any ornaments.

Spatially, my concept was to design my studio as an architectural walk. You start from pure workspaces downstairs, one on ground level and one 90cm sunken into the ground, looking over the Dijle. Then, spiraling upwards, you go to the living spaces. First, there is a kitchenette with a table that can also be used to work at. Then you get into the bedroom at the other side of the studio. This is a space purely devoted to the human needs, with only a bed and a shower. The idea of the walk, ending in the bedroom, was that if a person would stay overnight after a hard day of work, he would have time to pipe down during his walk to his bedroom. ŠSara Gistelinck

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FINISHED DRAWINGS On the ground floor, the hallway is used as a buffer. It gives you the time to step out of the busy world and enter into the serene work space. The main work space is the most spacious one with the largest area and a double height. A more enclosed work space lies five steps downward with a desk over the whole length in front of an equally large window viewing over the Dijle.

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On the first floor, the kitchenette is on the southeast side and the bedroom on the northwest side. ŠSara Gistelinck

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Sara Gistelinck - 2 Bira - Architectural Computing - BIM - Atelier Sara Gistelinck - 2 Bira - Architectural Computing - BIM - Atelier

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FINISHED DRAWINGS Within this small volume I succeeded to diversify the levels. This way, I created different atmospheres without having to close off any rooms. ŠSara Gistelinck

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FINISHED DRAWINGS On section B-B, you get a good feel of how deep the smaller workspace has sunken into the ground. ŠSara Gistelinck

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PUBLIC BUILDING


LOCATION No specific location assigned. We made a building that would be collapsable and rebuildable anywhere in the world. ASSIGNMENT Design a sculptural building with a chosen public function within a cube of 15x15x15m. LEVEL & EXACT CONTRIBUTION • Academic project • BSc 3 • October 2011 • Group project (group members: Jolien Claes, Evi Lambie, and Wouter Luysterman) • Design and elaboration were done in group. Wouter Luysterman made the presentation booklet, Evi Lambie made the finished drawings, and Jolien Claes and I made the models. GRADES EARNED 14 out of 20 SUPERVISORS Head supervisor: Joke Vermeulen joke.vermeulen@telenet.be Mentor: David Driesen david.driesen@asro.kuleuven.be

CONCEPT & INSPIRATION The concept to this design was to make a “culture box” that would be collapsable, and so, would be able to travel around the world. Also, it would be possible to rebuild it so that it would be on a different side. (See first picture) We chose for a composition of several “open boxes”. The different positions of the open boxes allow for different ways to experience them. (See second picture) For the design of the open boxes, we found inspiration in the work of the artist Donald Judd, who has designed different objects with a serene exterior and a notable, colorful interior. We too chose for a white exterior, and different colored materials for the interiors. FUNCTION We had to choose a public function for this building. As said already, we wanted to make a “culture box”. The boxes can be used for expositions, but also for concerts or even theaters. Also, the big white walls could be used to project movies on. The first picture is made by Wouter Luysterman. The sketch is made by Evi Lambie.

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COLLAGES On this collage, you can see our culture box being used for an exposition of Auguste Rodin in Hyde Park, London. The collage was made by Wouter Luysterman.

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COLLAGES The white exterior walls make our project perfect for an outdoor filmfestival. The collage was made by Wouter Luysterman.

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FINISHED DRAWING This is a section of the building made by Evi Lambie.

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STRUCTURE


ASSIGNMENT Design a structure with wooden slats of 4x2mm that can hold a pétanque ball at a hight of 1.2m using only two tables put on their sides as fulcrums, standing 1.2m apart. No glue may be used

CONCEPT & INSPIRATION We started from the concept of a balance. With only the weight of the slats, we would support the ball. For the design itself, we started from the equation of momentum of a beam supporting the ball. This diagram shows that the structure would have less slats farther away from the fulcrum. Yet, the farther the slats are positioned from the fulcrum, the greater the lever effect is. We wanted to combine these two strategies.

verstevigingsteunpunt

LEVEL & EXACT CONTRIBUTION • Academic project • BSc 3 • November 2011 • Group project (group members: Sarah Beuls, Pieter Bieghs, and Wouter Luysterman) • Design and elaboration were entirely done in group.

The sketches on this page as well as the next are all made by Sarah Beuls.

om vervormingtegentegaan

GRADES EARNED 14 out of 20 SUPERVISORS Head supervisor: Joke Vermeulen joke.vermeulen@telenet.be Mentor: Francis Catteeuw francis@compagnie-o.be

Form derived from equation of momentum of a beam

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equation of momentum CONCEPT & INSPIRATION We followed the equation of momentum by using a wire to connect the highest part above the fulcrum with the end of the structure. The extra weight was reached by giving the structure a “belly�. The wire was now also necessary for the stabilization of the structure. Our structure was eventualy 4m long.

Fbal

counterweight for balance

counterweight structure

broadening for reinforcement of the fulcrum

diagonals to counteract distortion

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MODEL Using only the weight of the slats, we got our structure to hold the pĂŠtanque ball 70cm away from the fulcrum.

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DEPARTMENT BUILDING


LOCATION This assignment was situated next to the railway station in Leuven. A project named “City Gate” was already being built there, yet the southern part was unfinished at the time. This is where we had to design our project. (see red area on picture) ASSIGNMENT Make a design for a new builbing for the department of architecture of KU Leuven. This building has to include two auditoria, about 2000m² of studio space, a library, ten offices, two meeting rooms, a bike station, etc. An area of a maximum of 25% of the assigned program is left free to design and fill in as you wish. LEVEL & EXACT CONTRIBUTION • Academic project • BSc 4 • February - May 2012 • Individual project • Design and elaboration were all my responsibility GRADES EARNED 16 out of 20 SUPERVISORS Head supervisor & mentor: Joke Vermeulen joke.vermeulen@telenet.be

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CONCEPT & INSPIRATION I wanted to use the benefits of the location as much as possible. Being right at the border of the city center meant having a superb view over a continuously changing city. By not building against the existing buildings I created a square which allows for a “slow entrance” and I guaranteed a view for every side of the building. For the organization of the building, I started by thinking of what I would want to improve and what I missed in the current department building. I made the studios to be the heart of my building and pronounced some clear statements: the library had to have a clear connection to the studios as well as the offices for researchers. Also, the studios had to have a view overlooking the city so students would see the world they are designing for. Another statement was that the studios should all be connected to each other so students would learn as much as possible from each other. It was a logic decision to put the studios at the top of the building. I chose to make one big spiraling studio over the four top floors. At the heart of the spiral I located a patio with beneath it, the library. The library is spread over three floors, one of which is situated on the office floor to connect the library to the researchers’ offices. ©Sara Gistelinck

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FINISHED DRAWINGS This is a plan of my project in its surroundings and a section through my own project and the City Gate project. ŠSara Gistelinck

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FINISHED DRAWINGS This is a section through the long side of the project. The ground floor has a bike station. The main entrance to the building is on the first floor. This floor houses the information desk and a sandwich bar. The auditoria, the secretariat and some offices are on the second and third floor. Starting on the fourth floor are the rest of the offices and the library, and starting from the fifth floor, the studios.

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FINISHED DRAWINGS The spiraling of the studios is clearily noticeable in this section. The studios on the left and right are also connected by sights through the library and the patio. ŠSara Gistelinck

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FINISHED DRAWINGS This is an axonometry of the basic structure of the building. I used the grid of columns from the existing parking underneath. ŠSara Gistelinck

Basisstructuur Basisstructuur

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1x 1x Sara Gistelinck | 2BIRA | 2011-2012 | Architectuurontwerpen 2C Sara Gistelinck | 2BIRA | 2011-2012 | Architectuurontwerpen 2C

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FINISHED DRAWINGS This is a fragment of the facade where you can see the eave and a part of the curtain wall with a sun blind system in front of it. I proposed a new kind of sun blind system. You can see two sorts of lamellae in front of the curtain wall. One is a normal lamella in aluminium, the other is a lamella made of frosted glass. They are placed alternately and at half of the normal distance from each other. This way light and sight can be controlled seperately. Air can be controled by opening windows in the curtain wall. ŠSara Gistelinck

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FINISHED DRAWINGS This is a vertical section through the eave and a part of the curtain wall with lamellae. ŠSara Gistelinck

patio tile water barrier thermic inculation 2 x 8cm vapor barrier lean concrete 12cm bearing concrete slab 25cm

1 eave profile in aluminium 2 fold plate in aluminium 3 plywood 4 beams for fixation 5 curtain wall profile in aluminium 6 lamella in aluminium 7 hydraulic pump 8 water en wind seal 9 block for support 10 airshaft

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raam: glas bevestigd in aluminium vliesgevelprofiel zonnewering: lamellen, afwisselend aluminium en mat glas, met hydraulische pomp ter besturing

FINISHED DRAWINGS This is a horizontal section through a part of the curtain wall and the lamellae. You can see the hydraulic pump necessary to control the different lamellae. For the system to actually work, you would need two hydraulic pumps. One would operate the glass lamellae and one would operate the aluminium lamellae. ŠSara Gistelinck

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RENDERINGS This is an image taken, standing in one of the top studios, looking towards the patio. You can see there are no strict borders between studios, only stairs and ramps. This makes it easy for students to go and see what others are working on. You can even see through the patio to the studios on the other side. ŠSara Gistelinck

RENDERINGS This is an image taken, standing in one of the lower studios, looking towards the library book room and the upper library reading room. Again, you can look through the library to the studios on the other side. ŠSara Gistelinck


RENDERINGS This is an image taken standing in the lower library reading room. As it lies on top of the auditoria, there was a great span to overcome. The first idea was to solve this with a lattice girder on top of the building, but because of the studios spiraling up with terraces on top of the roof, this wasn’t possible. The best solution was to use Vierendeel beams on the floor right above the auditoria. As you can see on the picture, the tectonics of the reading room are greatly defined by these beams. ŠSara Gistelinck

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ABOUT ME PERSONALITY I am social, studious, persistent, curious, and rational. I am an optimist, but I keep realistic. I am not scared of hard work, or raising the bar for myself. I like to compete and win, but even if I lose, I know I will have learned a lot. INTERESTS I am interested in a lot of different things. I am interested in national and international politics, third and fourth world problems, music, specifically (hard) rock and grunge from the late 80’s and early 90’s, movies and books based on true stories, the books of John Steinbeck, parkour ( a sport related to freerunning), travelling, etc. HOBBIES I have had a lot of hobbies over time. I took a year of dance and a year of public speaking, I partook in a musical, I played badminton in a club for three years, I went to art academy for seven years, and I was part of two youth movements and was the head of one of them for a year. I also worked at a local store on saturdays for two years. I like to go surfing in France or Spain during the summer, and over the last two years, I have been taking Spanish classes in part time adult education.

TRAVELLING Since I was six, I have been going to different camps. Sometimes I would go with friends, but often I would go alone. I liked meeting new and different people, being independent, and exploring new things. I have been to camps in Belgium, France, Spain, Germany, and Switzerland. Over the last two summers, I have been travelling more independently. I went on two trips with a friend to Bilbao and Barcelona. These destinations were chosen inter alia because of their architecture. My most important travelling adventure was when my parents wanted to show me and my brothers Brazil, the country where they had lived and worked with missionaries for a big part of their lives. I was seven and we travelled through the country. I saw the extreme gap between rich and poor in real life. This trip influenced my worldview heavily. This is where I got my interest in third and fourth world problems.

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