Page 1

Port ARCHIT ECT URE

tfo l i o 2012 - 2016

Timo Vortisch Technische Univers it채t Braunschweig Ausgew채hlte Arbeiten von 2012 - 2016


Two thousand Twelve two thousand sixteen Architecture

Portfolio

Timo

Vortisch


Architecture

Portfolio

|

Timo Vortisch


Contents

6

CV

8

OVERVIEW

12

Constructive Project 2014

Brunswick

20

Media Design Processes 2014

24

Urban Project 2014

32

38 46

Rostock

Design Research Project 2015 Self-Extruding Objects

open Project 2015 Hamburg-Hohenfelde

BACHELOR Thesis 2016

Brunswick-Airport


TIMO VORTISCH HumdoldtstraĂ&#x;e 19 38106 Brunswick - DE phone +49 (0) 160 / 40 20 852 mail t.vortisch@googlemail.com web https://www.behance.net/timovortisch


8

CV

EDUCATION 2012 - 2016

B.Sc. Architecture Technical University Brunswick

2011

A Level Bernhard-Riemann Gymnasium Scharnebeck

AWARDS 2015

Cloud Club AWARD 1. Place Self-Extruding Objects & Villa Rustica

2014

Scholarship German Academic Exchange Service


9

PRACTICE

EXCURSIONS

2015

Undergraduate Assistant

2015

Field Trip goEast

ILA - Prof. Gabriele Kiefer

2011 - 2012

Military Service Stralsund Navy Technology School

2011

Czech Republic, Slovenia, Slovakia IEB - Institut f端r Entwerfen und Baugestaltung

U.BEENCK GmbH

2014

Field Trip Scandinavia Latvia, Estonia, Finland, Sweden IAD - Institute for Architectural Design

Hamburg Systems Technology & Switchboards

2010

WITTE Far East Singapore R&D and Project Trainee

SOFTWARE

LANGUAGES 2D

AutoCAD, Vectorworks

3D

Rhino, Maya Adobe CS6 Illustrator, InDesign, Photoshop

German first language

English conference language

CV

iWork, Microsoft Office


10

Overview

CP

Natural Reserve Center Brunswick 2014 page 10

UP

Diversity Rostock 2015 page 22

OP

Craft-Beer Brewery Hamburg 2015 KĂźhlraum Âą 0.00

page 38

Taproom + 0.40

Seminarraum + 0.20 - 0.50

WC - 2.50

Malzlager


11

MDP

a bout de souffle Jump-Cuts 2014 ANSICHT >> S端d

page 18

DRP

Design Research Project Self-Extruding Objects 2015 ANSICHT >> Nord

page 30

BT

Glider Hangar Brunswick 2016 page 46 ANSICHT

Overview

>> West

ANSICHT >> Ost


12

Constructive Project | 2014

environmental model

Constructive Project | 2014

Institute for Building Construction Prof. Werner Kaag


13

CP

Natural Reserve Center Brunswick

Subject of the Constructive Project was the planning of a natural reserve center at the Kreuzteich in Brunswick district Riddagshausen. The plot, partly former traffic area, is a result of a redesign of the space in 2008. Bounded by the Messeweg in the West, the Ebertallee in the south and a pedestrian and cycle path along the Kreuzteich results a triangular plot of approx. 2000qm. The Nature Reserve Center Riddagshausen is located in one of the main recreational areas of Brunswick. To satisfy the requirements of the specific environment, special attention has to be given on urban planning, proportioning and materialization. The room program requested, in addition to a multi-functional hall with auxiliary rooms, two smaller rooms for various uses, a catering area with public outdoor area and a public foyer. The Natural Reserve Center thus forms the starting point to discover the unique natural environment, which is especially notorious among ornithologists.

â–¸ group work with Tom Zumdick


14

â–´ design model

Constructive Project | 2014

Design Principle and Urban Implementation The nature reserve Riddagshausen with its forests and lakes primarily serves the protection and observation of native bird and fish species. It also forms one of the main recreational areas of Brunswick.

which is especially essential in a nature reserve. Concerning urban planning, the design is divided by an orthogonality and parallelism to the road in the area and connects, through the foyer, urban space and nature.

This special place strongly influences the design and determined approach, as well as material and construction.

The building is clearly divided by the individual functions into spaces that are distinguishable even from the outside. They are formed out of reinforced concrete boxes, or walls, that are set into the rooms. This image is conveyed by the wooden lamella facade in front and an underlying black skin, that goes beyond the reinforced concrete boxes and the facade, visible from the outside.

The compactness of the building and the use of renewable and regional materials results out of the purpose, to build energy-efficiently and sustainable,


15

KP

▴ environmental model

The public and semi-public areas are formed by the two rectangular concrete boxes. One serves as a large multipurpose hall and the second concrete box functions a a divisible conference room. Between these two boxes and the private sector of the building, the foyer area arises, which connects the street and the lake shore. This connection is emphasized by open facades on both sides that allow an unobstructed view. In direction of the road the private part attaches with catering and offices. (see ground plan ▾) Standing in the foyer, the three areas mentioned can clearly be distinguished

from each other. This effect is caused by the fact, that the concrete boxes are plastered on the inside, but their outside appearance is defined by exposed concrete. Besides themselves, the boxes carry the wooden beams, which form the roof. The saw-tooth roof of the great hall provides a particular exposure in this area of the building. Also, in the great hall a large window, which is the only opening of the facade, offers a clear view at the great lake (see design model ▴). All other openings are covered by the lamella facade in the direction of the street, thus ensuring to bring light into the building while screening to the outside.


16

The facade is made of oak, as this often occurs in the nature reserve, while being recyclable and sustainable. In addition, the building blends into the environment through its natural appearance. The orientation of the building and especially the direction of the openings, in conjunction with a natural shade trough the facade, is primarily energysaving, which is not only essential in a nature reserve. Also, compact design helps saving heating energy and sealing the ground as little as possible. These decisions conserve nature and preserve the quality of the environment.

V1 44,10m

GRUNDRISS M 1:100

24,30m 6,30m

6,00m

19,80m 6,00m

6,00m

6,00m

6,00m

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5,90m

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12,80m

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21,80m

V2

2,30m

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6,70m

9,00m

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A

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V1 4,20m

3,60m

â–´ ground plan 2

3,30m

V2

V2

V2


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KP

▾ longitudinal section

+ 4.63 + 4.00

+ 2.55

+ 0.70 +/- 0.00

- 0.40

HNITT V1 100

- 2.80

A

B

C

D

E

F

G

H

+ 6.20

+ 4.00

+ 2.55

HT SÜD 0

+ 0.70 +/- 0.00

- 0.90

SCHNITT V2 M 1:100

A

B

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E

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HT NORD 0

QUARTIERSZENTRUM AM KREUZTEICH H KONSTRUKTIVES PROJEKT 2014

G

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C

INSTITUT FÜR BAUKONSTRUKTION PROF. W. KAAG Timo Vortisch | 4270336 Tom Zumdick | 4272154

ANSICHT WEST M 1:100 1

2

3

4

ANSICHT OST M 1:100

ERSZENTRUM AM KREUZTEICH RUKTIVES PROJEKT 2014

views ▴

FÜR BAUKONSTRUKTION KAAG sch | 4270336 dick | 4272154

4

3

2

1

B

A


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BÜRO DREITAFELPROJEKTION M 1:20

B

Constructive Project | 2014

BÜRO AUSSCHNITT GRUNDRISS M 1:20

QUARTIERSZENTRUM AM KREUZTEICH KONSTRUKTIVES PROJEKT 2014 INSTITUT FÜR BAUKONSTRUKTION PROF. W. KAAG Timo Vortisch | 4270336 Tom Zumdick | 4272154

C


19

KP GESCHLOSSENE WAND BÜRO SCHNITT M 1:20

OFFENE WAND BÜRO SCHNITT M 1:20

ZWISCHENWAND SAAL SCHNITT M 1:20

OK FH

UK FD

OK RF

OK G

OK FF

4

4

3 Dachaufbau Foyer Gitterrost Attikaabschluss Unterdach-Folie Brett Holzschalung Unterkonstruktion Bautenschutzmatte Wärmedämmung Dampfsperre Stahlbetondecke

massives Aluminium, eloxiert)

6

mm

Holz 35/3 OSB-Grobspanplatte Holz 31/6, dazwischen Wärmedämmung

30 20 60 10 100 - 200

mm mm mm mm mm

300

mm

10 100 300

mm mm mm

OSB-Grobspanplatte Holz 18/6, dazwischen Wärmedämmung diffusionsoffen, UV-beständig Eichenholz 4/6 Aluminium L-Profil, Hinterlüftung Eichenholzlamellen 4/6

20 180

mm mm

40 50 40

mm mm mm

Holzparkett, Lärche poliert

20 30 50 20 300 100

mm mm mm mm mm mm

40 20

mm mm

Gefälledämmung

Wandaufbau Innenputz Installationsebene Stahlbetonwand Dampfsperre Holzschalung Unterkonstruktion Unterspannbahn Lattung Konterlattung Fassade

Bodenaufbau Fußboden Gussasphaltestrich Heizestrich Ausgleichsschüttung Stahlbetonboden Perimeterdämmung Wasserabdichtung Sickerplatten Wärmedämmung

Bitumenanstrich Schaumglasschotter, kapillarbrechend


Media Design Processes | 2014 IMD Institute of Media and Design Prof. Matthias Karch

Media Design Processes | 2014

20


21

MDP

Á bout de souffle Jean-Luc Godard

The film À bout de souffle (Breathless) from 1960 was the french-rebellious answer to the american film noir of the 40s and 50s. Directed by the francoswiss film director Jean-Luc Godard, the film broke with many cinematic conventions and is still considered a cinematic milestone. The stylistic and narrative rhetoric of the film is dominated by jump cuts, axis jumps, breaking through the fourth wall and the willful suspension of disbelief. Despite the stylistic innovations, À bout de souffle basically is a classic gangster and love story that is told simply and straight forward, or in the words of Godard himself: »To make a movie, meet a gun and a girl.«


Media Design Processes | 2014

22


23

MDP The two protagonists of the film, Jean Seberg (aka Patricia Franchini) and Jean-Paul Belmondo (aka Michel Poiccard) are modern flaneur that breathe new life into the stiff and solidified facades of Paris in the early 1960s. Against the backdrop of the Champs ÉlysÊes in Paris, the two main characters bring hipness and coolness with their strolling movements to conservative France of the 1960s. The first phase of the project consisted of the analysis of the car ride scene of the film with the help of continuity scripts, motion studies and the study of place and time. Afterwards, the route the protagonists drove through Paris was reproduced via mapping and drawing of views, to be able to understand how close the movie stayed to the original Paris. Through these analyzing steps, it became clear that jump cuts were used as a central stylistic medium during the car ride. Jump cuts break the continuity of the scene, which attracts attention and appears to be a film error. They are, however, deliberately placed, so that the scene is accelerated, which is further enhanced in conjunction with the movements of the protagonist. As a 3D representation of the jump cuts molted sugar sculptures were used, unique objects that transmit the phenomenon of jump cuts to the haptics while each has a very unique expression.


24

Urban Project | 2014

Urban Project | 2014

ISU Institute for Sustainable Urbanism Prof. Dr. Vanessa Miriam Carlow

environmental model


25

UP

Diversity Jane Jacobs

Jane Jacobs changed conventional urban research with her book Death and Life of Great American Cities. She made clear that its unsatisfying to just strictly analyzing cities based on categories and using that for comparison.

According to Jacobs, Cities should be seen as organisms and therefore must be examined in a more differentiated Way.

We were required to use the book as a guide to study the harbor in Rostock with its surrounding districts on the problems explained by Jacobs. Starting by interviewing inhabitants and creating analyses in form of drawings and statistics, we developed our own task of urban design. During the analysis and stocktaking of the area around the so-called Rostock Oval, we particularly saw the missing link between the urban districts such as KTV, Old Town and the harbor. This gave us reason to approach this urban space with its problems and to transform it into a functioning urban district.

â–¸ group work with Tom Zumdick, Fabian Leiwe & Steffen Rebehn


26

Urban Project | 2014

From restricted area to the new center The main mean to achieve a transformation is a water canal in conjunction with a varied and attractive landscaped shore, to bring both water into the city and the city back to the water. This brings Rostock one of its most important key features back to the fore again.

The created path follows in its course the water but also shows itself at street level, connecting both sides of the canal through its dynamic form. In regular distances along this way open spaces are located, as well as seating areas, green spaces, industry, gastronomy and repeated links to the enclosed neighborhoods.

In order to achieve an exchange between the start and end point of the canal there are buildings of various public use located in its course. At the one end, in the city on the street of Lange StraĂ&#x;e, a swap of the Rostock University will be located, in the form of Institute premises, as well as exhibition and counter tops. At the other end, right at the harbor, the new theater of Rostock will be positioned, with different side uses. (see program pictogram â–ž)

The development in this area consists on the whole of commercial buildings on the west side and residential buildings on the east side, with apartments of various sizes, as well as dormitories. The typology of these residential buildings is adapted from the surrounding residential districts (see site plan â–ž). The commercial buildings on the opposite side again reflect the dynamics of the canal. In addition, they follow the shape of the former ramparts, which


27

UP

â–´ longitudinal section

were located around the historic center (see analysis pictogram â–ž). This motif is supported by green spaces around the canal, which give all kind of people the opportunity to recover. The location and orientation allow the use of the sun in the commercial buildings in the first half of the day and in the area of residential development in the second half of the day. In addition, the shape of the canal enables all-day use of the sun on the recreational areas throughout the territory. By mixing the program around the canal, the new created area can be used variously throughout the entire day, just in the spirit of Jane Jacobs and the diversity. The result is a completely new district in Rostocks city center, on an area

previously just used for parking, directly in between the main districts KTV, Old Town and the harbor. The two conspicuous and public points at both ends of the canal generate an exchange between the different parts of the city and bring different segments of the population in one area together. Turned away from traffic and framed by pedestrian trails, the walkers or cyclists determine the speed here. By that, a special quality of stay is created, especially in conjunction with the water element.


Urban Project | 2014

28


29

UP

▴ analysis pictogram ▾ program pictogram

Piktogramm Einzugsgebiet

◂ site plan


30

â—‚ environmental model 1-1000

Urban Project | 2014

design model â–¸ 1-500


31

UP


Design Research Project | 2015 IEX Institute for Experimental Design Prof. Berthold H. Penkhues

Design Research Project | 2015

32


33

DRP

Design Research Project

The Design Research Project is a six-month course within the Architecture Master program at the Technical University of Brunswick. The format was initiated in 2011, by Prof. Berthold H. Penkhues, Fahim Mohammadi and Jan Pingel from the Institute for Experimental Design. The teaching format is organized as an open-source design project that starts in a first phase with the systematic examination of potentials of a certain material. The focus lies on finding, triggering and control of inherent behavior patterns, hierarchies and systems. These fundamental principles are interpreted in the form of spatialization strategies. At this the material is not only seen as an information carrier, but rather integrated as a partner in the research process. Phenomena are not only accepted but documented, understood, controlled and developed. Regularly scheduled presentations, with guests from different disciplines, allowing specialized input and constant reflection of the whole process. 1

1 Translated from German article about the Design Research Project on detail.de (http://www.detail.de/artikel/drp-design-research-

results of phase 3

projekt-experimentelle-materialforschung-13121/)


34

â–´ results of phase 1

Design Research Project | 2015

Self Extruding Objects The overall objective of Researches was to develop new, applicable and above all unique spatialization strategies out of a pure intuition. This initial intuition runs through the entire research and again leads to new aspects and phenomena, which drives the research constantly. From the first analysis of theoretical approaches and through analog experiments (with popcorn maize) and digital simulations (with Autodesk Maya) a dynamic system developed that is able to generate unique shapes. However, it is not the software itself that develops and determines the particular forms, but

the totality of the supplied information and findings, which were collected and developed throughout the entire research process. The software just helps to link the information and to accumulate all of it. The Design Research Project gives the opportunity to explore a completely free subject. Therefore I decided to occupy myself with space stations. They are built in some ways out of an architecture that behaves absolutely functional and subservient. It is determined excessively by external influences to which it has to adapt its components and structure.


35

DRP

â–´ results of phases 3 & 4

This principle was analyzed further on and led, trough several stations and in connection with issues such as modularity and optimization, to the socalled superorganism. This intuition brought up a whole new field of interest, which ultimately led to Kevin Kelly and the Hive Mind as well as complex adaptive systems. In addition to that he analog experiments developed intuitively and by testing too. Trying different approaches led to a experimental setup that offered a diverse potential, which created unique and new forms for the first time.

The popcorn configurations were aligned and therefore controlled to a certain degree, however, the choice of material has inevitably led to a desirable momentum that has had a huge impact on the results. Thus no absolutely uncontrolled forms have emerged, but a process in which variable parameters have drawn the results in a definable direction, but always with a certain amount of momentum.

â–¸ see full project on: https://issuu.com/timovortisch/docs/ medium_self-extruding_objects_timo_/1


36

THEORETISCHER HINTERGRUND Das Interesse für die Funktionsweise und die Bedeutung von Raumstationen für den

A - THEORETISCHER HINTERGRUND

Menschen kam aus einer ersten reinen Intuition heraus. Um herauszufinden wo diese Intuition begründet ist und um sie zu legitimieren, werden die einzelnen Besonderheiten, die diesen Themenbereich ausmachen, anhand von übergeordneten theoretischen Ansätzen genauer betrachtet. So rücken neue interessante Themen in den Vordergrund, die diese Aspekte ins Extreme treiben und von einem oder wenigen dieser Aspekte dominiert werden. Aus einer reinen Intuition entwickelt sich so über mehrere Stationen ein begründetes Interesse an bestimmten Phänomene, die dann auf ihre Herkunft und ihr Potential hin analysiert werden können. Das Ziel ist es, sie zu verstehen, um sie anwenden, übertragen und verknüpfen zu können. Phänomene sind in gewisser Weise Ausnahmeerscheinungen, die zum Teil schwer, oder gar nicht zu erklären sind. Hier liegt das Potential für neue und einzigartige Formen und Formfindungsprozesse, die im Verlauf des Researches offengelegt und festgehalten werden sollen.

← Abb.15 “Fluid Space“, Woods

Lebbeus Woods zeigt dieses Potential besonders eindrücklich, anhand seiner zahlloses Zeichnungen von Zukunftsvisionen, die sich teilweise in Science-Fictionen Filmen wiederfinden. Auch er ließ sich von extremen Situationen beeinflussen, wie sein Werk ‚War and Architecture‘ von 1993 deutlich macht. Hier ist der Krieg das Medium, welches eine ganz eigene Formsprache entstehen lässt.

→ Abb.16 “Berlin Free-Zone 3-2“, Woods

16

17

Verhältnisse

1

2

3

horizontal extrudierter Bereich vertikal extrudierter Bereich

vereinzelt nicht-extrudierte Bereiche

Leim Extrusionen entwickeln sich um Leim herum

Leim Leim

Form wie eingefroren

Ergebnis 1 hat den größten Anteil an Extrusionen. Nur am unteren Ende bleibt ein Teil unverändertes Material übrig. Trotz dieser Tatsache gibt es hier so gut wie keine Biegung. Bei Ergebnis 2 findet sich auch im oberen Bereich vereinzelt unverändertes Material, anders als bei Ergebnis 1 & 3

Auffällig ist die Form der großen Extrusionen bei Ergebnis 1 & 3. Wo sich die Maisstärke in Ergebnis 1 eher vertikal nach oben ausdehnt und die Kette kaum biegt, dehnt sie sich bei Ergebnis 3 extrem vertikal und ruft eine Starke Verformung der Kette hervor.

110

111


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DRP

printed version ▸ ◂ extracts


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DRP

phase 1 analysis ▴

phase 2 analysis ▾

◂ atmospheric views


40

Open Project | 2015

Open Project | 2015

IEX Institut for Experimental Design Prof. Berthold H. Penkhues


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OP

Craft-Beer Brewery Hamburg

The VonFreude duo has recently started their own business with the brewing of craft-beer and is now planning to create a hot-spot for craft-beer enthusiasts and professionals in Hamburg. By dealing with the subject of craft-beer in general during a prior workshop with the duo, it became clear what the characteristics are and how they can be translated into architectural qualities. Despite the fact that craft-beer is brewed the same way as industrially produced beer, so in particular by using hops, yeast, malt and water, it shows an incredible variety and individuality in taste. Looking for a suitable site on which the dream of a brewery could be realized, the VonFreude duo hit upon a built-up plot in Hamburg Hohenfelde, which was a former workshop hall of the Jasper Bus Company. The plot is located in the backyard of the Jasper-House and can be accessed from two sides: on the side from the JasperHouse over Mühlendamm by an inconspicuous access and from the other side from the direction of the subway station Umlandstraße on Hohenfelder Allee over a wide, spacious yard. The design of the brewery is intended to activate the genius loci and the conditions of the site, as well as to utilize it for the brewing process. In addition to that the special features of craft-beer should be perceptible, just like the brewing process, which has to be integrated appropriately into the room concept.

design model

▸ group work with Florian Trau


42

Büro / Personal + 4.00

Abfüllung Lager

Parkplätze / Verkauf

+ 0.40 ± 0.00

Gastronomie + 0.20

Taproom + 0.40

Crafting Architecture The two access sides of the property interact with the environment in a completely different way. On the one side there is an inconspicuous dark corridor leading to a small courtyard, surrounded by big walls. On the other side you find yourself on a spacious courtyard that opens to the street and offers access to both buildings on the site. This invites to explore it and literally leads the visitors from the street into the recessed building. Therefore, very different types of visitors are attracted by each side, which should be brought together in the brewery to exchange ideas and knowledge about

craft-beer. In addition, this particular feature defines the room concept significantly.

The warehouse manifests itself as a strong, hollow body, which is exposed only through skylights demanding to be filled with life.

It merely provides a structuring of the free area inside through the large openings on the two transverse sides and also through pilasters on each side, that create a regular grid. A second smaller


43

OP Anlieferung

Outdoor-Küche Seminarraum + 0.20

VON FRE UDE

CRAFT - Beer Brewery

FLORIAN TRAU - 4271795

Schnitt 3

TIMO VORTISCH - 4270336

-

M 1:100

Labor + 7.40

+ 5.40

Büro / Personal + 4.00 + 3.30

Küche

+ 1.30

- 0.20

Parkplätze

± 0.00

- 0.50

VON FRE UDE

▴ longitudinal sections

warehouse is located on the site in direction of the Hohenfelder Allee, which will primarily be used to sell the local manufactured products. The individuality and diversity, which distinguishes craft-beer from industrial beer, manifests itself architecturally by different spatial expressions and materials used in the existing warehouse and on the yard. This spreads from a dark structure in the center of the organism and develops based on the warehousegrid into the outside. Nevertheless the contact to the origin is always preserved and can be reproduced visually and haptically by material at any

point. On the one hand, this facilitates the orientation in the building, but on the other hand it creates various atmospheres, which differentiate from each other as well as touch each other, creating exciting transitions and intersections. The structures from out the center creates private areas which appear rather closed and compact, and public areas, that are mainly defined by the flooring as well as areas in between public and private use, such as a seminar area. Each of the four series of extrusions out of the center shows itself in a different material. (see ground plan ▾)

CRAFT - Beer Brewery

FLORIAN TRAU - 4271795

Schnitt 2

TIMO VORTISCH - 4270336

-

1:100


44

Furthermore, a topography reacts, by lowering and elevating, depending on the level of accessibility by the public, contributing to the different situations created in the warehouse. Because all segments end in the central laboratory, visitors are led here and communication between the various user groups will arise automatically. The individual components develop lengthwise to the warehouse, thus connecting both access sides.

The brewing process is rotated by 90° to the other uses - behaving like a wedge in their middle.

Between the horizontally arranged brewing process steps the laboratory is located. It combines the same process steps but in a smaller scale and in vertical order. The object itself is lifted up from the ground so that it can be approached from below. From the other direction, the more public direction, it offers insights but remains impenetrable to provide privacy inside. These possible insights occur wherever structures start developing from out the laboratory and subtractions find place. Thus, the interior of the body is structured while forming furniture, each of which out of the material of the extrusions. (see detail model â—‚) In order to bring daylight into the dark laboratory in the central and to make it visible from the outside, the structure breaks through the roof, creating a room on top, from where you only able see the sky.

â—‚ detail model


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OP

design model â–¸ 1-100


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ANBAU

LAGERUNG

VERARBEITUNG

BRAUEN

cross section ▾

Kühlraum ± 0.00

▴ pictogram

Taproom + 0.40

Seminarraum + 0.20 - 0.50

WC - 2.50

Transportweg - 0.20

Malzlager

VON FRE UDE

CRAFT - Beer Brewery

FLORIAN TRAU - 4271795

Schnitt 1

TIMO VORTISCH - 4270336

- M 1:100


2

3

Erschließung für Stammkunden

Transport für PKW

Büroräume

Verkaufsraum Getränke Brauzubehör

± 0.0

Obergeschoss

M 1:100

Personalräume

Lager

Fertigwarenlager

- 0.2

Cortenstahl

± 0.0

Granitstein

Holz Esche

Küche

± 0.0

Flaschenabfüllung

- 0.2

± 0.0 Dampferzeuger

- 0,2

Lager

+ 0,6 Sudhaus

Sichtbeton

Microbrauerei

- 0.5

Granitstein

± 0.0 Theke

Gärtanks

± 0.0 Lagertanks

Transportweg

1

1

Malzlager

Kellergeschoss

WC

Taproom

+ 0.4

+ 0.2

Getränkelager

- 0.2

Kühlraum

M 1:100

Lager

± 0.0 Fässer

+ 0.2

WC

+ 0.2

+ 0.2

- 0.2

Seminarraum

+ 0.2

Sichtbeton

+ 0.2

Gastronomie

+ 0.4

Holzbohlen

+ 0.8

± 0.0 Destille

Anlieferung

± 0.0

Cortenstahl

Haupteingang

± 0.0

Holzbohlen

Flaschenverkauf

Erdgeschoss

Outdoorküche

M 1:100

Bäckerei

Erschließung für Neukunden

Anlieferung / Abtransport für LKW

2

3

47

OP

▴ ground plan


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Bachelor Thesis | 2016

Bachelor Thesis | 2016

IIKE Institute for Industrial Construction and Constructive Design Prof. Carsten Roth


49

BT

Gliderhangar Brunswick

The Brunswick-Wolfsburg Airport (BWE) represents, in connection with other companies, research institutions and the Federal Aviation Authority, the center for the aerospace and technologysector in Brunswick. Due to its high recreational value it is also deemed as the Stadium of Airsports. Not only the German Aerospace Center (DLR), the Volkswagen Air-Service and the flight test center of the TU Brunswick have settled on its fringes, but also numerous air sports clubs that offer a variety of activities and attract many users, mainly in the North. However, there is still no central point of contact for the numerous actors and visitors. Thus, the intention of the design is to create an attractive and symbolic building in direct proximity to the runways, which combines the various air sports clubs under one roof, offering flexible areas for clubs organization, seminars, the preparation and follow-up of the flights, as well as the food supply.

design model


50

â–´ environmental model

Bachelor Thesis | 2016

Hangar and Association Centre In the North of the Brunswick-Wolfsburg Airport some minor airsports clubs have arranged, completing the Stadium of Airsports. Here a wide range of activities is offered to visitors, but without a central point that makes it accessible. It seems reasonable that a collaborative hangar, which is, on the one hand, attractive and representative for incoming visitors and, on the other hand, functional, is necessary. The shooting of the plot on the area of Brunswick Airport turns out to be very difficult, as barriers in the form of security fences separate the property from the neighborhood. The idea is to

continue an existing unused paved road onto the property, which currently ends right in front of the security fence. Once arrived at the property, visitors are naturally heading in the direction of the small side of the 25 x 60 meter large hangar and can only guess its actual size. The two main components of the building, however, are immediately apparent: A partially overhanging concrete structure, intersecting with the very light constructed hangar structure. The reason behind the two structures is directly related to the subject of flying:


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â–´ design model

Basically, gliding sports can be divided into two distinct subject areas: the cognitive and the emotional.

The COGNITION therefore depicts all preparation and follow-up of the actual flying and shapes in form of the concrete structure. It differentiates itself from the surrounding environment, opening only to the hangars inside. Especially by its restrained and clear lines it devotes the real attention to the huge hangar. This is giving room to the EMOTIONAL aspects of the gliding sports. Their filigree steel

construction gives the opportunity to open up to the surrounding landscape and lets the subject of flying appear almost tangible. The facade of the hangar is transparent (glass) in the bottom section and translucent (polycarbonate panels) in the sections above. So both the view and the direct reference to the airfield, as well as sun protection is granted and in addition the upper part of the hall seems to be floating, which matches its use. Basically, the hangar is divided into three areas, which are visually transported by a shed roof to the outside. The different dimensions of the areas (meaning not


A C

B

E

D

C

C

52 18.75

| 30

01

only their size, but also their height) are adapted to their different functions inside the hangar:

A

03

1

02

2 04

The largest of the three areas, with a depth of 30 meter, is located directly at the entrance sector of the building and especially serves representative purposes due to its transparent character. It provides room to the assembled aircrafts, which partly hang down from the structure of the ceiling and thus justify the significant height of this area. In the rear, smallest and lowest part of the hangar, with 10 meter depth, spaces are provided for the required trailers with unassembled aircrafts. Both parts are connected by a 20 meter deep area, which can be defined as a flexible movement zone. Sliding doors are located on both sides, allowing access into the hangar as well as exit onto the airfield.

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5

B

6

08

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09

N 01 02 03 04 05 06

Eingangsbereich Umkleideraum / Duschen Technik Gerätelager / Lager Gefahrenstoffe Spritzpuff Werkstätten

07 08 09

Wartungshalle gerüstete Flugzeuge Bewegungszone Stellfläche Anhänger

8

A

C 9

GRUNDRISS EG >> M 1-100

ABFLUG

Bachelorentwurf Prof. Carsten Roth Timo Vortisch

WS 15/16 IIKE 4270336

A

C

8m 27 m

10

5m

11

26.5 m

Both from the inside and the outside the sawtooth roof conveys by his upward trend a certain rising direction into the sky, which supports the intention of flying again. All in all, the hangar is constructed in a very raw form: nothing is hidden, the structure always remains visible emphasizing clearly the functionality and the prototypical character of the hangar itself.

B 12

10 m

10 m

B

10 m

10 m

10 m

◂ ground plan N 10 11 12

Gemeinschaftsraum (mit Küche und WCs) Vereinsbüros und Briefing Galerie (mit Zugang zur Wartungshalle)

10 m

A

C

GRUNDRISS OG >> M 1-100

ABFLUG

Bachelorentwurf Prof. Carsten Roth Timo Vortisch

WS 15/16 IIKE 4270336


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design model â–¸ 1-100


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Knotenpunkt Hauptträger - Nebenträger Fußpunkt Fachwerkrahmen gelenkig gelagerte Stütze durch Fußplatte auf Mörtelbett fixiert

Obergurt des Fachwerkes ankommender Nebenträger

- IPE 800 Profil

- HEB 300 - IPE 300

Zugdiagonalen mittels eingeschweißter Knotenbleche angeschlossen

6.30m 9.00m

4.65m 7.50m

12.00m

10 m 6.00m

11.00m

6.50m

10 m

9.80m 10 m

8.50m

10 m

10 m

Zweigelenkrahmen als Fachwerk aus Stahl Obergurt Untergurt Druckstäbe

- HEB 300 - HEB 300 - HEB 160

Stütze

- IPE 800

Anschluss der Druckstäbe ist durch Steifen verstärkt und biegesteif verschweißt.

Fassade Pfosten-Riegel Konstruktion im unteren Bereich verglast im oberen Bereich Popycarbonat-Doppelstegplatte Lastabtrag über oben und unten befestigten Riegel

Fußpunkt Stütze Betonkörper Stahlstütze 2.75m hoch

- HEB 200

oben und unten durch verschraubte Fußplatte verankert

▴ construction details

1.10 m 2.00 m

TRAGWERK >> Isometrie

ABFLUG

Bachelorentwurf Prof. Carsten Roth Timo Vortisch

WS 15/16 IIKE 4270336


ANSICHT >> S端d

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ANSICHT >> Nord

ANSICHT >> West

ANSICHT >> Ost

ANSICHTEN >> M 1-200

ABFLUG

Bachelorentwurf Prof. Carsten Roth Timo Vortisch

WS 15/16 IIKE 4270336


56 VERTIKALSCHNITT >> 1-20

10.50 m gerüstete Flugzeuge/ Werkstatt 01

6.95 m Bewegungszone

4.30 m Stellfläche Anhänger

Werkstatt

00

9

8

6

Umkleideraum

4

00 Erdreich

01 Dachaufbau Halle

02 Bodenaufbau

Aspahlt 20 mm Bituminöse Tragschicht 55 mm Wandkies 200 mm Erdreich

Stehfalz Unterkonstruktion / Wärmedämmung Stahltrapezprofil Nebenträger, stahl

Versiegelung, Estrich 80 m (mit Fußbodenheizung) Trennlage Trittschalldämmung 50 mm Dampfsperre Stahlbeton 300 mm

Detailpunkt A - Attika und Fensteranschluss oben

DETAILPUNKTE >> 1-5

Attikablech PVC-Einfassprofil

Fassadenschraube Fassadentragprofil

Wärmedämmung

Gipsschicht Faserzementpaneel Fensteranschluss unten

Verankerung

Fensterbank dampfoffene Folie

Wandhalter mit Verbindungselement zu Tragprofil

Einfassprofil mit Tropfkante

dampfoffene Folie dampfdichte Folie

DREITAFEL PROJEKTION >> M 1-50

ABFLUG

Bachelorentwurf Prof. Carsten Roth Timo Vortisch

02

WS 15/16 IIKE 4270336

Fensterbankhalter


57 ANSICHT >> 1-20

BE Polycarbonat-Doppelstegplatte

Pfostenschuh

04 A

Gemeinschaftsraum

Eingangsbereich 03 B

3

2

mm

m

E

1

03 Wandaufbau

04 Dachaufbau - Nebenräume

Gips Faserzementplatten Hinterlüftung Unterkonstruktion Fassade Wärmedämmung 150 mm Stahlbeton 300 mm

Bitumenbahn Wärmedämmung / Gefälledämmung

D

E

C

GRUNDRISS >> 1-50

Detailpunkt B - Sockelanschluss Detailpunkt C - Horizontalschnitt und Türanschluss

Türanschlagselement PVC-Laibungsabschlussprofil, beweglich Verankerungselement

Einfassprofil mit Tropfkante Abdichtung Sockelputz

Perimeterdämmung Abdichtung

PVC-Eckwinkel mit Gewebe


Two thousand Twelve two thousand sixteen Architecture

Portfolio

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Timo

Vortisch


T imo V or tisch Š 2016 t .vort isch@googlemail.com behance.net/timovortisch

Architecture Portfolio 2012-2016 (ENG)  

Timo Vortisch (international version)

Architecture Portfolio 2012-2016 (ENG)  

Timo Vortisch (international version)

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