Page 1

2010-2016

COLLECTION OF WORK* VALENTINA BENCIC

B I VO UAC / U R BA N CAV E / IN T ROV E RT E D M AT / DY NA M O, I LOV E YO U / GR A M M A R B O O K / FA R M O LO GY / C O O P E R ATIV E C OM M O N S *or How I became an architect


P. 4-9 P. 10-15 P. 16-23 P. 24-27

2010

2012

2013

URBAN CAVE

INTROVERTED MAT

DYNAMO, I LOVE YOU

content

BIVOUAC

2011

2010

2011

2012

2 013

curriculum vitae

‘‘UNDER THE RAILROAD’’ COMPETITION WINNER

COMMENDATION OUTSTANDING WO

DESIGNER FOR SOLAR DECATHLON

B.ARCH.

project associate

inte

Faculty of Architecture Zagreb teaching assistant art custodian at Museum of Contemporary Art Zagreb ‘Big sister’ volunteer for troubled children 2


U

P. 28-33 P. 34-45 P. 46-61

2014

GRAMMAR BOOK

20 1 4

2015

2016

FARMOLOGY

COOPERATIVE COMMONS

2015

FOR ORK

e at DAZ

ernship

2016 FACULTY EXHIBITION

SOLAR DECATHLON 2014 HONORARY MENTION

2 0 17 WALLPAPER MAGAZINE GRADUATE DIRECTORY 2016 ARCHIPRIX 2017 NOMINEE TBA 2017 MIES VAN DER ROHE FOUNDATION YTAA NOMINEE

M.ARCH. Politecnico di Milano M.ARCH. TU Delft

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2010

BIVOUAC Dublin, Ireland

The project plays on the notion of a bivouac as an improvised dwelling in the nature. A set of ‘puzzle pieces’ with a variety of possibleuses serve as ingredients for creating unique shelters.

ACADEMIC / FACULTY OF ARCHITECTURE ZAGREB 4


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Project consists of four basic elements with differing section curves. When stacked together, pieces create a tube with fluidly curved interior which can be used as a shelter. Each piece is 2.5x2.5 m big, made of foam rubber and easily moved. By rotating and/or multiplicating these units, user can make a personalized object which can be used in a number of ways.

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2011

URBAN CAVE New York, USA

1ST PRIZE competition winner ‘Under the railroad’ by ANONYMOUS.D MAGAZINE

The strong genius loci of New York - its recognizable urban layout and strong vertical silhouette inspired the spatial concept of the pavilion. The urban jungle was turned into a safe, calm place - “an urban cave”. Pavilion represents the the spatial opposite of New York, made palpable by turning it upside down.

PROFESSIONAL / WITH MIA ANDRASEVIC 10


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‘Urban cave’ provides a wholesome spatial experience through visual, audible and tactile experience. Through vertical intervention exhibition area differs in height and spatial character from the adjacent mingle space. Ground shadow play additionaly outlines layers of the pavillion – exhibiton, mingle and marginal space. Clusters of tubes create a natural echo by the principle of the organ, amplified when visitors graze and touch the structure.

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MARGINS

MINGLE SPACE

* defined by dotted shadow on the ground and rough treatment of the floor surface.

* prominent structure where extended tubes provide interaction between visitors and the pavilion.

THE STRUCTURE * light and self-supported, built out of cardboard tubes (18’’ in diameter), additionaly supported by several thicker cardboard columns in full length.

EXHIBITION AREA * emphasized by shorter tubes and distinct lighting.

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2012

INTROVERTED MAT Zagreb, Croatia

The project deals with rethinking a highly functional typology of a school building. The new approach proposes shifting boundaries of public and private space that can be controlled and changed depending on the needs of the school or other users.

ACADEMIC / FACULTY OF ARCHITECTURE ZAGREB 16


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science lab

gymnasium

library / auditorium

service entrance

outdoor sport field outdoor auditorium

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Classrooms spread horizontally through a modular pattern, creating an introverted mat. ‘Thematic towers’ (science, gyzm, library) pierce the mat and open toward the neighbourhood through sunken courtyards.

In accordance with the concept, each tower has its own entrance allowing their use regardless of the school’s working hours. Meanwhile, the school functions on the basis of transformable classroom units.

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CLASSROOM UNIT Each classroom unit consists of four quadrants - two classrooms ( south and east oriented ), an atrium and a multipurpose quadrant. The latter space is crucial in the organization of teaching and transformation of the unit (and school). It includes a sanitary block which becomes the light box of the unit, a fixed point which binds all the curricular and extracurricular activities.

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lightbox

multifunctional space

atrium classroom

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Outer membrane of the school differs three stages of transparency in order to show the character of each place in the school. Metal mesh envelopes both private and public places, translucent polycarbonate panels covers the private teaching spaces while all publicly available features are opened through glass facades. The school is largely defined by its repeating construction of concrete prefabricated elements. Preset grid of columns and beams serves as an orientation point for sometimes labyrinth-like communication system of the school.

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2013

DYNAMO, I LOVE YOU Zagreb, Croatia

The project was done as a part of a city wide initiative ‘City Acupuncture’ aiming to create a series of small interventions in an old Zagreb neighbourhood that can act as catalysts for the area. The installation creates a micro environment that can help trigger sustainable use and further development of the riverbanks.

PROFESSIONAL / WITH MATEJ KORLAET / LUKA KRSTULOVIC / DAZ / CITY ACUPUNCTURE 24


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Although inextricably linked to the identity of Zagreb, banks of the Sava river remain largely underdeveloped in terms of urban infrastructure. ‘‘Dynamo, I love you’’ aims to exploit high frequency of people using the riverbanks for recreation, such as runners and cyclists, giving them the opportunity to produce electricity and power a single street light.

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This interactive installation comprises three fixed bikes of various sizes (S,M,L) all custom made out of bent and welded chromed steel pipes, as well as a street lamp and benches.


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2014

GRAMMAR BOOK Trieste, Italy

In order to recharge the old port in the centre of Trieste, the project exploits local history of trade to build up a future prosperity for the area. Trade of products, practices and ideas needs to be amplified and given a new contemporary meaning, in this new urban process. The main focus is creating spaces for trade - transient spaces that largely occur in the public realm and as such can take on many shapes and definitions.

ACADEMIC / POLITECNICO DI MILANO / WITH ROSE DAVIS / JENS HOLM / MARYIAH ROUX 28


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CHAPTER 1

CHAPTER 2

The proposed approach celebrates the fact that urban design is not a fixed design but a process. It requires local development bodies to create catalysts which kick start an area and enable the public spaces to grow organically with many authors.

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CHAPTER 3

CHAPTER 4

To allow the process of Trieste Porte Vecchio’s urban transformation, some fixed parameters must first be set in place, to give some constraints, and unity to the design.


CHAPTER 5

CHAPTER 6

When that framework is set , create a series of rules or ‘grammars’ which city builders can use to develope the urban design. These grammars are only guidelines and so there are many designs that are possible when trying to comply to each rule.

CHAPTER 7

CHAPTER 8

This project divides the grammar rules into 8 chapters, where each chapter represents one of the 8 main catalysts for Trieste Porto Vecchio.

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CHAPTER 5 VISUAL CONNECTION ONLY

UNPROGRAMMED

CHAPTER 7 ENCLOSED BUT PERMEABLE NOT ON SAME LEVEL

UNPROGRAMMED

FACADE AS A BACKDROP

void

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mountain housing


CHAPTER 1

USERS must be imagined to give an understanding of who might be trading goods, producs and ideas.

KEEP FORMAL GEOMETRY

The existing WATERLINE needs to chage to facilitate this trade. Establish CONNECTIONS between each users, the water, and the greater city of Trieste.

SLOWING ELEMENT

The existing facades of the BUILDINGS will ideally be retained while their relationship with the public space will be in flux.

PROTECTIVE ELEMENT

TIME STAGES are established for the kickstarter catalysts so the Porte Vecchio can begin to be built by many other authors.

users

connections

waterline

heritage buildings

piazza mussle farm housing/commercial

chapters

building stages

wetland mixed use rolling housing water treatment

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2015

FARMOLOGY Beerta, Netherlands

Farmology focuses on a cluster of farms in a Dutch village of Beerta. As traditional farm life is slowly abandoned, versatile demands of the new owners come to the fore while large farmhouses become more difficult to deal with. However, the widely spread farmohouse typology ‘the Old Ambster’ presents a vast architectural potential. The intervention strategy is based on designing a set of farmhouse attachments for a set of owners that can help facilitate their daily practices and anticipate future ones while creating a sense of community.

ACADEMIC / TU DELFT / WITH YOANA YORDANOVA 34


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The project kicks off with investigating the farmhouses and their owners in present time through precise methodology. Various methods were used to explore and depict each farm through multiple lenses, allowing discovery of surprise encounters, narratives and potential futures.

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1-2 Observe the exterior of the house and conduct an interview with the owner. 3 Choose a ‘character’ and document its immediate surroundings. 4 Draw your immediate reaction to the farmhouse. 5 Explore boundaries between neighbouring houses.

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Why we are in a barn I don’t know, we are not cows, except for that caravan who’s owner has already transformed him halfway. We are in the barn for so long! Its cold and damp and dark, but at least they have a stone flooring and not hay so our wheels don’t sink. I wish we can go outside though, and drive and be in the grass.

FARMFARMOLOGY OLOGY SECTION 1:100

VALENTINA BENCIC EMMA DUMITRU ZUZANNA MIELCZAREK PIM PELT YOANA YORDANOVA

HOUSE 99

HOUSE 32

I am a tree hou at this time of and no one p into the hous at me and I ca

HOUSE 30

Bloup, bloup, bloup! I am sick of seeing only dirty hands! This guy works too much! At least I have fresh air coming from the window.

erable crocs. out the whole village,the farmlife ures, sounds...What is more, our so we can welcome all of the newyou band of bigheaded students!

38 HOUSE 28

I’m the king of this jungle! Watch out - I guard all of the treasures of this lumber shop! ROOOARRRRR


@da_real_buddha tweeted: Thursday afternoons should be spent reading books while sitting on a tree, and not being attacked by strangers with cameras! #annoyed

I don’t know what I am and no one is around to tell me. I forgot who my master was, but I remember when he first took me and placed me in the long grass on the side of the house. Now I observe the visitors coming along the walk way and never feel lonely.

HOUSE 97

I am a farming tool. I rest here on a brick wall and wait for the harvest. At least under me there is soft grass.I see the farmer drive by sometimes, usually there is no one and nothing until the harvest. Booooring! Oh look, there’s someone at the door!

ouse. I am very sad, because f year, it’s too cold and wet plays with me. I can still see se, sometimes the kids look annot wait for a clear day.

You would say that we are just ugly, miserable crocs. But we know much more than you about the whole village,the farmlife with all of its appeals... The smells, textures, sounds...What is more, our owner always leave us at the front door so we can welcome all of the newcomers, like you for example! Come in, you band of bigheaded students!

HOUSE 28

Why did they put me here? I have no fun, I am standing between a vase and some clothes. All of my friends are on the opposite side of the shop and I am here all alone.... PSSSST...!!! I AM HERE!!!

39 HOUSE 24


Current stories and future projections of the owners serve to create a series of ‘charged objects‘ that embody their needs. Once these abstract structures are introduced to the farmhouse, they get tailored to its specific dimensions becoming a set of follies that serve realistic demands of each household.

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By introducing this set of follies to the whole neighbourhood, the goal is to create a renewed sense of community. As the future of Dutch farms remains uncertain and ever- changing, strengthening the ties between neighbours is a way to sustain their practice for years to come.


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All follies is made to measure a certain part of the farmhouse. They are designed to be built by one person or a small group of people as to enhance the idea of cooperation between neighbours. Each follie is a ‘do-it-yourself’ venture and comes with a set of building instructions and required tools, as it would with a piece of furniture.

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2016

COOPERATIVE COMMONS Bogota, Colombia ARCHIPRIX 2017 nominee YTAA Mies van der Rohe Foundation nominee

The project sets up a laboratory exploring the idea of ‘the Commons’ within Bogota’s historic centre. This implies an inclusive method encompassing architecture, social practices, relations and rituals. It explores a new approach that celebrates the richness, resilience and self-healing properties of the street and employs both its social and physical features to start the organic process of creating the commons.

94|130

ACADEMIC / TU DELFT / WITH YOANA YORDANOVA 46


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All the information gathered during the fieldtrip allowed for a comprehensive look on the current state of Bogota’s historic centre. It became quickly apparent that the centre is a palimpsestuous collection of time fragments, both planned and spontaneous spatial occurences as well as cause-effect relationships. The logical next step was to further explore these apparent relationships, some of them spanning centuries and its effects visible even to this day.

CLICK TO PLAY MOVIE! 48


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The street, as the climate allows it, is still the main stage where local practices and activities converge embodying the spirit of informal trading. It is this intangible memory which keeps the historic centre afloat.

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Consequently, the strengthening of the intangible memory is the key to start the organic process of creating the commons. To further explore this process, the centre has been set up as an architectural laboratory.


CLICK TO PLAY MOVIE!

“

Commons is when different actors and their interests converge to influence or produce their physical environment.

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First we introduced four different positions each taking a stand on the spectrum between the social and the physical.

identify problem(s)

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assume a position

Secondly we have outlined social and spatial issues and conditions that either need to be addressed or exploited for the centre to regain its charge.

assemble design tools Taking a step further, we assembled a set of principles which responded in an architectural way to the set of problems identified in the centre.

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ECONOMIST

SYMBOLIST

This position is mainly concerned with the physical environment. The aim is to leave an impactful mark on the city by designing interventions which have the maximum efficiency and effect.

This position focuses on social implications of the built environment. The interventions embody critiques of the current social situation, often exaggerated or thought provoking.


ACTIVIST

SPECIALIST

This position actively identifies spaces which can be used to display a social concern, conflict or celebration. The production and form of the intervention is secondary to the purpose it serves.

This position is focused on customized interventions tailored to the carefully observed local practices and site conditions, balancing precariously between the socia land the physical.

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THE LIVING ROOM II

Projection 3 The rhythm of the arches and the loor tiles suggests that each arch can be isolated to form a separate shop, which is exploited by the product vendors to make a shopping arcade.

2.1.d5

THE VOID

2.1.d6

4.d2

4.z2

4.d1

4.v1

4.z1

4.v3 4.v2

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1_ THE PROMENADE

section 1:50

3.z1

3.z2

San Ignazio church

3.v2 The end of the arcade is articulated

built in gutter

slightly pitched roof slab

with an arch that leads to Pasaje RIvas - a passage lined with locally crafted products. Hence, this end of the arcade is dedicated to vendors of hand crafted merchandise.

3

Site 3 has the theme of the PROMENADE where the two different social spheres collide.

This highly transitional character of the street is emphasized through an arcade that serves as framework to be inhabited by the local practices. Strategically placed along a blind facade, the structure acts as a container of activity and accentuates various spaces such as the church entrance, the passage and the street.

2.z3

3

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2.d4 Canopies are stretched above the narrow alley. Their heights vary in order to create spaces of different character and allow more or less light to come in.

The canopies are made out of waxed canvas and are attached by their corners to the facades with metal hooks.

2.z2

THE LIVING ROOM I

2.z1

2.v2

2.d1 The usable surfaces are made out of ash wood

2.d3

2.d2

that is sanded and curved to tailor the user. These wooden blocks are then attached to steel frames made of bent square proiles. The furniture is attached to the ground with screws.

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THE FORUM


THE FORUM Site 1 has the theme of ‘The Forum’ where multiple existing actors, such as shoe shiners, emerald dealers and craftsmen all coexist yet do not interact. The design proposes a sunken auditorium framed by a colonade that articulates the central space of activity. Work posts for shoeshiners, emerald dealers and craftsmen are incorporated into the design of the auditorium steps. The colonade serves as a simple but rigid framework for the market that is often set up at the square.

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THE LIVING ROOM Site 2 has the theme of ‘The Living Room’ exploring the idea of the public interior due to the intimacy and small scale of the practices found. The design is partially set in the passage where spaces of various character are created through installation of street furniture and shading canopies. The furniture comprises sitting and vending areas as well as a small assembly space.

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THE PROMENADE Site 3 has the theme of the PROMENADE where the two different social spheres collide. This highly transitional character of the street is emphasized through an arcade that serves as framework to be inhabited by the local practices.Strategically placed along a blind facade, the structure acts as a container of activity and accentuates various spaces such as the church entrance, the passage and the street.

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THE VOID Site 4 is a left over space in an urban block, which comes under the theme ‘The Void’. The design proposes a hidden oasis, a space of contemplation just barely articualted and hidden by three walls facing each major entrance. The walls are receded from the main plot line and provide a peek within. Inside the void is a grass surface with a water feature and sitting area.

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Plateria

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VALENTINA BENCIC M.ARCH.

11-02-1992 Zagreb,Croatia +385 91 761 0932 val.bencic@gmail.com

CV available upon request

BIOGRAPHY A self-proclaimed creative. Book nerd. TED Talk addict. Recently graduated architect. Great at Pictionary. Minor internet celebrity. In that order.

FIND ME

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the end

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