BEATRIZ
p
o
r
DE
t
UÑA
f
master in architecture &
o
BÓVEDA
l
i
o
professional work
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206 Lefferts Place #2 11238 Brooklyn, NY
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beadeub@gmail.com
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+1 702-695-0467
TABLE
OF
CONTENTS
RESUME
04
MASTER THESIS /competitions
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CASCAIS SCHOOL
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NEW NATIONAL HELSINKI
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NORWEGIAN WOODS
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SUPPILO 36 //professional SO-IL 42 DINELLJOHANSSON 48 OOAK 62 WOODS BAGOT 64
ARCHITECTES SANS FRONTIÈRES
66
///academic
MEGAPOP
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THE LINE
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BRIDGING DECAY
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////art GRAPHIC DESIGN 82
PAINTING & DRAWING
84
PHOTOGRAPHY
86
CERAMICS
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EDUCATION
ARCHITECTURAL EMPLOYMENT
2009-2016
Universitat Politècnica de Catalunya, Barcelona Degree in Architecture // Excellence award
2015-2016
Kungliga Tekniska Högskolan, Stockholm Master of Architecture // Jury’s Honorary mention
2014-2015 University of Technology, Sydney Master of Architecture // Distinction Exchange 2013-2014 Kungliga Tekniska Högskolan, Stockholm Master of Architecture Erasmus 2003-2009
IES Rosaía de Castro, Santiago de Compostela Secondary education // Extraordinary award
SO-IL architects, New York Designer Jan 2020 - now DinellJohansson arkitekter, Stockholm, Sweden Architect Feb 2017-Aug 2019 (2.5 years) OOAK architects, Stockholm, Sweden Architect Sept 2016-Jan 2017 (1/2 year) WOODS BAGOT, Sydney, Australia Student of Architecture Jan-Jul 2015 (1/2 year)
AWARDS
BOVEDA ARQUITECTOS, Santiago de Compostela, Spain Architect Assistant Jul-Aug 2012-2014
I am an architect with double degree Barcelona-Stockholm used to work in fast paced environments. I am artistic and creative, goal directed, determined and focused. Ambitious, innovative and passionate. Self-motivated and pro-active. A quick learner, a team worker.
New Cascais School International Competition Honorary Mention
OTHER EMPLOYMENTS
Ylivieska Church International Competition Finalist
Gallery Espacio 48 // Art gallery Santiago de Compostela, Spain Jul 2009-2011
Grown-up in four countries, I have been exposed to different cultures and ways of living which gave me the values and perspective to look at the world in a special way.
Master Thesis Project Jury’s Honorary Mention and Exellence award
Is Arch Awards 8th Edition Honorary Mention Archmedium Design Competition 2017 Honorary Mention
Nominated for RIBA President Medal’s 2016 Bilateral Exchange Scholarship 2014 Erasmus Scholarship 2013 Spanish Elite Athlete Grant 2007-2012
Volunteering in an Organic Farm, Iceland August 2011 Phisics, maths and drawing high school tutor, Barcelona 2010-2012 Swimming trainer, Barcelona, Spain 2010-2012 Hostess in Swimming World Championships, Barcelona July 2013
SWIMMING CV
LANGUAGES
2018 Masters Swimming European Championships (1 gold medal) Slovenia
Spanish // Native English // Professional proficiency // TOEFL certificate
INTERESTS
COMPUTER
Architecture and design
Autocad
Art and photography
Rhinoceros
Building and construction
Revit
Adventure and nature
3Ds Max
2007-2013
Spanish Championships ( 6 gold medals)
2008
Eixo Atlรกntico Games, Portugal (2 gold medals)
2007
Swimming Junior World Championships, Hungary
French // Professional proficiency // Delf B2 certificate
2018-2019
Master Swimmer at Polisen, Stockholm
Portuguese // Intermediate proficiency
Travelling and sport
Sketchup
2009-2013
Professional Swimmer at Club Esportiu Mediterrani, Barcelona
Italian // Elementary
Philosophy and psychology
Archicad
2003-2009
Swimmer at University Team, Santiago de Compostela
Music and cinema
Grasshopper
1997-2003
Santiago Swimming Club
Swedish // Professional proficiency // B1 certificate
EXHIBITIONS Photography exhibition at Ecoworld, Sydney, Australia July-Dec 2015
Galician // Native Catalan // Professional proficiency
Model making Hand drafting
JURYS
2017
Master Thesis Project presentation at White Architects
2017
Master Thesis Project presentation at KTH school of Architecture
2018
Master Thesis Project presentation at KTH school of Architecture
Photoshop
SKILLS Drawing and Painting
Design project exhibition at the City Hall, Ostuni, Italy June 2016
LECTURES
Vray
2019
Studio Critic during entire course KTH school of Architecture
2018
Final Review master thesis KTH school of Architecture
2017
Final Review master thesis KTH school of Architecture
Ceramics Laser Cut 3D printing CNC Video Montage
Indesign Illustrator Lightroom Premiere Pro After Effects Processing Office
SKILLS
ENTROPIA Master Thesis KTH Stockholm - Jury‘s honorary mention ETSA Barcelona - Excellence award RIBA President Medal‘s nomination 2016 By Beatriz de Uña Bóveda
Entropia is a project about migration seen as a permanent reality and how it affects architecture. The idea is to create a speculative vision and to formulate questions about this actual and essential topic rather than giving answers. The proposal is based on the meeting of disparate cultures and how this encounter can generate architectural innovations. Entropy becomes the key concept and starting point of research. Entropy is the measure of disorder in a changing system. Entropy in order to explore ideas of decay and renewal, chaos and order. This project is about finding two entropic systems and make them interact. People are moving away from many areas in Europe. Migrants can help re-inhabiting this areas. The idea is to absorb new people into existing infrastructure and set new opportunities. Sweden becomes the perfect scenario with high depopulation taxes in the country side. If you give a family a land, would it be a segregate act or an opportunity to grow a life? Is there any segregation if everyone has the same opportunity to success their life? Segregation is not a spatial issue. The end result is a dynamic, positive creation to generate new culture in Sweden.
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O
nce upon a time, there was a region in the middle of Sweden hiding one of the most valuable treasures for the future of the country, and not because of its value in itself, but because these treasure had the power to attract people from all around the world just to try to get it from
the ground. (And not only this, also because this precious material had the power to mix cultures together in a very special way). One can find this region heading right south from Dalarna, and includes some little towns like Hofors, Hallefors and Hagfors. The towns of the rapids.
Once, a few hundred years ago, approximately in the Middle Ages, this region began to
T
hey were experts on it. This time, those new people were a community coming from Belgium. Walloon methods of production were incorporated into traditional practice, to supplement the existing German techniques.
The wave of migration continued substantially into the 18th century. Walloons became gradually
integrated into Swedish society, but it was not until the end quarter of the 20th century when they were fully integrated. them a live.
time that German mine merchants started to run their own operations in those Swedish mining areas
But it is not about German, or Walloon about who we want to talk about now. They are the history of
and trading communities . It was at that point when Mining and foreign trade thereby paved the way for
this place. We want to talk about what is happening at the moment to this area.
the integration of Sweden into the mainstream of European civilization and it was at that point when it became a place of cultures. Later on numerous Walloon miners, with their families, settled in the area to work in on the extraction of this precious and valuable material.
ut someone heard a rumor. Someone heard about something really awful happening very far away. People are escaping from far away and doing a very very long journey to come to this cold land. Those people apparently come from very warm areas in the planet. The rumor says that
they come from somewhere called “the middle east� . They were forced to leave their cities and their life. It is said that he migrant population bring with themselves part of their land. It is also said that they become nomads in search of a new land.
As you all can see and imagine, this region was the region welcoming every strange person and giving
interest to the kings, because they realized they could export this precious material. It was also at that
B
This region is dying. Its entropy is arriving to an irreversible extent. People abandon wonderland today. Entropy is taking over the place. Entropy seen as an inevitable social decline and degeneration, seen as a form of transformation of society and culture is becoming the fear of the old people still staying there. They know that one day everything will be gone. They lose their hope and their believe. Buildings, squares, markets are decaying with time and it seems like none even cares about.
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People around the world is moving to the northern regions. People abandon warm lands.
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e left everything behind us, home, family, desires, dreams and life. The only things we brought with us was a bucket of blankets, a bunch of papers, a bird and a little piece of our lost land. Someone said that we are the new nomads of the world or something like
that. New nomads with a final destination or this is at least what we hope. People said we are souls with no place. We have seen everything in our journey… How evil the world is. We crossed mountains, rivers,
desserts, seas, valleys, lakes, cities, war, peace... We crossed everything you could ever imagine and more.
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e took our last train in the night. We couldn’t sleep. When the train started to reduce the speed we could see a very high chimney from the distance with a little light on the top of it, flying in the sky, like if someone was there writing our destinies. Everything was white around, like a white dessert. We got a little room and a job.
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hen you enter the territory that has for capital Hällefors, you don’t see just one city, you see several. Hallefors is not just one, it is all of them placed randomly in this vast green landscape. What happens in Hallefors, happens in its neighbor Hofors, and what
happens in Hofors happens in its neighbor Hagfors, and what happens in Hagfors happens in… and so on and so on. The only fact is that it all happens with a retard of some minutes, months or years. One
city is the dejavu of the next one, so if an inhabitant creates a dream in the first citiy, he can be certain that this dream will be replicated a few kilometers away a few seconds away. This way, the cities repeat
We left in the back part of a truck. And from there we could have a last glance at our lost city. It will
their lives in the same way.
always stay in our memories. During our journey we had to learn everything. Learn to jump walls, learn to survive. Learn to learn. Our journey changed our minds, our habitudes, our ways of thinking, changed ourselves. We finally arrived to this so called cold land. We were exhausted. We just wanted a little room and a little privacy. They spoke to us about a magic sport in the middle of red fields. Apparently an experiment was taking place there. They told us we would become builders. Builders of our own dreams. At that time we were desperate. We would accept anything.
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Pajala polar artic circle
Overkalix Sorsele
Asele
Bjurholm
Hofors Hallefors Hagfors STOCKHOLM Laxa
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Health center
Cultural center
Library
Greenhouse
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CASCAIS SCHOOL Competition OASRS 2019 - Honorary Mention Jarlath Cantwell Beatriz de Uña Bóveda Pierre-Jean Gombert Kuba Kolec Ori Merom
In the development of our design approach we fostered the implementation strategy in one only phase. The benefits of building the whole program (with the exception of the “campo desportivo”) in one first phase was immediately obvious to us. This allowed us to guarantee a smooth transition of students and a complete functional autonomy as well as obtaining a free open space (where the actual school is to be demolished) for a versatile multifunctional use that can function both as school playground and as a public space for the community. The key concept for achieving this was to “flip the coin”, and play a solid-void game. The solid (existing school) will turn into void (multifunctional open space) and the void (existing car park) will turn into solid (the new school). The project lies in four main pillars: the school block, the open free space given to the city, the “pinhal”, and an infrastructure vertebral spine along Rua Guilherme Salgado. The school will be a strategic element in building a culture of acquisition and dissemination of knowledge and it is important to refocus it in the city. The new Cascais school creates a new centrality, a new “village within the city” of Cascais. A square perimeter that masses out the empty plot is set, autonomous and clear, as a new urban identity. The vast majority of villages have a central area containing buildings with special significance. The school block is developed around a central square containing the most public program of the school easily accessible to the community: Sports center, Auditorioum/Performing arts and Library (arranged in ground floor). This square is divided into smaller courtyards, each one with a different identity. Around this central place the rest of the school program is organized as a “wall of learning” in almost a cloister typology. A corridor wraps the whole program, infinite by not disclosing its beginning or end. This corridor is inspired in the streets of old Cascais in dimensions, materiality and livability. The corridor is a street, an atrium, a foyer. We create a street that is a lobby, a dinning room, a bar, circulation, a place for interaction, a new learning environment of the modern times providing for formal and no-formal education. Life in the school happens in the street. 19
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SUPPA Competition SAFA 2017 Jarlath Cantwell Beatriz de Uña Bóveda Pierre-Jean Gombert Kuba Kolec Ori Merom
Suppa is a typical Finnish landform, a hollow created when buried blocks of glacier melt out. The ambition of the proposal is to create a flexible organizational system and a bold object representing ”The New National”. A simple, holistic arrangement which connects old and new, allowing the institution to function as a unified whole. The proposed Annex facilitates the hosting of extensive and demanding international exhibitions at the National Museum. The idea of functionally connected (underground) but visually disconnected (above ground) is fostered. Placing the majority of functions underground allows to maintain as much as possible the existing park while achieving the strongest connection to the current museum with minimal interference to the existing architectural structure. Although separated physically, a strong dialogue is created between old and new with the addition becoming very much a part of the museum’s urban ensemble.
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NORWEGIAN WOOD Competition NAL 2017 Jarlath Cantwell Beatriz de Uña Bóveda Pierre-Jean Gombert Kuba Kolec Ori Merom
The forest finns culture and way of life was inextricably linked to the forests that gave them their name. They lived worked and existed in close proxinimty to the trees which provided them both shelter and the means to grow food. Their whole way of life was a process of coexistence with the trees, from their way of farming to the architecture of their dwellings and this project seeks to embody that symbiosis. At its simplest the spirit of the project is“a forest with a roof“. The connection of landscape to architecture and the transition from external to internal space is at the heart of the project. When one studies the culture of these people the link between natural and manmade is seamless or at the very least sympathetic and we have tried to hold true to that principal. The forest finns processes of felling trees to create shelter and pasture is central to the design of this project. The building can be imagined as a cluster of simple pitched forms which together create a layered architecture. The building is an expression of the culture of these people as well as a depository for all he objects and artefacts they created. Landscape, architecture, art and craft all come together in this project to leave an indelible mark on visitors. Visiting the museum should be both an educational and emotional experience and that is the intent of the design.
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Formgivn
tur. Som med ett t
funktion.
Skogsfinnarnas sett att leva har en djup förbindelse till skogens
ordning.
Skogsfinnarnas kultur och livsstil var tätt sammanlänkade
samt väg tidigt som
delen är e struktur känslan
med de skogar som givit dem deras namn. Deras hela livsstil samexisterade med träden, från deras sätt att odla jorden
tack vare
till bostädernas utformning, och detta project vill förmedla
ar stötta utställnin
denna symbios. Ett förenklat sätt att beskriva projektets an-
även den
demening vore att kalla det “en skog med ett tak”. Sambandet mellan landskapet och byggnaden betonas liksom övergången mellan byggnadens inre och den omgivande skogen. Byggnaden kan ses som ett kluster av spetsiga former, vilka tillsammans skapar en arkitektur som visualiserar skogsfinnarnas kultur samtidigt som den förvarar och visar upp de föremål och de redskap som dessa människor har skapat. Projektet strävar mot ekologisk hållbarhet genom materialvalen som är helt i etablering enlighet medi skogen skogsfinnarnas änniskans skaparbyggnadspänning mellan den straditioner. timmer och träkonstruktioner används i naturliga Lokalt och den mänskligt behov. största möjliga utsträckning. Ett effektivt nyttjande av byggnadsytan minskar värmespill från fasader. Betonggrunden lagrar jordvärme som sprids till bottenvåningen. Takets branta lutningar minskar ansamling av snö, samtidigt som smältvatten tas tillvara och används i byggnaden. Taket har även kamoflerade solpaneler bland takfjällen på den södra
Skogens naturliga struktur skapas av trädens stammar. De i sin
M
tur är skogens vertikal ordning.
sidan, vilket minskar användandet av mer miljöfarliga energikällor. Formgivningens poetiska kärna är byggnadens själva struk-
Skogsfinnarnas sett att leva har en djup förbindelse till skogens ordning.
ETASJEPLAN 0 skala
1:200 @ A1
tur. Som nämnts tidigare, är intentionen att skapa “en skog med ett tak”. Varje våning är utformad utifrån dess specifika funktion. Bottenvåningen består av en enkel betonggrund samt väggar, som är en del av den bärande strukturen samtidigt som de fungerar som rumsavdelare. Den övre publika delen är en total kontrast till bottenvåningen, både vad gäller usetts skäl är utvecklade av de tre komponenter ovan. Stamstruktur och materialval. I utställningslokalen får besökaren mar, skydd och dialogen emellan. känslan av att befinna sig bland trädstammarna i en skog, tack vare det kluster av träpelare som bär upp takstrukturen, även den i trä. Takets utformning, med dess branta lutningETASJEPLAN -1 ar stöttade av pelare, skapar unika inramningar till de olika utställningsytorna.
M
skala
1:400 @ A3
Planen b
ing mella Den övre publika y upphöjd nadens p ering tar gen inneh mötesrum lösning g passning möjliggör ligt ryml
På övre riärer för erade m kafé, bibl var och en ovanför. ytorna, m garnas s garna ha ovanifrån
Bottenvå Betongpl nad för
intill. De tomtens
för översv
1:200 @ A1 1:400 @ A3
Skogsfinn
Människans etablering i skogen skapar spänning mellan den naturliga och den mänskligt behov.
TIPISK SNITT skala
1:200 @ A1 1:400 @ A3
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Planen består av två våningar med en markerad uppdelning mellan kontors- och supportdelen och utställningsytan. Den övre våningen innehåller utställningsytor liksom andra publika ytor som reception, bibliotek, kafé och affär. Något upphöjd från gatunivån reser sig denna våning som byggnadens primära arkitektoniska uttryck. Pelarnas fria placering tar med sig skogens mönster in I huset. Bottenvåningen innehåller kontor, förråd och toaletter liksom hörsal och mötesrum. Bottenvåningens kompakta och effektiva planinne ute manmöjlighet kan uppleva lösningmger deneller övre våningen att varadenna flexibel,ordning. anpassningsbar och lättarbetad för personalen. Betongbasen möjliggör säker förvaring av samlingarna och den är tillräckligt rymlig för att möjliggöra framtida expansion.
O
På övre våningen finns inga väggar eller andra fysiska bar-
omgivand skapa en tionella.
utställnin 360 grad
pet. Båda hierarki m arkitektu
ställning tets själv
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SUPPILO Competition SAFA 2017- finalist Jarlath Cantwell Beatriz de Uña Bóveda Pierre-Jean Gombert Kuba Kolec Ori Merom
The footprint of the existing church is allowed to remain as a memory, it is respected. The addition is a simple yet powerful form that through small, but particular manipulation creates the new church. The new building is a sleeve, a funnel. The simple compression and relaxation of the plan arrangement allows the program to be solved in a simple yet elegant way. The long form is divided three times - entrance, public hall and church. The entrance bisects the volume on axis to the old church entrance and this move creates a subtle cruciform shape which doesn‘t discriminate between religious and secular but makes them equivalent. Conceptually the building begins as a simple sleeved tube with a single long wide space flanked by two narrow bars. By one simple shift a compression is created at the entrance point. This pinching allows the main served spaces through the centre of the house to be notionally divided although still visually connected. It also makes a more generous composition of servant/backup spaces as the building contracts and expands to accommodate the various elements of program.
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UCCA-EDGE CENTER FOR CONTEMPORARY ART - SHANGHAI
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2020
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UCCA-EDGE CENTER FOR CONTEMPORARY ART SHANGHAI UCCA Center for Contemporary Art or UCCA is a leading Chinese independent institution of contemporary art. Founded in 2007 out of a commitment to bring Chinese contemporary art into global dialogue, it has since become a cultural landmark for Beijing, a conduit for international exchange, and an incubator for new talent. UCCA is opening an additional museum, UCCA Edge, in Shanghai. UCCA‘s work grows from its core belief that new art can change lives, broaden perspectives, and enrich the conversation between China and the world. I had the opportunity to work on the new UCCA museum project during the design development and construction documentation phases.
DESIGN DEVELOPTMENT & CONSTRUCTION DOCUMENTATION
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载重门滑
320 LIVINGSTON S BROOKLYN, NY 11 T: +1 718 624 6666
护角条 环氧涂料天花板
曲线轨道 可调节搁板
预制隔音石膏完成面，详图见
程之春
所有凹槽表面作浅灰色处理
轻钢龙骨框架
内置
灯
程之春 LL2嵌入式灯轨 轻钢龙骨框架 具体参照灯光布置表
钢管按需 搁板楔脚 内置
现有混凝土楼板
后方装饰板底部
刘静
现有混凝土楼板
现有混凝土楼板
现有混凝土楼板
防火卷帘
木方
8
条形通风口及喷淋头后置，具体参照机电图纸
EPOXY CEILING RCP DTL @ RECESSED LIGHT TRACK - 环氧处理天花照明凹槽详图 条形通风口
轨道灯光
喷涂金属处理,渐变过渡 到混凝土， 见效果图
条形风口
彭友
石膏板天花
220MM 条形通风口固定于墙上 条形通风口
后方管道
天化框架 灯光轨道 胶合板
后方喷淋头
隔断参照隔断类型
LL2 表面固定轨道，具体参照灯光布置表 胶合板
胶合板
2
轻钢龙骨石膏板，无机白色涂料
对齐
环氧涂料天花板
E-1 环氧涂料完成面
轻钢龙骨石膏板，无机白色涂料
环氧涂料完成面
钢管按需
金属天花凹槽，白色室内完成面
金属天花板凹槽，白色内饰 LL3/LL4 LED 可调控轨道灯 具体参照灯光布置表 AI006
展厅轨道灯光
防火胶合板
LL1 表面固定轨道，具体参照灯光布置表
SCALE: 1:20
金属天花板凹槽，白色内饰
喷淋头
对齐
胶合板
PIVOTING WALL - SECTION
LL2嵌入式灯轨 具体参照灯光布置表 AI006 P-1 轻钢龙骨石膏板，无机白色涂料
尤伦斯（上海）艺术 文化发展有限公司
吊顶框架
DURABOND或类似粘合剂轻涂层 金属天花凹槽，浅灰色室内完成面
现浇水磨石，见
后方装饰板底部
灯光轨道
灯光轨道
彭友
所有表面作白色处理
重负和艺术品轨道支撑架 天花框架
天花板框架
75%CD
柱间框架
隔断参照隔断类型
天花板框架
冯斌
SCALE: 1:5
后方承重柱
现浇水磨石，见
减震脚轮
条形风口
3
对齐
条形风口
对齐
PIVOTING WALL - ELEVATION
轻钢龙骨石膏板，无机白色涂料 现有结构厚改造,见土建
所有凹槽表面作浅灰色处理
护角条
金属天花边缘，室内灰色饰面 喷淋头
厚多向拉斯铝板完成面钢结构楼梯
金属天花板凹槽，灰色内饰
锚栓于结构混凝土 艺术悬挂点
喷淋头
喷淋头，参照天花图
环氧涂料天花板 金属天花板凹槽，灰色内饰
SCALE: 1:20
尤伦斯上海艺术文化 创意实践空间 扶手钢
喷淋头 隔断类型参照
吊顶详图一
系列
SCALE: 1:5
SCALE: 1:5
100%CD 施工
SCALE: 1:5
SCALE: 1:50
SCALE: 1:5
SCALE: 1:5
SCALE: 1:5
吊顶轨道
SCALE: 1:5
1:5
SCALE: 1:5
现有结构梁，混凝土或钢梁，见结构
1
SCALE: 1:5
毫米分割角线, 位置按水磨石产品和现有混凝土楼板变形缝定
WALL:STRUCTURE L3 铸造不锈钢金属板
重载门滑
不锈钢螺丝 环氧涂料天花板
与地板平齐插座盖板 颜色匹配水磨石，色卡后续按施工实样提供
地插
现浇白色石子水磨石，匹配实样
所有凹槽表面作浅灰色处理
现浇水磨石完成地 面，做法见 1/AI-600
基层(素水泥浆结合层一遍， LL2嵌入式灯轨 20-25水泥砂浆找平，素水泥浆结合层一遍) 具体参照灯光布置表
基层(素水泥浆结合层一遍， 20-25水泥砂浆找平，素水泥浆结合层一遍) 基层(素水泥浆结合层一遍， 20-25水泥砂浆找平，素水泥浆结合层一遍)
轻质混凝土回填 地面轨道
现有混凝土楼板
木方
搁板
现有混凝土楼板
现有混凝土楼板 现有结构混凝土楼板
现有结构混凝土楼板
轻质混凝土
现有结构混凝土楼板
8
框架按规范处理
或相似含金属量 金属涂层，镜面 混凝土锚栓 抛光/亚光抛光 EPOXY CEILING RCP DTL @ RECESSED LIGHT TRACK - 环氧处理天花照明凹槽详图 SCALE: 1:5
预制 水磨石台阶
木方
条形通风口
回填混凝土厚度按2，3 楼50MM，4楼100MM,现场测量
基层框架
回填混凝土厚度按2，3 楼50MM，4楼100MM,现场测量
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尤伦斯（上 冯斌 文化发展有 冯斌
SCALE: 1:50
SCALE: NTS
胶合板
PIVOTING WALL -AXON
效果见
效果见
PIVOTING WALL - PLAN
LL2嵌入式灯轨 PIVOTING WALL - SECTION
320 LIVIN
04 3 STAIR室内 尤伦斯 可移动礼品展
STAIR 05 - AXON天花框架 楼梯五透视
条形风口
灯光轨道 胶合板
4
SO
冯斌BROOKL T: +1 718 程之春 冯斌 程之春 彭友 程之春 彭友 刘静
彭友
厚多向拉斯铝板 天化框架
刘静
尤伦斯上海 彭友 创意实践空
弯曲阻燃板基层，弧度见平面
减震脚轮 回填混凝土厚度按2，3 楼50MM，4楼100MM,现场测量 条形风口
SCALE: 1:30
建筑设计顾问
SCALE: 1:5
锯切控制缝填环氧腻子填缝
曲线轨道
程之春 05 2 STAIR 精装修 程之春AI-650 程之春
2
SECTION DETAIL-BALUSTRADE 剖面详图-扶手
6mm
烟感
预制 水磨石台阶 SCALE: 1:5
SCALE: 1:5
楼
隔断参照隔断类型
展厅轨道灯光
5 GYP CEILING SECTION DTL @ PROJECT SPACE WEST FASCIA L2 6 GYP CEILING SECTION DTL @ PROJECT SPACE EAST FASCIA L2 7 EPOXY CEILING SECTION DTL @ PROJECT SPACE FIRE SHUTTER L3 DTL @ COVE 环氧处理天花凹槽详图 EPOXY CEILING SECTION DTL RECESSED TRACK LIGHT- 环氧处理天花照明凹槽剖面详图 EPOXY CEILING SECTION DTL @ PERIMETER - 环氧处理天花周边剖面详图 1 STAIR 05 - LEVEL 3 楼梯五-三层 9 EPOXY CEILING RCP DTL @ DIFFUSER/SPRINKLER COVE - 环氧处理天花风口/喷头详图 5 EPOXY CEILING SECTION 6 7 1 GYP CEILING SECTION DTL @ DIFFUSER AND LIGHT TRACK 石膏板天花详图 2 GYP CEILING SECTION DTL @ SPRINKLER AND LIGHT TRACK 石膏板天花详图 3 GYP CEILING SECTION DTL @ PERIMETER - 石膏板天花周边剖面详图 4 GYP CEILING RCP DTL @ CEILING PANEL - 石膏板天花平面详图 SCALE: 1:5
SO –
BROOKLYN, T: +1 718 624
冯斌
框架
建筑设计顾问
2020.05.18 320 LIVINGST
预制隔音石膏完成面，详图见
轻质混凝土
轻质混凝土 现有混凝土楼板
现有混凝土楼板
程之春
灯
文化发
环氧涂料天花板 1:30
MAPT MELBOURNE ARTS PRECINT TRANSFORMATION
SO-IL + HASSELL have been collaborating to draw a masterplan for the Melbourne Arts Precinct so it will be a place where art and performance play out amongst gardens on a scale and complexity unprecedented in Australia. Visitors will meander, gather, play and perform amongst gardens that will become as renowned and loved as the cultural institutions they surround.
SCHEMATIC DESIGN MASTERPLAN
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ARCHITECTURAL ELEMENTS OF THE MASTERPLAN
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GARNISONEN SERIES OF INTERVENTIONS
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2017-2019
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GARNISONEN SERIES OF LITTLE INTERVENTIONS IN A VAST AND AMAZING CONCRETE LANDSCAPE Garnisonen was constructed in Stockholm in 1964–1972 as an office building by architect Tage Hertzell. It was constructed as an example of structuralist design and functional ideal characterized by variability. The building is given an internal shape so that it can be changed continuously based on new functional needs that arise. In the interior continuous concrete frame is exposed and technical installations were made fully visible and exposed. The technical installations in the public areas are characterized by blue as well ventilation ducts, red electric rails and yellow fluorescent lamps. Our task was to rig a renovation with a deep respect to the architect‘s opinion (who was supervising the work daily) and the building essence. Identify those aspects and weak points within the main entrance of the building, in collaboration with the client, were the building needed to change once more and adapt to actual needs. Add tiny things that would improve the building and not destroy it. From there we established a serires of interventions to design, including new main staircase, new restaurants, lounge, reception, public toilets, etc. This is another project where I was involved since the very first discussion and sketch, down to construction, going through all stages of a very special and meticulous project including drawing furniture and lamps specially designed for this building.
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GARNISONEN SERIES OF INTERVENTIONS
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SNÖDROPPEN AFFORDABLE HOUSING IN STOCKHOLM The project is located in Hässelby, in the outskirts of Stockholm. It is constituted by 5 volumes. The shape of the volumes is inspired from an important raw housing development from the 50s nearby, giving the special roof character which allows interesting loft-apartment configurations. The challenge of this project has been the extreme low budget and how to still produce quality architecture out of it. The process has been divided in two stages: first stage including houses 4 and 5 and second stage houses 1,2 and 3. This is a project that accompanies me since I started working at DinellJohansson. I had the opportunity to participate in the whole process, from early design sketches down to construction of house 5, going from the masterplan development until the interior design and materiality of the appartments and being able to manage the latest design development in stage 2. We first started drawing in Autacad and moving into Revit when we started construction documentation, which allowed me to work in Revit during 10 months. Rhino+Maxwell were used in the image work. Here are only shown some samples of the different phases of the whole process.
EARLY DESIGN PHASE
DESIGN DEVELOPMENT STAGES 1 AND 2
EARLY PLAN CONFIGURATION HOUSES 1-3 AND 4-5
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BUILDING PERMIT APPLICATION STAGE 1 (HOUSE 4 & 5)
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SNÖDROPPEN
CONSTRUCTION DOCUMENTATION STAGE 1
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CONSTRUCTION DOCUMENTATION STAGE 1
BUILDING SITE STAGE 1 (HOUSE 5)
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LIDINGร VALLEN FRIIDROTT ATHLETICS CLUB AND FACILITIES Lidingรถ Athletics Club needed stands, offices,a coffee shop and an interior running track. We gave them all in one.
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HAMRA EXTENSION FOR AN ARCHITECT’S HOUSE The existing house came out of the very limited budget: a house as simple as possible: one open space with a large number of possible beds, cooking in the middle, washing facilities outside the house. The house was designed with generic qualities, creating no front- or backside, treating all sides of the site equally. Four large openings 2,4x2m are placed according to rotational symmetry, one in each facade. The addition couldn‘t be a separate house due to planning regulations, but it could be an extension of the house if the total footprint was under 150m2. The new house should be a little retreat, leaving the existing as a social space. Windows of both houses should never look at each other. The plan is based on a cross of funcitions and circulations leaving the corners as differenciated spaces.
EXISTING HOUSE
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HOUSE-ADDITION
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Sektion tagen genom det offentliga torget och den privata innergĂĽrden. 2016-2017
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TRAMSHELDS HAROLD PARK SYDNEY 5
2015
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Level 3
Level 2
Mall
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PLAN - ENTRIES SCALE 1:100
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DISPLAY SUIT DESIGN DEVELOPMENT ECOWORLD, SYDNEY
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CONCEPT CREATION INDOOR/OUTDOOR
THE HUMANE SCHOOL, Maili Saba-Sirende, Kenya
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Compact-functional
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Increase perimeter
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Push in >> Outdoor covered space
The Humane School is a Kenyan Waldorf school in need of new and better adapted premises. With the help 4 of participation processes in place and in close collaboration with the users and their collaborative organization, the plans for the new school are now taking shape. The construction will be done in stages with construction workers from the area and with emphasis on local environmentally friendly materials and methods. The Humane School is located 12 km outside Kitale Town in northwestern Kenya and is run with a local adaptation of Waldorf pedagogy. The Humane School began operations in 2008 and has about 100 students from preschool and up to eighth grade. The school uses an anthroposophical pedagogy that integrates creative methods and practical life skills with the theoretical curriculum applicable nationally in Kenyan schools. The children come from the immediate area, mainly from low-income massage families.
Rotate >> public/private >> more outdoor covered space
KITCHEN & DINING HALL CONCEPT FLOWS
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CHILDREN
KITCHEN STAFF
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1 Queueing- washing hands
1 Delivery access 4
2 Pick-up food
2 Distribution in storages
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3 Go to table and eat 4 Leave table and wash 5 Exit
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4 Food serving 3
GRAVITY-FED WATER SYSTEM
5 Clean dishes storage between washing station and kitchen
WATER SAVING
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The school is today on rented land and the premises are of a low standard and in poor condition, with very small classrooms of around 10 m 2 . At the same time, they fear a constant risk of eviction. Investing in a new building or major redevelopment on leased land is not an option. The project idea is to buy land and build a new school that fits the needs and activities of the Waldorf Steiner pedagogy, but adapted to this local context and taking into account social, ecological and economic sustainability. In addition,
3 Kitchen separate staff entrance. Indoor access to storage and food preparation
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MEGAPOP KTH 2016
Beatriz de Uña Bóveda Barbara Gensler Kuba Kolec Camilla Morfeldt Hjalmar Stenlund
Culture is value. In Ostuni they have all these things that are extremely trendy around the world right now, everything is locally produced and refined, the farmer works in a small scale and has many different crops, he takes his olives or grapes and bring it to the cooperative factory where he gets olive oil or wine back. What we thought that they needed for their culture would be a common place where they could all show their products or other cultural events. And that this place would be situated in the center of Apuglia, near the historical city Ostuni. This would in return make Ostuni, which we have come to call a Pop Up City growing from 30 000 inhabitants to 100 000 once a year, a more attractive city to visit. Not only in august but also other months and weekends of the year, making the city more alive and attracting younger people to stay there not only in summer but throughout their whole lives. This would both be branding the city as a city of culture and at the same time give local artists and producers a place to show their work. The site we have chosen is the strip between Ostuni and its seashore. Both of them hold a great value for the region and by giving this in-between space a meaning we believe that we would strengthen the area as a whole. Our idea is to have these different events in this place to make the distance feel shorter. Along this stripe we have mapped out the different masserias, what they can provide the pop up spaces with is water and electricity. In our project we want to propose architecture as event, dynamic and movable in contrast with the permanent architecture we are used to. We create a link between city and seashore that attracts people to move in between both of them. We decide to create two tracks to arrive to the sea shore from the city, the fast track and the slow tracks. The fast track reuses the main road that links this two parts and we propose it as a stages promenade, designed as different “episodes”. 69
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THE LINE KTH 2015 By Beatriz de Uña Bóveda
About balance, about simplicity, about curiosity, about emotions, about emptiness, about nothing. What is the meaning of building an object in a surrealistic landscape? What is the line which splits apart the superfluous and the necessary? How to help human to interpret and understand non-human scale? How is emptiness experienced, designed and negotiated? Space is a void, a pocket of air that must be contained to define a limit. The emptiness is related with the characteristics of the place and not because of that is a missing piece if not a creation. The invisible in architecture could be conceived as space. Adding subtraction, building excavation. A landscape project, a nomadic expression, an ephemeral perturbation of the landscape. It is there but you don’t see it, it is there, where ground and sky merge, it is there, where there is no horizon, it is there, in the distance, where it can’t be disturbed. Sami culture is about simplicity, program needs to be reduced to the minimum where the two interior spaces are seen as refugees and the final end becomes the exhibition space of the nature around, just a covered point of view. A line story to walk through.
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BRIDGING DECAY UTS 2015 Michelle de Jong Beatriz de Uña Bóveda Pierre-Jean Gombert
Buildings inevitably decay. There is nothing we can do to stop it. What can we do about it? The march of preservation necessitates the development of a theory of its opposite: not what to keep, but what to giva up, what to let it go. What will happen if we let a building go? Society is so concerend with preserving buildings of some historical significance in a particular point in time. This view is short-term. It is unsustainable. It is expensive and un-economical. Lets step back and reframe what preservation really means. Lets look at long-term. We cannot preserve, or “freeze” a building in a particular point in time. Time is ongoing. With time, objects change, technology evolves, patterns of life reshape, society and values adjust. Perhaps the best way to preserve something is not to preserve it at all. Let’s let it go until it is a ruin. Let it decay, allowing entroy to do its thing. What implications the ruin of the power station have for Sydeny? How might Sydney embrace this decaying building? This project is a critique towards the preservation politics in Australia.
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D A N SCENKONST T L USIK
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FÖRENINGSL IV S VEN SK AI
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AKT KE/J FIS
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FRI LU FT SL IV
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ngång till gslivet. vänskap.”
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FÖRENINGSL IV S VEN SK AI
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“ Älskade Barn är en ingång till integration i föreningslivet. Drömmar, kunskap och vänskap.”
“ Älskade Barn är en ingång till integration i föreningslivet. Drömmar, kunskap och vänskap.”
- Yeni Karlsson, Borås.
- Yeni Karlsson, Borås.
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“I tend to keep the number of elements to a minimum in order to come up with an image that is easy to read.” Bo Lundberg
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UNTITLED Oil on canvas
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UNTITLED Oil on canvas
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“Photography is pretty simple stuff. You just react to
what you see, and take many, many pictures.� Elliott Erwitt
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“The pieces I love are very often the wobbliest” Nigel Slater
THANK YOU! GRACIAS! MERCI! TACK!