BESJAN KRYEZIU
P O RT F O L I O
2
BESJAN KRYEZIU Curriculum Vitae
EDUCATION 2014 Faculty of Applied Science, 2009 Architecture State University of Tetovo FYROM, Macedonia 2009 Gymnasium 2005 Zenel Hajdini High School Rep. of Kosovo
CONTACTS Friggs vei 21 1654, Fredrikstad Norway phone e-mail birth
+47 48 42 48 55 besjan.kryeziu@outlook.com 02.10.1990, Kosovo
INTERESTS AND OBJECTIVES
WORK EXPERIENCE 2016 Maden Group 2013 Architect 2012 CDC shpk Internship 2016 Ipko Distributor 2013 Salesman
I am a flexible hard worker and a team player who has the energy, skills and commitment to engage in a new studying experience. I describe myself as a creative person, who thinks conceptually, objectively and creatively, who is always willing to generate new ideas and learn positive attitude when facing a difficulty or approaching others. I describe myself a very honest and reliable person.
For more information, please do not hesitate to contact me.
QUALIFICATION (trainings, workshops)
SOFTWARE SKILLS
2015 Block by Block Charrette, UN Habitat Participant
ArchiCAD, BIM Revit, Autodesk Maxwell Studio Adobe Photoshop Adobe Ilustrator Adobe InnDesign Microsoft Office
2014 Ecoweek Prishtina Tutor (madengroup) 2014 Sculp Fest, Prizren International Sculpture Festival Tutor (madengroup) 2014 Prishtina Architecture Week Skye Duncan, NYC Departmant Participant 2013 Innovations Lab Kosovo Social Innovation Lab Participant 2012 Urban and Free Space Design Charlie Haley, PhD Participant
REFERENCE LETTERS 2016 Maden Group Ideal Vejsa, CEO Prishtine, Kosovo 2014 ONUP Magazine Onup Platform, N.G.O Prishtine, Kosovo 2014 Kujtim Elezi, PhD Professor at State University of Tetovo, Macedonia 2014 Violeta Nushi, Prof. Assoc. Dr. Professor at State University of Tetovo, Macedonia
ARTS AND CRAFTS Architectural Drawing Conceptual Sketching Model Making Photography Graphic Design LANGUAGES Albanian English Norwegian
ARCHITECTURAL COMPETITION AND PUBLICATIONS EXPO 2016, Antalya Winner, 1st Prize (madengroup) Design For Death Architecture DesignBoom, Mention Members La Biennale di Venezia Selective Call, Pavilion of Rep. Kosovo Container Vacation House Sydney, Australia. Imago Mundi, Publication Luciano Benetton Collection
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CONTENTS
3 8
CURRICULUM VITAE Besjan Kryeziu, B.Arch MUSEUM OF MODERN ART Bachelor thesis
20 28
EXPO 2016, ANTALYA Winner, 1st Prize HILL RESIDENCE Residental Complex
40 44
IMAGO MUNDI Luciano Benetton Collection DESIGN FOR DEATH ARCHDesignBoom, Mention Members
54
SHIPPING Container Office
MoMA
MUSEUM OF MODERN ART Bachelor thesis
KOSOVO Kosovo is landlocked in the central Balkan Peninsula. With its strategic position in the Balkans, it serves as an important link in the connection between central and south Europe, the Adriatic Sea, and Black Sea. The area in and around Kosovo has been inhabited for nearly 10,000 years. The favorable Geo-strategic position as well as abundant natural resources were ideal for the development of life since the prehistoric periods, proven by hundreds of archaeological sites discovered and identified throughout Kosovo, which proudly present its rich archeological heritage. The number of sites with archaeological potential is increasing, this as a result of findings and investigations that are carried out throughout Kosovo but also from many superficial traces which offer a new overview of antiquity of Kosovo. During antiquity, the area which now makes up Kosovo was inhabited by various tribal ethnic groups, who were liable to move, enlarge, fuse and fissure with neighbouring groups.
As such, it is difficult to locate any such group with precision. The Dardani, whose exact ethno-linguistic affiliation is difficult to determine, were a prominent group in the region during the late Hellenistic and early Roman eras. In the Middle ages, the country was conquered by the Byzantine, Bulgarian and Serbian Empires. The province as in its outline today first took shape in 1945 as the Autonomous Kosovo-Metohian Area. Until World War II, the only entity bearing the name of Kosovo had been a political unit carved from the former vilayet which bore no special significance to its internal population.Albanians felt that their status as a “minority” in Yugoslavia had made them second-class citizens in comparison with the “nations” of Yugoslavia and demanded that Kosovo be a constituent republic, alongside the other republics of Yugoslavia. Protests by Albanians in 1981 over the status of Kosovo resulted in Yugoslav territorial defense units being brought into Kosovo and a state of emergency 9
being declared resulting in violence and the protests being crushed. In the aftermath of the 1981 protests, purges took place in the Communist Party, and rights that had been recently granted to Albanians were rescinded – including ending the provision of Albanian professors and Albanian language textbooks in the education system.
Kosovo War, 1999.
Beginning in March 1981, Kosovar Albanian students of the University of Pristina organized protests seeking that Kosovo become a republic within Yugoslavia and demanding their human rights. The protests were brutally suppressed by the police and army, with many protesters arrested. During the 1980s, ethnic tensions continued with frequent violent outbreak
10
against Yugoslav state authorities, resulting in a further increase in em igration of Kosovo Serbs and other ethnic groups. The Yugoslav leadership tried to suppress protests of Kosovo Serbs seeking protection from ethnic discrimination and violence. In July 1990, the Kosovo Albanians proclaimed the existence of the Republic of Kosova, and declared it a sovereign and independent state in September 1992. In May 1992, Ibrahim Rugova was elected its president in an election in which only Kosovo Albanians participated. During its lifetime, the Republic of Kosova was only officially recognized by Albania. By the mid-1990s, the Kosovo Albanian population was growing restless, as the status of Kosovo was not resolved as part of the Dayton Agreement of November 1995, which ended the Bosnian War. By 1996, the Kosovo Liberation Army (KLA), an ethnic Albanian that sought the separation of Kosovo had prevailed over the Rugova’s non-violent resistance movement and launched attacks against the Yugoslav Army and Serbian police in Kosovo, resulting in the Kosovo War.
War Facade.
According to a UNHCR survey, nearly 40% of all residential houses in Kosovo were heavily damaged or completely destroyed by the end of the war. Out of a total of 237,842 houses, 45,768 were heavily damaged and 46,414 were destroyed. More than 80% of the 5,280 houses in
the city were heavily damaged (1,590) or destroyed (2,774) Religious objects were also damaged or destroyed. According to the report of the Physicians for Human Rights, there were 155 destroyed mosques in Kosovo in August 1999 based on claims from Albanian refugees.
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12
Gjilan is one of the largest cities in the eastern part of Kosovo. The city has about 86,500 inhabitants while together with the other municipalities there are 135,000 inhabitants. The main activity of the population is trade and small industries. The city has grown over the years 70-90s, based on the two major industries, textile and tobacco. The fall of these industries has caused a downturn that has brought social crises with it. Gjilan is known for its strong cultural tradition, and the vision for the future creates new needs for cultural-musical facilities, visual arts, and community gatherings.
For this reason, the municipality proposes new constructions in its center, the facilities of courts, police station, municipal administration and the city-hotel which now is private property. Today such a huge space is dedicated more to cars than to pedestrians. The mentioned facilities dating back to the 1960s are moving north of the city. Future development will be at the center of the city, which requires more public spaces and new objects that support its cultural life. MoMA, visualization
13
B
The location chosen for the topic of the bachelor thesis, nowadays is considered temporary for Municipal Administration because of earthquake devastation in 2002. For this aim, the municipality decided its demolition and the construction of a new multifunctional cultural center and the creation of new public spaces around for the purpose of forming the liveliest area of the city. The whole project has 19,650 m2, while the parcel of the cultural center has 1,383 m2. The museum is located in the center of the parcel. The backside is used for access to basements, supplies, and parking lot for public and administration. The other part is used as a exhibition area. While the space in front of it serves as a public space, the entrance for public in the museum and in the underground parking. The museum has basements, and three floors above.
13%
5
A
B
C
D
EF
G
3,481 941
600
720
716
25
480
1 16 x 18 = 288
6
16 x 18 15 x 28
+337 420
6
1
2 000
3
000
720 1,585
+400
4
A
+304
2
27 x 16 26 x 30
3
13 x 17 = 216
+337
2
4
6
8
10m
420
1
A
13 x 17 12 x 30
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6
4
3
5 9
7
8
11
10
13
B
14
12
13 x 17 = 216
2
1
4
Ground Floor
South-East Facade
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North-West Facade 15 GSPublisherVersion 0.0.100.100
B
B
A
C
D
EF
G
3,681 940
600
720
720
25
480
100
100
100
1
16 x 18 = 288
16 x 18 15 x 28
+642 420
4
000
2 +900
+450
+450
A
+792
720 1,766
3
1 32 x 18 31 x 28 2
000
420
3
A
+642
4
B
106
16 x 18 15 x 28
First Floor GSPublisherVersion 0.0.100.100
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B
A
B
C
D
EF
G
3,681 940
600
720
720
25
480
100
100
100
1
16 x 18 = 288
6
16 x 18 15 x 28
+1530 420
2
+1008 000
2 +1674
+1,512
+1674
A
720 1,760
4
1
+1404
32 x 18 31 x 28 3 5
000
3
420
+450 +1008
A
+1530
4
B
100
16 x 18 15 x 28
Third Floor GSPublisherVersion 0.0.100.100
In the first floor there is a space for the exhibition, more open than the floors above it, the gallery surrounded by stairs and two floors of the administration where the offices of the directorate and the secretary are located in first floor A, while on the second floor B is located the meeting room. In the third floor is located a mini-amphitheater which serves to held speeches, literary, music, theater, drama acting, and art works. While the other part has 2 other office for the curator, the space for maintenance and toilets.
MoMA, visualization
D
E
FG
1
H
2
5
DETALI - 4
+1,674 18
18
18
9
+2,250
432 432 DETALI - 2
50
+1,530
50
18
+1,512
78
6
LLAMARINE TERMOIZOLIM LLAMARINE PROFIL METALIK BRINAKE ÇELIKU PROFIL METALIK PLLAKA AMSTRONG
18
+1,674
18
PARKET (2cm) NGJITES BETON PER NIVELIM (5cm) SHTRESE MBROJTESE TERMOIZOLIM (6cm) BETON ARME (18cm) SHTRESE SUVAJE (1,5cm)
432
432 432
432 DETALI - 2
34
+2,250 DETALI - 4
180
LLAMARINE TERMOIZOLIM LLAMARINE PROFIL METALIK BRINAKE ÇELIKU PROFIL METALIK PLLAKA AMSTRONG
180
C
180
B
180
A
+1,404 544 576
576
544 576
576
+1,368
+1,224
2,250
DETALI - 3
+1,062 18
18
+918
50
18
18
+1,062
50 18 18
2,250
DETALI - 3
+900
+792 576
544 576
+337
18
50 18 18
+116
432
382 432
544 576
576
+756
+642
+450
18 50
18
18
+450 +400
+304
382 432
432
+226
±0.000
18
50 18 18
±0.000
50
18
-112
-333
382 432
450
382 432
-225
-450
617 -1,062
DETALI - 1
40 GSPublisherVersion 0.0.100.100
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Section A
Section B
50 18 18 238 50 18 238 288 18 288
35
1,142
-594
-756
80
238 50 18 238 50 18 288 18 288 18
-450
GOME INDUSTRIALE NIVELIZUES - ESTRIH PVC FOLI TERMOIZOLIM PLLAKA BETON ARME BETON I LEHTE HIDROIZOLIM BETON I LEHTE ZHAVOR DHEU I NGJESHUR
-756
-1,062
DETALI - 1
Constructive aspect is foreseen skeletal system of construction. The elevations of the floors are 432cm in the basement (-1); ground floor and third floor by 576cm; and on the first (-1) and second (-2) floor of basement are 288cm. The slabs between floors have a thickness of 18cm, the foundation slab has a thickness of 60cm with adequate insulation, the external walls are multi-resilient with high thermal properties, and the roof covered by sandwich panels. 19
EXPO EXPO 2016, ANTALYA Winner, 1st Prize
SYMBOLISM
Since the age of humankind settlement there was a direct connection to the nature. He did live and use many of its resources. During the primitive stage, the cave was used as a shelter, while animals for hunting, clothing and insurance. As the time passed by, because of the need for the new food and health products, mankind started using plants. Admittedly, we find mankind very attached to the nature in every period of life. Except the effect they have and the importance they possess, plants do have a specific procedure in the name classification in Kosovo. Reviewing the naming process known as onomastic, we do face histories and different methods between mankind with its own self, with the birthplace and nature.
Excluding the phenomenon of passing the name from an old period of time to the new one, it happens the same phenomenon between the admiration of mankind and the city, as it is found on the exhibition called “My name, their city� of the Kosovar artist, Alban Muja. He brings out the adoration and joining between the mankind and the dwelling. It is the same thing with the joining between mankind and nationalism. After the Kosovo war in 1999, on the name of admiration towards the origin place and the help from the outside party, many children were named the same manner. Such names that are present even today are Bill Clinton, once upon a time the president of USA; Tony Blair, ex-vice president of Great Britain.
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Gentiana Lutea Primula Veris Salvia Officinalis Thymus Vulgaris Malva Sylvestris Lavandula Vera Ocimum Basilicum Origanum Vulgaris Tulipa Kosovarica Pinus Peuce Pinu sHeldreichii Lilium Albanicum Rhedodendron Ferrugineum UrticaDioica Viola F1 Hybrida Laurus Nobilis Acacia Decurrens
Plants
Section A
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30
66.9
75.3 13.9
60
170 Detali 1
- Gypsum Board - UD Profil (knauf) - Steel Construction (profil 4x4cm) - UD Profil (knauf) - Gypsum Board
118.6
220 278.5
Gypsum Board UD Profil (knauf) Steel Construction (profil 4x4cm) UD Profil (knauf) Gypsum Board -
71.4
28.5
+278.5
77.6
120.9
77.8
+30.0 73
62.6 ±0.0
111.9
69.8 13.9
112.6
13.9
77.6
82.6
48.3
105.6
26.9
141.9
- Gypsum Board - UD Profil (knauf) - Steel Construction (profil 4x4cm) - UD Profil (knauf) - Gypsum Board Detali 2
Elevation I
- Epoxy - Estich 5cm - Chip Board 3.6cm - Steel Counstruction (profil 4x4cm)
30
Detali 3
Section B
278.5
278.5 220
28.5
+278
- Gypsum Board - UD Profil (knauf) - Steel Construction (profil 4x4cm) - UD Profil (knauf) - Gypsum Board
+30.0 ±0.0
Elevation
Elevation II
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Leaving aside these symbolic sensations, another sensation to be mentioned is found on the joining between mankind and nature. Often, nomenclature of plants is done by the mankind and vice versa. Back to the Albanian history, specifically the Illyrian tribe, the connection between plants and the mankind was
present. Gent, the Illyrian king, as a result of a disease he was fighting with, he started the treatment with a plant known worldwide as Gentinaceae family. However, people started the name classification from the plantation world. Typical examples are found even today. In the list of female name classification, we find
the name Lule (flower), which determines the general flower classification. The name Vjollca, Viola is a result of the name of the flower called Vjollca. The name Gentiana is a result of the name classification called Gentianacea; the name Iris is a result of the flower called Iris, Trendelina is a result of the flower called
Trendelina, Dafina, which name comes from the flower called Dafine; Blini, Erblini is a male name which name comes from the linden tree; Jasmini, which name comes from the Jasmin flower.
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SIMBOLIKA, Text
Seats
Observation Area
Entrance
Entrance
Republika e Kosoves, Text
Republika e Kosoves, Text
Plants
Ground Floor Plan
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Description, Text
Mountain Rock
121.5 28.5 150
B-B
- Gypsum Board - UD Profil (knauf) - Steel Construction (profil 4x4cm) - UD Profil (knauf) - Gypsum Board
Observation Area A: 19.4 m2 Epoxy
0.00
Gypsum Board UD Profil (knauf) Steel Construction (profil 4x4cm) UD Profil (knauf) Gypsum Board -
600
Plants Area A: 65 m2 Soil
421.5 450
Gypsum Board UD Profil (knauf) Steel Construction (profil 4x4cm) UD Profil (knauf) Gypsum Board - Gypsum Board - UD Profil (knauf) - Steel Construction (profil 4x4cm) - UD Profil (knauf) - Gypsum Board
-10.0
A-A
28.5
B-B
28.5
A-A
1,543 1,600
28.5
Ground Floor Plan, Detailed
- Epoxy - Estich 5cm - Chip Board 3.6cm - Steel Counstruction (profil 4x4cm)
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1.3 3 4
12
4 3 1.2
Gypsum Board UD Profil (knauf) Steel Construction (profil 4x4cm) UD Profil (knauf) Gypsum Board -
4
3.6
5
1.4
+30.0
12
Steel Profile 12x12cm 4
Detali 3 1.3 3 4
12
4
12
Floor Detail
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In general, we conclude that the connection between mankind and plantation has always been powerful. The mentioned examples above represent the admiration towards plantation, passing their symbolic names to their children. Such bond is found not only in Kosovo, but worldwide. It is particularly a global phenomenon which occurred throughout mankind history, and it keeps being existent today. Nevertheless, Kosovo pavilion treats a theme which should be passed to the new generation, even in the future. It makes sense if this bond keeps being progressed.
HILL RESIDENCE Residental Complex
10,500 m2 Green Area/ Parking spaces for each apartment/ Recreational area for residents/ Access for people with special needs/ Playground for children/ In the nearness of the block is planned a kindergarten/ Fitness, Indoor Pool, Sauna, Steam Bath, Solarium/ Acoustic insulation between the housing/ Each entry contains two elevators according to the construction regulation/ The windows have three glasses that provide good thermal and acoustic insulation, and the windows will also have rolls of screens/ Armored entrance doors will be of high quality/ Flooring is foreseen with natural parquet flooring/ Bathroom tiles/ Sanitary and Bathing/ The complex will have a central heating/ Each residential building contains a fire protection system/ Firefighting and emergency assistance at every part of the complex
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Hill Residence, visualization
OBJEKTI 2 2B+2S+P+7K OBJEKTI 1 B+2S+P+7K
Site Plan, Building I
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Site Plan, Building II
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OBJEKTI 6 2S+P+6K
OBJEKTI 5 2B+2S+P+6K
Site Plan, Building V
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Site Plan, Building VI
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OBJEKTI 3 2B+S+P+7K
OBJEKTI 4 2B+2S+P+6K
Site Plan, Building III
Site Plan, Building IV
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Hill Residence is located in short distances with landmarks of the city and offering the comfort zone of the suburbs of the city. The complex is planed differently from other projects. It will not be only a residential complex but also complex that offer residents relax, comfort and warmth. The quiet area and clean air is
what makes this complex even more special. The complex is planned with a central square, which gives privacy and opportunities for green spaces which are dedicated to residents. At the same time, the square creates distances between objects that affects better for insolation of the objects.
Location View
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Banesa 1 89.0 m2
Banesa 2
Banesa 3
77.6 m2
112.0 m2
W
W
Banesa 1 120.5 m2
Banesa 6
Banesa 5
89.0 m2
113.8 m2
Banesa 4 114.0 m2
W
W
Building II
Banesa 2 75.1 m2
129.8 m
W
Banesa 5 2
W
W
Banesa 4
Banesa 3
129.4 m2
107.5 m2
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Building I
Banesa 2 80.7 m2
Banesa 1
W
112.9 m2
Banesa 21
Banesa 2 121.6 m2
W
W
128.9 m
Banesa 3 101.7 m
2
W
Banesa 4 125.8 m2
Banesa 4 89.2 m
Building VI
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2
Building V
W
Banesa 3 100.3 m2
W
W
101.5 m2
W
Banesa 2
101.2 m2
Banesa 3
Banesa 8
72.7 m2
W
103.1 m2
Banesa 4
71.6 m2
67.8 m2
W
W
W
W
Banesa 7
Banesa 6
Banesa 5
108.7 m2
116.0 m2
Building III
102.7 m2
W
W
Banesa 2
101.1 m2
W
Banesa 1
Banesa 5
Banesa 3
102.6 m2
56.9 m2
W
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Banesa 1
Banesa 4 112.6 m2
The apartments are of high quality, providing easy access to the apartment entrance, taking care of people with special needs due to vertical communication of staircases and contemporary elevators. Other parts of the complex are also provided for indoor spaces for residents such as spa, indoor pool, sauna, steam baths, accompanying destinations, fitness facilities, supermarkets and other shops in function of the complex.
Building IV
35
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Facade, visualization
1'
2'
4'
5'
5'
287
95
Atika +2711 Kulmi +2616
287
Kati Tete +2329
287
Kati Shtate +2042
A'
A
B
C
D
E
F
G
H
Atika +2414
95
287
Kati Gjashte +1755
Kulmi +2329
308
2,711 287
Kati Peste +1468
Kati Shtate +2042
287
287
Kati Katert +1181
Kati Gjashte +1755
287
1'
1''
2'
3
4'
5'
297
11'
Kati Trete +894
Kati Peste +1468
Atika +2414
287
Kati Pare +320
Kulmi +2329
297 2,472
287
85
Kati Dyte +607
Kati Katert +1181
Kati Trete +894
Perdhesa 0.00
287
297
320
Kati Gjashte +1755
Kati Dyte +607
Kati Peste +1468
287
297
640
2,414
Kati Pare +320
Kati Katert +1181
287
297
Sutereni -640
Perdhesa 0.00
287
297
Kati Trete +894
Sutereni -297
287
Kati Dyte +607
367 961
320
Kati Pare +320
3
Perdhesa 0.00
320
Bodrumi -961
Sutereni -320
280 880
297
Bodrumi -664
Bodrumi -600
280
320
Sutereni -320
287
297
320
Kati Shtate +2042
Bodrumi -880
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Section
37
Hill Residence, visualization
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IMAGO M U N D I Luciano Benneton Collection
Imago Mundi is the collection of works commissioned and collected by Luciano Benetton on his travels around the world, involving, on a voluntary and non-profit basis, established and emerging artists from many different countries. Each of them has created a work whose only restriction is its 10x12 cm format, contributing to the creation of a remarkable artistic geography. The collection, under the auspices of the Fondazione Benetton Studi Ricerche
(established upon the wishes of the Benetton family to support and raise awareness of the wealth of landscape, cultural and artistic heritage), has no commercial ambitions, but aims to unite the diversities of our world in the name of common artistic experience. The goal is to catalogue works, inspirations and ideas, in order to pass down to future generations the widest possible mapping of the situation of human cultures at the start of the third millennium. 41
The Miners Monument
By analyzing the last century of Kosovo, we will find a series of changes in any aspect of life. The presence of the Ottoman Empire, the beginning of the World War I after Balkans war, transition period until to the World War II, the creation of the Yugoslav Federation as far as it destruction, the Kosovo war 1999 until today, made that this chronology affected people with different movement of invaders. Each of the-post-war-period is associated with transition. Transitions are the only space of time that Kosovo could developed it-self. However, during those developments, Kosovo encounter many changes like the individualism in every field, especially at spatial planning, architecture and monuments. Individualism, which we are confronting even today, made us lose identity of our culture, our monuments. Nowadays, icons and landmarks have lost the value that they had, and same time are replaced by new numerous monuments which are created by the ruling parties. Since the latest war (1999), until now, Kosovo is facing the loss of identity that it had and creation of the new identity which we do not even know where it comes from.
Transition Identity 43
DESIGN FOR DEATH ARCHITECTURE Mention Members
Caring for the dead is an important part of any society, and how it is done reflects the prevailing culture. As societies evolve, the customs and traditions surrounding funerals and memorialization also change. This competition asks architects, designers, and creative talents worldwide to re-think and re-imagine deathcare for the future. It seeks to challenge and change perceptions about the ways in which families honor, remember and celebrate the lives of their loved ones, unveiling the next-generation designs for requiems of the future in the place of repose, sites of bereavement and remembrances.
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Our existence dates back millions of year, where life and death have been inseparable part of this existence, set by the laws of nature itself. Defined as the belief on the supernatural, religion is held as holy and thus has embraced different burial practices and rituals around the world. Burials throughout the existence of life have encountered changes and in some cases also have brought innovation, especially in the last century. Burials have traditionally been more common than cremation, but that is changing, and there are several reasons for this shift. Choosing cremation can cost 60% of what a traditional burial cost, it can be appealing to people of all beliefs –
or secular, as well as being an eco-friendly process. Walking through history we find art as part of our existence, as well as an essential part of many burial ceremonies in many ancient civilizations, like Egyptians, Mesopotamians, Persians, Romans, Greeks, Incas, Mayans, whether that be in temples, mausoleums, or tombs. Aristotle once said that “the aim of art is to represent not the outward appearance of things or humans, but their inward significance,� therefore our goal became to re-create the relationship between art and death. We think that death, as a process, must be treated and celebrated same as birth.
Roots, visualization
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Roots, visualization
In our “ROOTS” concept, the relationship between art and death starts by having the deceased`s ashes mixed with paint, a process that can take place in any location as per the deceased`s will or profession, whether that be a stadium, a lake, a basketball court, or even in the house. During this process, close family members sit around the family painter and communicate to him memories that they have with the deceased, while the painter`s hand translates those memories and the feel of the ambient into a farewell masterpiece. This act of having all family members actively contributing to the ceremony consists our aim of switch from mourning the passing of the deceased to celebrating his/her life, full of colors. Once the painting is finished, the observance is followed by having it placed into the “House of Roots”, which is concrete modular “resting place” where the painting will become the life itself. “House of
Roots” consists of 3 levels (number of modules is defined according to demand) and it is placed underground, contrary to traditional burial places that took amounts of land where trees and other portions of the ecosystem had to be sacrificed. Placed on the side of a hill, its entrance draws you in with a sculpture-like entryway, then it leads you to the “exhibit areas”, which are pure in architectural terms, and built with solid organic materials that reflect its grandness. The open atrium is bounded on top with the exposed soil and roots of the ground above, off of which water droplets fall into the pool underneath together with escaped light streaks, continuously emitting tranquil sounds to visitors and family members. Dripping sounds constantly remind you of the passing time, as a symbol of the tears which creates a connection between the physical space, the living, nature and the immortalized art piece.
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Set as a communal remembrance house, walls of the “House of Roots” hold paintings made with the deceased’s` ashes, this way creating for the deceased an “artistic resting place” where they are immortalized and celebrated for the life they have lived. This underground gallery brings the live ones closer to the ground,
while the deceased closer to the living, thus giving the space the greatness and the infinity of life. This way of remembrance brings to light the human factor and the tendency to go back to our “roots,” just as millions of years ago our society will represent its civilization in the future through art.
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Roots, visualization
Abstract - A concept that celebrates the life of the deceased and immortalizes the memory of the loved ones by mixing the cremated ashes with paint and translating the deceased`s personality into a farewell art masterpiece in a ceremony held by close family and friends. The paintings are displayed in the House of Roots where everyone is represented equally, and allowed for as much individuality in the equality they are represented in.
Specifications and Materials - Paintings are proportional with human dimensions, 60cm by 180cm. Due to modules becoming very humid from the pool and the dripping water, paintings will be protected in an electronically controlled and ventilated atmosphere (temperature and humidity) by having clear glass covering the strip where the paintings will be hung. The module for the House of Roots is 40m wide, 40m long, and is comprised of 3 storeys. Cast in place concrete is used to build the modules, and it is left exposed on the inside in order to give it a more natural feel to the space. The module`s entryway directs the visitor to all three floors (via ramp/stairs). One entryway serves up to 3 modular “cells” (for fire safety purposes). Each module contains one set of fire escape stairs that leads visitors upwards directly out of the “cell” to the nature. The handicap access to the module is made possible by entering straight on the second floor, then taking the elevator up or down *A family painter – just as we nowadays have a family lawyer, this new profession would emerge from the need of having the same painter paint traditionally the family`s “farewell art pieces.” 53
SHIPPING C O N Office
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A shipping container is a container with strength suitable to withstand shipment, storage, and handling. Shipping containers range from large reusable steel boxes used for intermodal shipments to the ubiquitous corrugated boxes. In the context of international shipping trade, “container” or “shipping container” is virtually synonymous with “(standard) intermodal freight container” (a container designed
to be moved from one mode of transport to another without unloading and reloading). Re-Use. The ubiquity and relative cheapness of used intermodal shipping containers meant that we began to consider them as an alternative to traditional building materials. Used shipping containers were converted for use in housing, and as retail and office spaces.
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Shipping Container Office, visualization
B
01
02
Toaleti
Administrata
03
04
Pritja
Hapësirë Takimi
A
A
Hyrja
C
B
C
We was tasked with creating office space and showroom in the backyard of the Hill Residence Complex, and so we chose to use shipping containers. The project follows a continuing trend for repurposing
old shipping containers, which have been reused for everything. We chose Baza toORGANIZIMI paint Perdhesës the exterior of the units black to complement the hues of the surrounding listed buildings.
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12
12
15
+259
220
- Ngjyre - Profil KNAUF t=7.5cm - Termoizolim t=5cm - Strukture Kontenjeri
75
130 18
12
157 150
- Laminat - Termoizolim t=5cm - Strukture Kontenjeri - Strukture mbajtese per Kontenjer - Kubeza Betoni
12
276 259
145
83.2 1.8 20
15
15.2 200
12
18
60 85
Pllaka Keriamike Profil KNAUF t=7.5cm Termoizolim t=5cm Strukture Kontenjeri -
1.8
12
Strukture Kontenjeri Termoizolim t=5cm Panel Druri, OSB KULMI
PERDHESA DYSHEMEJA
17
17
17
±0 -17
Section A
B
PRERJA A
0.100
2.100.100
1,212 15 15
45
150 60
10 45
500 10
1
395
200
1
60
320
15 15
567
214 244
15 1
Sip: 2.9 m2
10.7 m2
320
15
Pritja
Hapësire Mbledhjesh
Sip: 4.3 m2
Sip:
6.8 m2
15 15
381 150
60 500
10
30
129
80
15
20
Ngjyre Profil KNAUF t=7.5cm Termoizolim t=5cm Strukture Kontenjeri -
- Ngjyre - Profil KNAUF t=7.5cm - Termoizolim t=5cm - Strukture Kontenjeri
A
15
15
15 15
15
A
20
10 70 90
80
10
Sip:
25
15 200
60
1
244
500
Hapësire Pune
114
10
Toalet
114
150
134 114
15
Pllaka Keriamike Profil KNAUF t=7.5cm Termoizolim t=5cm Strukture Kontenjeri -
15
15 15
15
- Ngjyre - Profil KNAUF t=7.5cm - Termoizolim t=5cm - Strukture Kontenjeri
30x210x17cm
90
160 1
676
80 200 201
106 1
250 320 335
25 15
15
12
22
10
- Muri BA t=10cm - Tulle
360
520 880
C
B
C
Ground Floor Plan, detailed 58
DETALIZIMI Baza Perdhesës
.2.100.100
12 12
Strukture Kontenjeri Termoizolim t=5cm Panel Druri, OSB +259
15 1.8
KULMI
12
- Laminat - Termoizolim t=5cm - Strukture Kontenjeri - Strukture mbajtese per Kontenjer - Kubeza Betoni
259 276
220 233.2
- Ngjyre - Profil KNAUF t=7.5cm - Termoizolim t=5cm - Strukture Kontenjeri
±0 -17 17
17
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PERDHESA DYSHEMEJA
Section B
PRERJA B
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KULMI
+259
PERDHESA DYSHEMEJA
±0 -17
Elevation PAMJA
A large windows are replaces on the walls of the containers. The container has either glazed doors or windows built into both ends, allowing plenty of daylight to enter the building. The offices are finished simply inside with Osb panels and gypsum boards. The windows also reflect the surrounding landscape, enabling the store to adapt to its context. On the outside of the container, the intent is to accentuate the locations of the space. The space is fitted with a minimal amount of dÊcor. Usually used to transport goods on large ocean vessels, shipping containers have become a common architectural material. The office can be moved to different locations as required. Its unusual form was created to offer an assortment of different spaces for the company’s activities.
- Pikore Graniti - Tra Betoni - Tulle PIKORJA
117
246
25
254 250
112
8
2
+237
DYSHEMEJA
2
-17
70
220 360
70
500 500
20 20
880
Section C
+47 48 42 48 55 besjan.kryeziu@outlook.com 62